the headnodder session ep 57 mp3

Episode Transcript

Speaker 1 (00:00):
Get song.

Speaker 2 (00:01):
Just because the radio show is doesn't mean it's over.

Speaker 3 (00:04):
After time after the party, they had not a session
drop the radio show.

Speaker 4 (00:15):
I was raised by the crypts of what the deck
to represent the world shipuless, I'm not gonna see no
more of that, but that's supposed to be Volume ten.

Speaker 5 (00:24):
Okay, right, The debs.

Speaker 4 (00:33):
Shout out the Volume ten man, always playing homage to
the old school, as we bring you a new school
right here on the head and out of session power
about the radio show. We do this each and every
week as we take some songs that are sent to
us may need a little production work. Give them that direction,
that honest feedback, that construct the criticism about our crew

(00:53):
of individuals here showing you love that way, help you
to put out something that's not whack, and they'll save
you some money and some time. So if you're an
artist and you got a record you want to get
to us, send it to us right now and at www.
Dotor Radio show dot com. Go to our website, fill
out with the part where System mid Music fill out

(01:14):
the form upload your song. It'll go to Britain living
next to human channel list so she can check it
out and uh we'll go from there.

Speaker 6 (01:22):
All right, sounds good yesterday?

Speaker 4 (01:26):
Shoot oh you did?

Speaker 7 (01:27):
Yeah?

Speaker 4 (01:28):
All right, you can be Bryanton Rightington on the.

Speaker 6 (01:30):
Show always well, get up.

Speaker 4 (01:32):
See we can bring you money here.

Speaker 6 (01:34):
Yeah I talked to him.

Speaker 4 (01:35):
Yeah, yeah, I do that. Do I do that?

Speaker 7 (01:37):
Yeah?

Speaker 4 (01:38):
But if you can't handle constructive criticism, please do not
send your music to us at this time. Please do
not sign your music to your to us at this time.
You can't handle it. But if you can't get it
to us, ND go ahead get them that disclaimer. Please.

Speaker 8 (01:52):
The disclaimer is when you send your music, make sure
it's unreleased.

Speaker 9 (01:57):
We do not want to critique is.

Speaker 8 (02:00):
That you're trying to sell on Spotify, Apple Music or
any social media or platform, because if you do send
it to us, people are like eight o eight and
low dig and myself and a few others, we might
mess up your record sells. Let you know that your
song ain't ready for the Selle department yet. You gotta

(02:21):
go back and put some more production to it, clean
it up a little bit better than do you have it.
So just saying unreleased music, you ain't put it on
Spotify yet, Yeah, you have it on Apple Music. You
don't have it on YouTube. You ain't trying to make
no money on it. You just want to know whether
it are you on the right track or not? And

(02:43):
we'll let you know because people like low Digs and
eight o eight and myself and Dundee and Britta Lovneck
especially Kelli.

Speaker 4 (02:51):
Love Kelly Good Good, Love Good, Kelly Good, Kelly Love
Kelly Good?

Speaker 8 (02:57):
What I keep calling it because I think love is
more man, that's smooth man smooth.

Speaker 5 (03:04):
But if you thinking about Coupac California love, you know.

Speaker 9 (03:12):
And on top of that, I got love for Kelly, right, he.

Speaker 6 (03:16):
Got love for you too.

Speaker 4 (03:18):
Yeah, it's all good. We all got love here, man.

Speaker 9 (03:20):
Let's go ahead Kelly again, doesn't Kelly what?

Speaker 4 (03:24):
Kelly good?

Speaker 6 (03:26):
Yes?

Speaker 9 (03:26):
Yeah, that sounds too plain.

Speaker 5 (03:29):
It used to be no good and he changed it
to CALLI good, so you know.

Speaker 9 (03:34):
That he should throw the good away and put love
in there.

Speaker 8 (03:37):
Callie love love me baby.

Speaker 9 (03:41):
But I'm smooth.

Speaker 4 (03:43):
Well, let's let's let's see if you love any of
these records were about to play right now, jump to
the first one that see to be yet he loved
for him exactly. First one. The artist's name is King h.
The song is called Young and wild King h young
and wild. This is the record we played in the
pre shaw earlier. So if you were here then y'all
heard it already. We're gonna hear it again like you

(04:04):
heard here. Go let's go.

Speaker 10 (04:18):
Pick it up.

Speaker 11 (04:21):
I didn't try it again and then again and then
again and again. Then I felt high.

Speaker 12 (04:36):
I'm just trying to win, trying to win, trying to
win by my mom's a new crib.

Speaker 13 (04:40):
Now.

Speaker 11 (04:42):
I did it a lot, it good, lot of bad.
But right now I hope I forget my sense now
because I'm young.

Speaker 12 (04:49):
And while I've.

Speaker 11 (04:52):
Been young and red lid, I've been young in a while,
I've been young and red li.

Speaker 12 (05:00):
I've been young, your wild young, ive been young your
while I being young, chin up, chested, out my head
to the sky.

Speaker 11 (05:10):
I go through a lot of shit. I get to
asking him why, and if I never make it, just
know I gat bitting on what I got.

Speaker 12 (05:16):
If I see your chicken like I been in your
ass today, I offer the pay of bills. That's how
you test your thigh a real woman. Don't let no
nigga do that shit A lie. My life moving fast?
What I do last night, trying to do my legacy.
I'm telling y'all meet, I needed help in.

Speaker 6 (05:32):
Hand, help in hand.

Speaker 7 (05:34):
I've been doing a lot of shit.

Speaker 11 (05:35):
Damn, I'm just man. Maybe let's keep elevating.

Speaker 12 (05:40):
I promise to never let money separators, never act off
emotion young Keen chosen.

Speaker 7 (05:46):
Yeah, this shit being ready here, this shit.

Speaker 11 (05:49):
Being rod in.

Speaker 12 (05:49):
A couple of years ago, I was like them with
on my homies. That's probably why I be counting.

Speaker 11 (05:54):
This paper so long.

Speaker 12 (05:56):
I didn't try it again and in again and again
and again, and I know, huh, I'm just trying to win,
tryna win, trying to win by my Mama's a new kirl.
I did it a lot of good, a lot of bad.
But right now I hope I forget mysels because I'm younger.
While I've been young and red.

Speaker 14 (06:18):
Lin, i've been.

Speaker 11 (06:20):
Young, and while i've been i've been.

Speaker 12 (06:23):
Young and reg list, I've been young and wild, I've
been I've been young and while I've been young, niggas
using ai, but it's not hard for me to cross.
So for from these rapt and melodies, I really been
killing beasts. That's a lot of felonies. Purpose you like
the clouds in her hands, so heavenly.

Speaker 2 (06:44):
I had to get rid.

Speaker 7 (06:45):
Of toxic people.

Speaker 11 (06:46):
They drained energy.

Speaker 14 (06:48):
I had to even get people off inside my family.
Uh dang, I did it A lot of bad, did
it a.

Speaker 11 (06:59):
Lot of good.

Speaker 14 (07:00):
I got a lot of wishes and a wish and
nigga was I kill you all?

Speaker 7 (07:03):
I have all.

Speaker 11 (07:05):
I have a cuse.

Speaker 12 (07:06):
And if I ever miss you, don't give it misunderstood.
Oh oh you so many miles away.

Speaker 11 (07:17):
No, we stayed to stay for no airplay mode. But
I call you ride away and I.

Speaker 12 (07:21):
Didn't try it again, then again, and then again and
again and I fell huh again. I'm just trying to win,
trying to win, trying to win by my mom's a
new crib. No, I did it a lot of good,
a lot of bad. But right now I hope I
forget my sins long because I'm young, and why I've

(07:43):
been young, and Reglarn, I've been young, and while i've
been I've been young, and Reglarn, I been young, and while.

Speaker 11 (07:55):
I've been young, and while.

Speaker 4 (07:58):
The song it's called young and wild King h songs
called young and Wow, bro, I say, you bobbing your
head there, how do you feel about the song?

Speaker 6 (08:08):
Yeah, I'm feeling it. I'm feeling it.

Speaker 4 (08:12):
Move and yeah, I mean like it.

Speaker 5 (08:14):
It didn't move me per se, but you know, like
I thought it was a good song. I mean move
me like I was emotional, you know, like I was
moved by you know. No, I thought it was a
great song though.

Speaker 4 (08:25):
That was That's what's up. That's what's up, Kelly Good?
What you think about the record.

Speaker 13 (08:35):
Before me? Steady trying to win? You know what's on
the head? Not a session and I found what's called
ANDELI telephone number the nine time and record it. I
found myself on some part to the song bobbing my head.
So you know, I think you did a job for
the head. Not a session, yeah my head, no, right right,
I was not.

Speaker 6 (08:55):
The whole time.

Speaker 4 (08:56):
Okay, So so achieved what do we wanted to achieve here?
Maje your heads? Noah, that's what's up exactly. That's what's up.
That's what's up, Low Diggs. What'd you think, sir? It's
ready for a.

Speaker 15 (09:10):
Theme song of a TV show? Mm hmmm, it's ready
for the next the next uh power or something, you
know what I'm saying.

Speaker 4 (09:21):
So, but as far as a.

Speaker 13 (09:26):
I don't know as far as a.

Speaker 15 (09:29):
It's something that's missing. Man, I'm not I'm not really
uh keen on what's missing.

Speaker 4 (09:34):
I just think.

Speaker 15 (09:37):
That for a pop rap record, it's not that. But
it's definitely a theme. It's a it's it's a television,
it's a placement. So if so, if that's where he's going,
which I think he's definitely should go there, then that's
what it is.

Speaker 4 (09:55):
He's definitely gonna get that.

Speaker 7 (09:56):
But but but if he's.

Speaker 15 (09:57):
Looking for that anthem for everywhere, that that booty shaking record,
it depends on where he's going, and I think he
should head straight to TV and get some placements for
that record. He'd make more money too, got you than
just trying to put it on an album, you know?

Speaker 4 (10:14):
Okay? Uh indeed what you think?

Speaker 9 (10:18):
I think it suck anyway?

Speaker 4 (10:21):
Yeah, wow, lo dig hit it.

Speaker 9 (10:25):
On the Hit the Nail. It's something missing, the idea
is there.

Speaker 8 (10:33):
He need to get his storyline right because halfs things
he's saying it didn't It didn't interlock with each line,
wasn't interlocking that much. He even like, I don't know
whether he was freestyling or he was second guessing himself,

(10:53):
you know, but it was weak it was weak. The
setup was real weak. You know, the setup of the
song was real we so you know, right, he got
an idea there, The idea is there. But now you
gotta go back in get it, get the lyrical content

(11:13):
in this perspective, make it, make it a little bit
more flashyre. You gotta get a better attitude to rap it.
Don't rap it like you second yes of it sher
song if you wrote it, So don't second guess it.

Speaker 7 (11:28):
Go for it.

Speaker 4 (11:29):
Okay, what he do? He do?

Speaker 9 (11:31):
Got a good idea. It's a good idea on the table.

Speaker 4 (11:35):
Okay, Uh soko? So so tuco? So tuco? How you
doing tonight? Here? She's there.

Speaker 9 (11:45):
According to a picture, she's cute.

Speaker 4 (11:47):
Yeah, she's been sitting hanging in there, so tuco. I
hope I pronouncing that right, So toko? Okay, she's probably
not there or she's just listening. Okay, it's all good.
We're gonna roll on and move on to the next one.
All right, Britt, Britt, you sent this one to me.
This is the revised revision of Kelly Good No drama.

Speaker 5 (12:06):
Oh no, no, we're not playing that. We're not playing that.
We're playing I just said that to you because you
said you wanted me to try to like, oh.

Speaker 4 (12:13):
Yeah, that's right. Yeah, yeah, I wanted you to. Uh,
it's one of the ad libs in the beginning he
discussed a little right there. But just take that little
part out and send it back and we goodd dot com.

Speaker 6 (12:24):
It's a cuss word in the beginning.

Speaker 4 (12:26):
Yeah, see right here, let me play that part. It's right.

Speaker 2 (12:33):
I'm trying to fight your baby mama.

Speaker 4 (12:36):
I just want to bring people there that should be
crazy the tag. Play that again, Play that again, a
little part right there.

Speaker 6 (12:49):
I'm gonna have to DJ that's a tag.

Speaker 11 (12:51):
I'm not We're not like I used to.

Speaker 6 (12:54):
I don't need it's like before I field. I'm not
looking trauma.

Speaker 5 (13:05):
I'm not trying to fight your baby mama.

Speaker 7 (13:08):
I just want to bring people.

Speaker 4 (13:13):
That shit go crazy right there?

Speaker 8 (13:15):
Right, I got I got you, okay to take the
word ship and exchange it to a word that's similar
and meaning the same thing that you're trying to what
you're trying to express.

Speaker 16 (13:29):
You know, I'm gonna just take it out period.

Speaker 8 (13:31):
Yeah, you can exchange it. You're gonna leave a gap,
You're gonna leave it. You're gonna leave a gap and
the way you run in your vocals. You don't need
to have that gap. So study saying ship, you gotta
say stuff or something like that.

Speaker 4 (13:48):
Okay, all right, Well we're gonna we're gonna we're gonna
play the song you seen here. This is uh bitches, No.

Speaker 16 (13:55):
That's that's my song. So it's it's another song. It's
his song.

Speaker 6 (13:58):
I said two sent you.

Speaker 7 (14:00):
Uh.

Speaker 6 (14:00):
The other song is called Kelly Good. What's the name
of the song hot Tub?

Speaker 4 (14:06):
Yeah, it's called hot Tub. Okay, here's all right, we're
gonna play hot Tub right now. I want to hear
what bitches is bot We're gonna here, We're gonna play
bitches and sound. We're gonna go with hot Tub first,
Kelly Good and Britain Living X and Human Chandelier.

Speaker 9 (14:20):
Hot Tab right eleven X. You getting wrong?

Speaker 6 (14:24):
It's let me let him tell you?

Speaker 4 (14:26):
Yeah, yeah, yeah, yeah, yeah yeah. Kelly Good, who's on
this record with you?

Speaker 13 (14:32):
Hey, this is called Contest. It's all being my son's
project coming out my son's name Help Good and this
is our on our upcoming collaboration project. So this is
hot Tub by Kelli Good and for Good.

Speaker 4 (14:49):
All right, let's check this out. Let's make it happen.

Speaker 17 (14:51):
Here we go, sex in a hot tub. You fucking
with a thug rubbing on your body. Baby, I can
be your drug. You'll go and kamakazi suicidal for your monk,
and you feel like a woman's supposed to feel, just
because and you climbax. Good loving got you oke moone

(15:14):
off contact going like a locomote. No, I got that
sensation you've been walkd got you hotter than a five place,
leaking in it' salt. Don't be playing mama. Is you
widded or you not directly being as mama? You know
that I'm gonna do my jock home with it, Mama,
eat you like corn on the cop. It never missed.
Every time I'm gonna hit your spot. I know that
you wanted how you look it.

Speaker 7 (15:34):
That ain't fair.

Speaker 17 (15:35):
Anybody might have put some tooke, hit it from the
back and got you shaking breathing. Part is that good
love making? If you're a pleasure, got you wedded in
the sign, talking to your journey, got you singing like Klana. No,
I'm hell of flirty, kissing all over your body. I
can't keep my hands off your touching on you in
a lot, open up and don't fixated on your chug
on your tweet at you like a snack. Come give

(15:55):
me your hug and I got what you want, baby,
I can be your drug kind of like this niggas
my fucking with a thud with know I got that
medicine to.

Speaker 7 (16:02):
Make you feel right?

Speaker 17 (16:03):
You know you off from shoulders, grill like if you
coming all night. I'm glad you're in this room.

Speaker 4 (16:09):
Hey, what happened there? You good?

Speaker 7 (16:13):
Helps?

Speaker 4 (16:13):
Yeah? What happened there? That sucks? Let me start this again.

Speaker 9 (16:18):
What's the time on it?

Speaker 4 (16:19):
No, it's longer than that. I shouldn't have did that.
I breathe downloaded it.

Speaker 17 (16:30):
Sex in a hot tub. You fucking with a thud,
thrubbing on your body. Baby, I can be your drug,
your gold and kama cozi suicidal for your monke and
you feel like a woman's supposed to feel just because
and you climax good loving, got you oke mod off
contact going like a locomot. No, I got that sensation
you've been walking, got you hotter than a five place
leaking in the salt. Don't be playing mama. Is you

(16:50):
withed or you nottrictly being and small. You know, then
I'm gonna do my jock. Come with it, mama, eat
you like corn on the cop. It never missed every
time I'm gonna hit your spot. I know that you
wanted how you look it. That ain't fair. Anybody might
have put it, took hit it from the back and
got you shaking, breathing hard. It's that good love making.
If you a pleasure, got your weather in the sign

(17:11):
talking to you, Jerney, got you singing like Colin No,
I'm hell a flirty kissing all over your body. I
can't keep my hands off your touching on you in
a lot, open up the dough, fixated on your chul
on your twitter, at you like a snack. Come give
me your hug, and I got what you want, baby,
I can be your drug. I like this niggas. Why
you fucking with a with a No, I got that
medicine to make you feel right. I know you off
of shoulders, girl like if you coming all, I'm glad

(17:33):
you win this gruel girl, take a swipe, swipe right
in this tub, going up, getting hired in the kite.
Love the way you push your little hands all over me,
feeling like a cham digging all off on your over.
Don't have me do my dance while you're looking back.
Hand make a noise with the toys like you go go.
Girl's come a freak.

Speaker 7 (17:48):
You a freak.

Speaker 17 (17:49):
So you know it's getting free sex in a hot tub.
We can do it all week and open up. I'm
gonna dive head first when I eat it, sucking on
your vult but get it westwalking. Be satisfy you to
the fullest. So I'm gonna keep you coming backs. Go
back when I hit it, cause you like it like that,
like fucking with a thug. Girl, you know I'm with
the ship. I bet you never had a nigga give
it to you like this. I you a pleasure, got
your weather in the sugn talking to you, Jerney, got

(18:11):
you singing like Klannie. No, I'm hell a flirty kissing.
I can't keep my hands off your touching on you
in a lot, open up the dough, fixated on your joke,
on your weel that you like a snack. Come give
me your hug. I got what you want, baby, I
can be your drug. I'm never like this niggas. Why
you fucking with al drug?

Speaker 7 (18:28):
Baby? Just give me a hood and they ain't heard
about the other niggas. I'm a real thug.

Speaker 2 (18:31):
If you want to smoke with me, I can be
a blug.

Speaker 7 (18:34):
Been dealing with that jealousy.

Speaker 2 (18:35):
I ain't even go bug.

Speaker 18 (18:36):
Come and make some pain with me right now, I
can dig you down. Another nigga, say you love married
on the Claren Baby, we ain't telling nobody.

Speaker 6 (18:43):
Maybe we can make some paper baby, we could be.

Speaker 18 (18:45):
Some home Barton to go with this rap shit. The
other nigga slow properly. The niggas carriage out if they're
gonna need a toe proper.

Speaker 2 (18:51):
They ain't getting no check. They gonna need some moment.

Speaker 7 (18:53):
They starshing what I do these niggas.

Speaker 18 (18:55):
There's some horse parkers lay game money.

Speaker 7 (18:57):
Man.

Speaker 18 (18:57):
I'm getting to the tail for us to need the
fuck the game. And you always so next going up
like a gnad, these knees going the back.

Speaker 7 (19:03):
I'm sure you love baby.

Speaker 2 (19:04):
You ain't got a text?

Speaker 4 (19:06):
All right, Y'all's Kelly Good And what's your sound name again?
Kelly Good for no good for CG no good?

Speaker 10 (19:15):
Right?

Speaker 4 (19:15):
The song is called Hot to Hot all right, MD,
what's thinking about the record?

Speaker 9 (19:21):
You got a good idea there?

Speaker 7 (19:25):
It needs to breathe.

Speaker 8 (19:27):
You ain't letting the song breathe. You guys just continue
to rap rap rap rap rap rap rap rap. I
can hear when you say no good, I can hear
eleven X coming in and singing the hook. You know,
when he said no good, none, you know, she come
in start singing the hook line right in there. And

(19:49):
then when she finished the hook line for I almost
say four bars. You might get away with four bars.
You might have to take eight bars, but just say
four bars. After she does that a ball, then you
gotta come back to the next verse and wrap. In fact,
you got pick and choose whoever started, whoever get the
you do you do odd even an odd versus Yeah,

(20:13):
the son do, says, say he does the odd verses
and CALLI you did the you.

Speaker 6 (20:21):
Do the even verses?

Speaker 8 (20:22):
And every time you got in your verse livin next
you come in there with the hook the way she
started the song off. And then after the second verse,
same thing, she come in with the hook behind you, guy,
she gonna smooth it out everywhere you say fucking say messing,

(20:45):
you know, use the word messing.

Speaker 6 (20:48):
You're messing with a.

Speaker 9 (20:48):
Thug, you know.

Speaker 5 (20:51):
But if I miss his hook up though he got
his He got his own hook, So I mean I
would have to acts in his hook because it's already
a hook here. I'll say, it wouldn't kind of be
the same. You know, I can't talking about he like you.
I got you singing like Heylnay. I can't be singing
about you know.

Speaker 8 (21:10):
You see the way you start the song off. Yeah,
what are you saying when you when you start the
song off.

Speaker 6 (21:20):
Just say real love, really love, and that's it.

Speaker 7 (21:27):
Okay?

Speaker 8 (21:28):
Well yeah, and you you peat that a couple of
times and then it come in with the rap because
it's what you're talking about, real love, right right.

Speaker 5 (21:38):
But then on his chorus he says some some some
deep stuff on the chorus, you know, like we take
away his chorus.

Speaker 9 (21:44):
Then it takes no course from them. I hate him
rapping times.

Speaker 6 (21:51):
That's in the hot tub sucking with a thug.

Speaker 19 (21:54):
That was.

Speaker 16 (21:54):
That was the chorus. I could be your drug.

Speaker 10 (21:56):
That was.

Speaker 7 (21:57):
That was the hook.

Speaker 6 (21:59):
Now you don't need to make that what's the chus
Kelly good?

Speaker 11 (22:05):
Yeah.

Speaker 8 (22:07):
What you need to do, Brett is you say real
love and kind of see can you put in hot
tub with your real loves?

Speaker 7 (22:17):
Real love?

Speaker 5 (22:18):
In the hot tub, all right, So you want to
be pretty much in the background.

Speaker 8 (22:23):
Right you the hook to singing, because that's a that's
a metal that's a metals type of song. It's not
a dance song. It's like, you know, it's like cruising
on the highway, sitting on gin and juice. You know,
it's that kind of song. You know, he's rapping that way,

(22:44):
he's sawbody in the hot tub and blah blah blah.
So you can come in and singing real love and
while I'm sitting in the hot tub, you know, you
get just you guys got to rewrite just a little bit.

Speaker 9 (22:57):
That's what That's what being professionals, that's what you got
to learn how to do. You got to learn how to.

Speaker 8 (23:03):
Adjust it so it can make sense right now. You
gotta was just putting melodies together. And now you got
the melodies. Now we got to place the right melody
in the right spot. I'm not in the right spot.

Speaker 5 (23:20):
I'm not gonna go to left, but I'm gonna eat
you in the middle. And I see kind of what
you're talking about.

Speaker 9 (23:24):
Yeah, you know, they're telling the story. They telling the story.
They rat parts tell them the story. That's what they
should be doing.

Speaker 4 (23:31):
Tell them the story.

Speaker 7 (23:33):
You should be.

Speaker 8 (23:34):
Doing the hook by you know, saying, like I said,
by using the lyrical contexts that you know, you you're
chilling in the hot tub, you know, or you know,
being for real.

Speaker 9 (23:48):
Love because tob and love kind of rhyme.

Speaker 6 (23:52):
Yeah, I see what I'm saying.

Speaker 8 (23:55):
Yeah, you know, because he's he's and and you know
you and your get away from the fucking word and
go with you messing with a thumb.

Speaker 9 (24:05):
That's all same thing. One's vulgar as one that's clean.

Speaker 4 (24:12):
It's the same thing, right, Okay, low Days what you think, man?

Speaker 15 (24:19):
Yeah, I do think that that that that the focus
on composition is better than the than the competition of
which one is they So just focus on the composition,
like what like the compliment, complimenting whatever it is. Sometimes
less is more. And I definitely agree with m D

(24:42):
when he said that the record needs to breathe.

Speaker 4 (24:44):
What I learned is that.

Speaker 15 (24:47):
The emotions of records is not in the lyrics of records.
It's in the breaks of records. So if you can
create more breaks and anticipation, you'll create more attachment to
the record.

Speaker 4 (25:04):
Okay, all right, all right, that's what's up. That's what's up?

Speaker 7 (25:07):
All right? Uh right?

Speaker 4 (25:09):
Or running to say anything any of the comments Again,
if you want to leave your comment or on any
of the songs that we're playing right now, you can
leave them on your social media platform of choice. We
will read those. Or if you want to come on
the air, hit the comma button on your social media
platform of choice. We will bring you right on up.
All right, We're gonna play another record.

Speaker 20 (25:28):
Uh.

Speaker 4 (25:29):
This is Bitches by Britta living next to You, Ma Chandelier.
So Britt Timmy about this record?

Speaker 7 (25:35):
All right?

Speaker 16 (25:36):
So I have an album.

Speaker 5 (25:38):
I'm not gonna tell you when it's been released because
me and Kelly did right now are going back and
forth with two different dates.

Speaker 9 (25:44):
Okay, just call it force coming, that's all right.

Speaker 5 (25:49):
So this album is my house no and like pop
pop ed M. It's like house techno popping ed M. Altogether,
this is this album. So this is more of my
producer this. This song actually has lyrics on it, So
this is a song that would be promoted, you know,
like that has lyrics on it. But the majority of

(26:10):
the album, you know, you know, how like how songs
are red barey, It just got the chorus and then.

Speaker 6 (26:16):
You know how EDM is. So, you know, like I'm
really inspired by I don't know if you heard a
dead mouse.

Speaker 4 (26:23):
Yeah, yeah, I've heard. I love that.

Speaker 6 (26:28):
Inspiration.

Speaker 16 (26:28):
But this song does have lyrics on it.

Speaker 6 (26:31):
The other songs are way more left than this.

Speaker 5 (26:33):
I was like, I need something on the album that
kind of sound normal, so you know, it's not too
far left if I actually need to perform something when
I go somewhere. But besides that, like it's more of
the producer album. I wear, like this box on my head.
They got all these crystals on there. Like I've been
putting this album together for two years. It was supposed
to drop, uh like two years ago or something like that,

(26:54):
and I just it didn't load up to the system right.
So I just thought it was a sign, you know,
Like the day it was supposed to come out, I
was like, where is it like? And I was so disappointed.
But I just think that things happened for a reason.
I recorded this song after I left the Christmas party
at the radio station in my hotel room last Christmas
or whatever.

Speaker 16 (27:13):
So I hope you enjoyed it.

Speaker 4 (27:14):
Oh okay, all right, well let's let's check it out
right now, this is bitches by Britta living next to
human chandelier. Let's make it happen.

Speaker 7 (27:22):
Here we go, Hey, look at the feedback on the
song for the song's oover. Give your feedback.

Speaker 21 (27:32):
Yes, yeah, I'm a rich bitch, Yeah, and I do
rich girl things. Tell me I started from the middle.

Speaker 6 (27:44):
And now we're here.

Speaker 21 (27:46):
When I stepped on the scene, I drive you bitches crazy.

Speaker 5 (27:50):
I have you rethink in your life decisions on the daily.

Speaker 7 (27:55):
I know you're mad at me.

Speaker 6 (27:57):
It's because you're so basic.

Speaker 21 (27:59):
No, honey, you can't sit with me even though you
see an empty witches.

Speaker 11 (28:05):
I hate benches.

Speaker 7 (28:07):
They always want to tell me, tell him I'm nothing.

Speaker 6 (28:12):
Bitches. I hate bitches.

Speaker 10 (28:16):
The stepping of the scene that can be with me
and letting the stepping on the s can be good.
The stumper see they can be good.

Speaker 7 (28:37):
And time beaches my own pageous.

Speaker 10 (28:42):
They always want to tie rageous. I hate rageous, Sam
and I say branches.

Speaker 19 (28:57):
I hate prageous, A bit bitiousious. That you real singing?

Speaker 4 (29:31):
All right, that's bitches, bri De living next to you
be schandelier? All right? So love days. What do you
think about bitches?

Speaker 6 (29:41):
Bro?

Speaker 22 (29:41):
I actually, I actually really I really like that record,
and I know the way that she should market it,
and I think that record would be extremely huge amongst
the community, the Rainbow community, Like it's it's really about

(30:01):
marketing that record, like for real, I think you got something.

Speaker 23 (30:09):
That's where I definitely think you've got something right there.

Speaker 5 (30:12):
So so so you said that's where you're performing it, Yeah,
that's where I'll be performing it at.

Speaker 16 (30:18):
Yeah.

Speaker 24 (30:19):
If if you can get that, if you can get that,
like that record right there would get you on like
so many runways, That record right there would get you
on so.

Speaker 6 (30:32):
Many fashion shows.

Speaker 23 (30:35):
No, no, I mean like the TV show placements, like
those kind of records like that, those are cult records.

Speaker 25 (30:45):
So a record that's just that simple lyrically but that
complicated sonically.

Speaker 11 (30:55):
Is the kind of.

Speaker 15 (30:55):
Record that blows up on the underground that you create
a following four that's only yours.

Speaker 23 (31:05):
So like you need, you need, you need a lot
of things to go with that record.

Speaker 15 (31:11):
You need like a clothing line, you need like perfume,
you need, like you need like a group with you,
like that whole Like you need, you need things to
sell with that record that just don't just sell the
record sell everything that.

Speaker 23 (31:27):
That record means.

Speaker 16 (31:29):
Yeah, for sure, for sure.

Speaker 23 (31:31):
Yeah, So good luck with that, good luck with that one.

Speaker 6 (31:34):
Thank you. I appreciate that.

Speaker 4 (31:37):
MD.

Speaker 9 (31:37):
What you think I'm like, I'm just like a little
digs for that.

Speaker 8 (31:44):
He called the Rainbow, and David Chappelle called him the
alphabet peoples.

Speaker 10 (31:49):
I need.

Speaker 9 (31:51):
It's it's, you know, the only thing I can see
on the on the kick. I think you need to go.
I think the kick need to go one two one
two three one two one.

Speaker 6 (32:03):
Two three, you know, do.

Speaker 7 (32:07):
You know?

Speaker 9 (32:07):
Because you need that extra little three energy, you know.
But other than that, Yeah, the the the alphabet peoples,
they're gonna call.

Speaker 6 (32:23):
Them the alphabet people. Okay, that's my family. Don't call
them the alphabet people.

Speaker 8 (32:28):
Now.

Speaker 6 (32:31):
I've been in that.

Speaker 5 (32:32):
Community most of my life and they respect me more
than the straight.

Speaker 8 (32:38):
I'm just telling you the market you're supposed to be
and I ain't talking about no feelings.

Speaker 9 (32:41):
When the market you need to be in for the
group of people that you need to cater to.

Speaker 6 (32:46):
You're not gonna get radio with that, Yeah, I didn't.

Speaker 7 (32:51):
You can't know.

Speaker 9 (32:52):
You can't get radio. You're just gonna have to figure
the way the disguise the bitch words.

Speaker 5 (33:01):
Well, if I say women not as cool, you know
I hate women, it sounds cheesy, you.

Speaker 6 (33:06):
Know, right.

Speaker 9 (33:07):
No, I wouldn't No, I wouldn't do that way, just like.

Speaker 15 (33:10):
Just like slick tricks, slick tricks or slick trick like
or like like slick ship like like slick tricks.

Speaker 23 (33:19):
I hate slick tricks, you know what I'm saying, Like
like slick tricks is okay.

Speaker 9 (33:23):
Too, yeah, yeah, something like that, but you can't word.

Speaker 7 (33:31):
Yeah.

Speaker 6 (33:31):
So I feel like I could do it for the
club scenes.

Speaker 5 (33:33):
I feel like it could come out on a movie,
on a TV show, you know what I'm saying.

Speaker 26 (33:40):
The market is unlimited for that, but DJ on this album,
so it's unlimited if you mix the unlimited for sure, right,
But but you mix it right, I.

Speaker 23 (33:51):
Mean like like like like mdcent the one three thing.
I agree with that, But I also agree with afro
Beats being your core.

Speaker 15 (34:02):
If you want afro Beats at the bottom of that, like,
find a popular Afrobeats free sample somewhere online and put
it under like smother it underneath there, and you'll and
you'll be able to create that that risbin Uh split
backwards feeling.

Speaker 6 (34:22):
But then what.

Speaker 5 (34:24):
My album, No, because more of my album is like
E EDM and techno, you know, like that was just
the more.

Speaker 4 (34:29):
No, You're just you're just.

Speaker 7 (34:30):
Gonna smother it. Yeah, just smother it. Know what that
term is?

Speaker 23 (34:37):
Yeah, it's like it's like you it's like there's a
pitch shift, right.

Speaker 27 (34:44):
So, so so you take you take afrobeats and you
go into uh like an app call like speed changer
or something, right, okay, and it has it has something
on there called pitch or pitch shift.

Speaker 23 (35:01):
Okay, So what happens is you've been the pitch, but
you keep the speed.

Speaker 6 (35:08):
Okay, you said it's so it's a changer speed.

Speaker 23 (35:11):
Yeah, speed changer.

Speaker 6 (35:12):
It's like a phone app.

Speaker 2 (35:13):
It's a mobile app.

Speaker 23 (35:14):
So it's a speed changer.

Speaker 15 (35:16):
So so you so you put it in there and
then you you just pitch shifted. Once you pitch it,
it's not gonna be that high. It's not gonna be
that high, that high rim shot. It's gonna be a
low rim shot and you'll be able to smother it
under E d M.

Speaker 23 (35:34):
I've seen it done, trust me.

Speaker 6 (35:36):
So hitch shifted.

Speaker 7 (35:37):
That's it.

Speaker 8 (35:38):
Find you a great a great mixing engineer. You knew
exactly what to do, and you just tell him what
you want. App will be you want to smother it,
you know, and.

Speaker 9 (35:49):
And he'll he'll get you. He'll get it.

Speaker 8 (35:51):
Then if he's a great don't take it to a
mediocre engineer, mixing engineer.

Speaker 6 (35:57):
You all my masters to.

Speaker 7 (36:02):
Man.

Speaker 4 (36:02):
Well, you know what, I love hearing y'all talk above
my head and I don't know what you did, what
you're talking about, pitch shifts and all day. I just
love to hear y'all talk about it. But we're gonna
go on to the next song because we're running short
on time. So Low Digs, you did send a record
to us, tell me about this regular.

Speaker 23 (36:20):
So this record originally was submitted for It was submitted
a long time ago.

Speaker 6 (36:25):
I never released it.

Speaker 15 (36:27):
It was supposed to be on the movie American Gangster
with Denzel Washington, okay, and right before they dropped that film.

Speaker 23 (36:36):
They decided to only stick.

Speaker 15 (36:40):
Or majority stick with artists that were in contract or
artists that were already signed, so I did not get
the placement. So it has the samples, the cleared samples
on it of Denzel Washington and it's it's Low Digs
featuring Arsenal.

Speaker 23 (36:57):
And you'll hear what I'm talking about.

Speaker 4 (37:00):
All right, let's check it out here we go.

Speaker 2 (37:04):
Most important thing in business is honesty and take the
part work.

Speaker 7 (37:10):
And we.

Speaker 2 (37:12):
Ever go get where we came from. So you are
with your artists work. That's in the one of two things.

Speaker 7 (37:28):
You need somebody.

Speaker 2 (37:31):
There ain't nobody in.

Speaker 1 (37:34):
Everybody wosed to know how it went from Rexta Riches
all about my story just an American door boy, and
everybody wants to know how it turned or nothing into
something rolls to glory? Has an American door boy never
asked permission?

Speaker 10 (37:52):
Showing up?

Speaker 7 (37:52):
My first condition?

Speaker 1 (37:54):
SHOT's just who Yeah, hustling and for becoming. Soon you
discover I am the man. Uh failure is not a
noxious success. He's in my doctrine. Out and keep grinding,

(38:14):
always keep my composure. The collection in broad American door boy.

Speaker 28 (38:20):
With the business plan.

Speaker 1 (38:22):
Everybody wants to know how we're from aster pitch is
all about my story just a American door or everybody
wants to know how a term or nothing into something
votes to glory as in American or everybody wants to
know how why from ASTERA finch is all about my story,

(38:44):
just an American door or, and everybody wants to know
how a trum en nothing in something votes to.

Speaker 6 (38:50):
Glory be as in the Americans.

Speaker 28 (38:53):
Door or everybody was no boy, no.

Speaker 10 (39:01):
Two boy, no.

Speaker 28 (39:04):
Boy, like a bud, you know, come crazy. But then
you would say the man hiss a American his apple
pop to get this month day. I'm just the probably
good at.

Speaker 29 (39:20):
I ain't her probably good slug her fucking good sub bible,
wiping this crooked system.

Speaker 28 (39:26):
See my chain, hang on pure games taking in the field,
just like to ring.

Speaker 29 (39:30):
You know life Tiger Tim Ferris talking that live game
and the sparks. When I said, five, man, I'm both
go and stay about the man, and I'm gonna go
hard than anybody. Gill Sis would have wake up the same.
I'm selling for fresh though for fresh hash to Ever,
how I looked at this said though for a fresh.

Speaker 7 (39:50):
Or, he don't mind the we're gonna cooking.

Speaker 29 (39:52):
No one behind the desk, all locals keeping the American
go for fresh, and I'm gone.

Speaker 1 (40:00):
They wanted to know how to where from master bench
is all about my story, Just an American door boy,
and everybody wants to know how will turn or nothing
into some of.

Speaker 23 (40:10):
The boats to Glory as in American or.

Speaker 1 (40:15):
Everybody wants to know how when from master Bitch is
all about my story? Just an American door or and
everybody wants to know how the froom or nothing in
something boats to Glory be as in American doorball.

Speaker 2 (40:32):
Door Boy, Doboy, no.

Speaker 1 (40:38):
Doo boy, do boy, no Boy, American American dopeball.

Speaker 4 (40:49):
I can't believe they left that out the soundtra They
suld have put that on there. I don't know why
they left that off. Shame my name for that. No
days this recordard again, do boy American dooy?

Speaker 7 (41:02):
Placed?

Speaker 16 (41:02):
Man, it was never placed, Okay, all right, it was
just it was just it was just in my hard drive.

Speaker 23 (41:08):
I pulled it out for you.

Speaker 4 (41:09):
Oh okay, good looking out man. Appreciate it. Appreciate it,
h Britt, What do you think about it?

Speaker 5 (41:17):
It was a great song. He's a he's a great songwriter.
I wanted him to change maybe some small stuff on
the first verse or whatever. I can't even tell you what.
I would have to go back to it or whatever,
But the rest of the song was fired. He gave
me Trey song vibes. I swear I was listening to
trade songs. Usually he'd be giving me R Kelly when
he be doing like his R and B hip hop,

(41:39):
but like this was definitely Trey songs one hundred, Like
I'm telling you like that. The chorus is swaggy like that,
the track is swaggy like it's it's great. It was
a really great vibe, you know, like I don't again,
it's like some small stuff like I would want him
to do to like the first verse, but like the
song is is banging.

Speaker 6 (42:00):
This fired.

Speaker 4 (42:03):
Mm hmm. That's what's up. That's what's up, Kelly. Good
what you think?

Speaker 13 (42:09):
Yeah, Usually out here the r kill come up out
of them.

Speaker 6 (42:13):
This was different.

Speaker 13 (42:14):
I wouldn't really say it was pray song. It gave
me like a like a kitchen bull and cool like Ryannysley,
like before he even got older, like before he kicked
the younger like you had a whole you know, he
got a good he got a great voice.

Speaker 17 (42:27):
Man.

Speaker 13 (42:28):
I think the only thing of it what he get
about it so other it was it was kind of
cluttered right here, kind of took away from the vine
and the rapping. I think we could have did without
the rapping. Shit had like a feature. Some rappers kind
of gave me like a nineties five like PEMPC and
like a Pimps type slow. So other than that, man,

(42:50):
the song was great.

Speaker 4 (42:54):
All right, that's what's up. That's the deal right there.
And day what you think, m D M you.

Speaker 7 (43:11):
My bad?

Speaker 8 (43:12):
Go ahead, I'm muted myself out, I feel Yeah, some
type of effect on on the song. Is that some
type of auto tune effect on the song or that's
just a real old recording.

Speaker 6 (43:35):
That's that's analog.

Speaker 23 (43:37):
That's that's analog.

Speaker 6 (43:39):
So uh, it's not recorded digitally, it's recorded.

Speaker 7 (43:42):
Real to real.

Speaker 23 (43:43):
It was at an old studio.

Speaker 9 (43:44):
Oh okay, now that I figured that's what it because
that's what it sounds like.

Speaker 8 (43:48):
First, sound like it was just matrix, because I think
nobody I forgot back in the day we were recording
with tape.

Speaker 4 (43:55):
It was twenty four sixteen track.

Speaker 5 (44:00):
You got it?

Speaker 11 (44:00):
You got it?

Speaker 7 (44:01):
Which one?

Speaker 9 (44:02):
Was it a twenty four or sixteen track recording?

Speaker 23 (44:05):
Oh twenty four?

Speaker 7 (44:07):
Okay?

Speaker 8 (44:08):
Yeah, yeah, sound because for that for it sound like
it sounded like it was done twenty five years ago.

Speaker 9 (44:17):
Yeah yeah, so right, yeah, yeah, recorded.

Speaker 23 (44:22):
At the same studio that all the other artists will recording.

Speaker 15 (44:25):
Like all of the artists, all of the records off
of that soundtrack were all recorded analog, none of them
were digital, right, And it was because the the music
supervisor for that film wanted all the music to sound
warm and not digital.

Speaker 19 (44:44):
Right.

Speaker 23 (44:44):
So, like like Anthony Hamilton, his song was you know
that that?

Speaker 16 (44:49):
That?

Speaker 23 (44:49):
Did you hear me?

Speaker 6 (44:51):
Are you listen?

Speaker 7 (44:53):
You know?

Speaker 6 (44:54):
Is my mess.

Speaker 11 (44:56):
Like that?

Speaker 7 (44:58):
Yeah?

Speaker 23 (44:59):
All of it, every thing with analogue.

Speaker 25 (45:00):
And so they like as much as I wanted to
record digitally, they said, even your samples, run them through analog.

Speaker 23 (45:07):
And so with samples, when you run them through analogue, sometimes.

Speaker 25 (45:10):
They slow down and they they sort of make it
feel like you're in one room with your own sample.

Speaker 7 (45:18):
Right.

Speaker 15 (45:19):
So it's a good and a bad thing because you
can't necessarily control the value you You're gonna do a
lot more recording when you analog that's suppose to be
in digital digital you can you can control things a little.

Speaker 6 (45:34):
Bit better, right, But you have to be you gotta
get it right, you.

Speaker 7 (45:40):
Know what I'm saying.

Speaker 8 (45:42):
Right, You know, back the day we's called bouncing tracks,
you had to you had to bounce it right.

Speaker 9 (45:50):
You had no second chance on it.

Speaker 4 (45:52):
I don't want to say, Britta, are you saying something?
Oh on Brita, are you saying something?

Speaker 6 (45:57):
Hello?

Speaker 4 (45:57):
I'm oh okay, Okay, she's loud.

Speaker 23 (46:00):
Yeah she was sure.

Speaker 9 (46:02):
Wasn't saying nothing. Okay, I hope we shocked us.

Speaker 4 (46:07):
We're gonna roll onto this nesting right here? Man, we go, Yeah,
no problem, We're gonna roll on to the nets.

Speaker 6 (46:12):
Man.

Speaker 4 (46:13):
This is uh we go. This is fifty the season.
This is a listen only record, fifty the season. He
seemed to me, want to check you want me to
check it out? So we're gonna do it right now.
Sounds called elizen. I'm saying that right.

Speaker 9 (46:26):
It's on Spotify.

Speaker 4 (46:28):
No, no, he should be the NP three, but it's
already say new single out. But he wanted me to
check it out, So I'm gonna check it out. Here
we go check it out. Yeah, we're gonna check it out.

Speaker 9 (46:37):
We'll say no comments on this.

Speaker 4 (46:39):
Yeah, it's all good. We're gonna play a little love it.
Check it out. If you're trying to sell it.

Speaker 9 (46:45):
Right to kill yourself, you know, we back out it again.

Speaker 7 (46:56):
Can you please excuse me to you right now? I
don't know evil, but do you know man, I'm that dude.

Speaker 30 (47:03):
Man, I got what it takes now to make you
glue yep, Now you know I I knew that ever
since I was need to you right now if you could.

Speaker 7 (47:12):
Weave on, you will hear man. There's no peacline. Yes,
do you know that boy?

Speaker 6 (47:17):
Yes, blessed.

Speaker 30 (47:18):
I don't got no time to stress that girl cannot
just confess?

Speaker 7 (47:23):
Do you know that you are the blessed? Can I
be yo Jennet, catch your every moment? Can I be
your camera? Y'all teat you like on my phone up
in the book and I tell you the truth that
my mouth got stemming up?

Speaker 6 (47:37):
Yeah, and you know that's right on.

Speaker 7 (47:42):
I make my life like sunshine. I just had to
change my glnes. That's how I feel desided.

Speaker 30 (47:54):
Coming like fee five for fun. Man, ain't gonna be
no doubts where I'm done. My nigga's all about it
where I'm from. You better watch your tone. Don't play dumb.
If y'all can't stop my outcome, No, why I let
y'all change.

Speaker 7 (48:07):
My eg Please? Now tell me again? Why not shallow y'all.

Speaker 11 (48:11):
To stop my wins?

Speaker 30 (48:13):
Can the stir my pee tell you're right now I'm
an off beat. Y'all don't understand. It's how looking to you?
Man Toll, you're right now, I'm about to feat she man.
Come pee, None of y'all niggas can't stop my cheet man?

Speaker 7 (48:27):
Who got my six? My geese and a half? This
place like be o.

Speaker 30 (48:35):
And that's bounds on my back? Then, come on, that's
me and my comrades. We pumping on a good bag.

Speaker 6 (48:46):
Come on.

Speaker 7 (48:48):
Oh how sad, y'all?

Speaker 4 (48:51):
Madd okay, that's what you the season right there. Nobody
want to comment on it. You feel free to step
right on up.

Speaker 23 (49:02):
Oh boy, oh boy, oh boy? Who's first.

Speaker 4 (49:09):
Aad?

Speaker 13 (49:12):
All right?

Speaker 15 (49:16):
That record was extremely amateur, right, I'm gonna be honest.
That record is not ready for release. That record was
a lot of free Madonna U gestures and uh. There
was a typical early rap mistake is saying the same

(49:41):
intro to a line.

Speaker 23 (49:46):
You know what I'm saying?

Speaker 11 (49:47):
Like like that, like that.

Speaker 23 (49:50):
That streams make me feel, make me feel as good
as I feel about myself. The artists.

Speaker 15 (49:59):
I do give the art his his his confidence points.
I love the confidence, but but there was really no
concept to the record. The record lacked everything.

Speaker 20 (50:15):
It lacked, it lacked pocket, it lacked content, it lacked delivery,
it lacked production, it lacked clear hook, it lacked everything.

Speaker 15 (50:35):
So I would not tell that artist to put that
record out. I would send them back in the studio
and make sure that they have a clear concept of
what a record it's like, the elements of a record,
and what it's supposed to be.

Speaker 23 (50:48):
I would give him a diagram of how top three.

Speaker 15 (50:53):
Top three recording artists record their records and the format
they do it in.

Speaker 23 (50:58):
And somebody needs to be his friend and tell him
the truth. So I'll be that friend tonight.

Speaker 4 (51:07):
Okay, all right, well I'll let you. I'll let you
go ahead and be that friend. Load did you can
be that friend. That's cool, That's cool. I'll let you
be that friend. It's all good.

Speaker 7 (51:17):
Md Uh.

Speaker 4 (51:18):
You want to say anything anything on therefore, we'll roll on.

Speaker 9 (51:21):
Yep.

Speaker 8 (51:21):
I'm be a friend too. Like I said, I'm the disclaimer.
Don't send anything to us. Is that you put on Spotify,
you go, We're gonna mess yourselves up if you ain't
done right now. This is a good example where I'm
talking about on my disclaimer, you're trying to sell something

(51:42):
that is so Amorge. It's it's pathetic, you know, like
low dig says, No, it's no autistic value to it.
Musicianship sucks.

Speaker 9 (51:56):
It's just you know, we're gonna be your friend. We're
gonna tell you not to release that.

Speaker 8 (52:00):
Take that off the market as asap, you know, take
it off, don't let nobody hear that, and go back
to the studio and do it right.

Speaker 7 (52:11):
Put a little bit.

Speaker 8 (52:11):
More feeling to what you're trying to say, you know,
get you a musician, keyboard player, whatever to play those
bass lines and chords the way.

Speaker 9 (52:23):
They're supposed to be played.

Speaker 8 (52:26):
No, we don't want to hear no one finger musician
that makes an artist rap or sing like they sing
it on into one note.

Speaker 9 (52:37):
Okay, okay, so no, that was totally wow.

Speaker 4 (52:42):
All right, Britt, Britt Kelly good. You guys want to
say anything on this record.

Speaker 16 (52:48):
I'm I'm a fan of fifty de season.

Speaker 6 (52:51):
I've heard songs that is better than that.

Speaker 7 (52:56):
Yeah.

Speaker 16 (52:57):
No, so I mean I'm not I'm not gonna say anything.
I'll support his grind, you know.

Speaker 4 (53:03):
Yeah, I've heard better record from fifty as well. So,
but I don't like this song, but I like what
he do. So you know that's fair.

Speaker 8 (53:11):
When my guy, we're not talking about we ain't talking
about what he'd done previously. We're talking about this song.
This one song, this one song, it sucks. It ain't
done right. It's it's it's I mean, if you're gonna
give it a grade, I would gave this song the
F period.

Speaker 9 (53:32):
He might have a whole lot of aids.

Speaker 8 (53:33):
Remember people like Michael Jackson, and and and a lot
of other big stars. They had f records on their album.
But reason why I sold the album is so big
because they had four or five other songs on the
album that people's bought the album just for those songs.
It wouldn't it wouldn't buy them for all the songs on.

(53:55):
It had to take a while for them to get
used to those songs, you know, something like two years.

Speaker 9 (54:06):
You know, you know that particular song that was that
was a dud for him.

Speaker 4 (54:10):
All right, well we're gonna good idea.

Speaker 9 (54:12):
It was a great idea, but it just wasn't done proper.

Speaker 4 (54:16):
Right, Okay, we got Well, we're gonna roll onto the
last song of the night right here. This is uh
s p I songs called bumps in the g s
P I bumps in the G. Let's shake it out
here we go bump in the G.

Speaker 9 (54:32):
I gotta hear this story.

Speaker 4 (54:33):
Yeah, me too, Like I don't want to play though,
Let's see we could bump it in the in the.

Speaker 8 (54:42):
Reading.

Speaker 4 (54:43):
Why it won't play. It's unsupported. It's an unsupported unsupported Well,
we can't hear bumps in the G at least not there.
Let's see we can do the video.

Speaker 5 (54:58):
Man, dude, Instagram be like freezing all night. Like I've
had to come in and out of Instagram all night.
It is breezing, Dundee is freezing. I don't know what's
going on with it, even though it's the end of
the night. I just wanted you to know.

Speaker 4 (55:11):
Yeah, no, I know it's been freezing because I can't
seem to pull anybody up on alive at all. And
I've only been running around with one bar so I
can't do anything. So I understand it's been freezing because
I've been freezing.

Speaker 9 (55:26):
It's wrong with.

Speaker 31 (55:29):
Maybe pops in the cheep, got the pumps in the chee,
got the pomps in the cheep, Got the pumps in
the cheep, Got the pomps in the cheep, got the
pomps in the cheap.

Speaker 7 (55:41):
This is how I moved when I fade.

Speaker 23 (55:43):
I like to set the dune with the groove and
no trade.

Speaker 7 (55:46):
I even got the bond the row feature leading up
in the back with the track.

Speaker 32 (55:49):
Of what I'm sitting in the cheep we roll getting
all the corners on and on flee, sitting on thirty
wee high working.

Speaker 7 (55:57):
You've gotten all these monkeys on the flies like surfe. Yeah,
I'm rushing on the chief.

Speaker 8 (56:02):
That's for acting, thus giving your complex breaking the base.

Speaker 2 (56:05):
Nag dang, dang, I'm.

Speaker 7 (56:06):
Smoking on some goons steak him.

Speaker 23 (56:07):
The jip is like a break ground back with the
base boone. I'm rocking in the gip block perfeet. Time
to kick the gas down on no ur seed.

Speaker 2 (56:15):
I'm upping in the gplock.

Speaker 23 (56:17):
Oh chit almost time to roll now.

Speaker 7 (56:19):
All that's gone now.

Speaker 32 (56:20):
And she got the pumps, and that she got the pumps,
and that she get the pumps in the chief got
the pumps in the cheep. Yeah, you got the pomps
and the chief pumps, and the chief got the pumps
and the she Yeah got the pumps and the chief
pumps in the chief got the pumps in the cheeky
you got the pomps.

Speaker 33 (56:39):
And the chief got the pumps in the deep money
pumps in the seat humps. So low oh, she can
rope in the street. Matt Flue paint job, Cherry b
I'm exhausted. He let the wood grained sior your sleep
thirty two wins cross shoes make kid complete when a
nigga ride through the fleet.

Speaker 7 (56:54):
Peter Piper picked.

Speaker 33 (56:55):
The football, when I picked the fucking jeep pumps, So
low ia, whoo the dad from they sleep.

Speaker 7 (57:00):
Now that's now.

Speaker 33 (57:01):
Then if I see some of myself pulling up to
a thing, you sounding like wealth, you need money, mobiuying
all the bottles on the shelf, Same thing I did
with that thing beyond my belt, got niggies on the creases,
ray bans long. Seeing all these down pieces, I'm again
like Jesus. We feel loft with the low pro tast reaches.

Speaker 32 (57:19):
Pops and cheep got the pomps in that chee, got
the pomps, and the chief kept the pomps in the
cheep got the pomps in the cheep. You got the
pomps and the chief pops the cheek got the pomps,
and that che got the pomps and the chief pomps
and the.

Speaker 7 (57:35):
Chief got the pomps and the cheek. You got the
pomps and the chief.

Speaker 6 (57:39):
Rolling them up.

Speaker 34 (57:40):
You've been Californe. Iyay piece the Philippe. Thank God for
the day. Swayed out, never played out. He turned up
over here when nicklacks like cho walk the get with
the driple x drama Supermax based make it more like jelly.
At the same time, I'm still gonna spit with a
valley full of dim saying I stayed lit and dance.

Speaker 7 (58:00):
To get back. Baha man make kits, y'all can't forget
that be smoke fat.

Speaker 34 (58:05):
I float with lean back, stop dog begging songs on
little cast big bumps. In fact, they like shaq fire
on them track. Spikes got up the steps they blow
to What's up one? I showed up, hands in their hair.

Speaker 7 (58:17):
Like a hold of the bone.

Speaker 2 (58:18):
Woe Pops.

Speaker 32 (58:19):
The cheep got the pomps and Cheep you got the pomps,
and Cheep got the pomps in the Cheep got the pomps,
and Cheep you got the pomps and cheep poption the
Jeep got the pomps, and Cheeky got the pomption and
Chief poption. The Chief got the pomption, that Chee got
the pops.

Speaker 4 (58:38):
And cheep I recognize the last person I'm watching the
video as the song goes along.

Speaker 7 (58:42):
Right there.

Speaker 4 (58:43):
That's a spy featuring Jews, Jurors and power Man MC.
I know power Man MC big shut out the power
Man MC on that one the records called bumps in
the Jeeps? So, uh, what do you think about that one?
Let's start with uh, Kelly good, what you think about
that one?

Speaker 11 (58:59):
Sir?

Speaker 13 (59:03):
I was like, that's kind of like himv where he
got a gold chain, put his hand to the fact
when the team just doctor Dragons uncle and came out.

Speaker 6 (59:16):
With a wrap.

Speaker 13 (59:17):
That was that's kind of like my teacher rapping man.
That just wasn't him that. It was like, hello, old school,
that really wasn't him right there.

Speaker 4 (59:32):
Yeah, it's kind of an old school vibe. I will
say that. I'll admit that.

Speaker 7 (59:36):
Yeah.

Speaker 4 (59:38):
Yeah, if you've seen the video, it was kind of
a couple of older guys making it happen. So Kelly,
you'll be right on your assumption. You'll be right in
your assumption. Right there, yeah, man, yeah, man, shout out,
shout out. Shout out to them. If I'm trying to
make it happen. Britt, what do you think about the record?

Speaker 6 (59:55):
Yeah, it gave me old school vibes. You want to
know what it gave me? Sa a buck hunting a buck.

Speaker 4 (01:00:01):
Okay, Yeah, it's seemed a little slow for that though.
But Hammer, it's all good.

Speaker 6 (01:00:20):
But we loved Hammer when he came.

Speaker 4 (01:00:22):
Yeah, I'm not gonna lie. I had some hammer pants
when I was smaller. It's all good. I did have
something somebody. Yeah, yeah he did. Yeah, I'll admit it.
I'll admit it.

Speaker 9 (01:00:34):
That nigga was cold.

Speaker 10 (01:00:36):
Yeah.

Speaker 4 (01:00:36):
Shout out the hammer, y'all. Shout out the hammer.

Speaker 13 (01:00:39):
Now.

Speaker 8 (01:00:39):
That beat, that beat for this from these guys remind
me of two acts back in the days, one with.

Speaker 4 (01:00:47):
The Fat Boys.

Speaker 9 (01:00:48):
Mm hmm the beat and also who deny you got.

Speaker 4 (01:00:53):
A big mouth?

Speaker 7 (01:00:54):
A big mouth?

Speaker 9 (01:00:54):
Okay, they got those same drum peaks back and those
like that.

Speaker 30 (01:01:01):
What h.

Speaker 9 (01:01:03):
Early the late seventies on the early eighties. Okay, have
I thigure there was some old school guys. You know,
they they live in a they live in a past.

Speaker 4 (01:01:17):
It's all good. They making it happen.

Speaker 9 (01:01:19):
Yeah, yeah, yeah, you know, I don't want you to
sit around and deteriorate.

Speaker 4 (01:01:23):
Of course, music is always in your. Music is always
in you. Yeah, it's an audience. It's an audience for it.
It's definitely an audience somewhere for it.

Speaker 7 (01:01:32):
Right.

Speaker 6 (01:01:32):
They get an A plus for ever, they get an
A plus for every.

Speaker 4 (01:01:35):
Yeah, exactly, it's all good, low dish. What do you
think about the record?

Speaker 7 (01:01:41):
You know the record, I mean.

Speaker 11 (01:01:43):
It was dated.

Speaker 15 (01:01:48):
They did not use a bridge or a change, which
made the hook an over an overkill mm hmmm. So
when you get to that, to that third hook, it
needs to not be a hook.

Speaker 7 (01:02:04):
It needs to be a bridge.

Speaker 15 (01:02:07):
You know, typically when you when you have a monotonous
hook that just says a few words like just do
it or something.

Speaker 4 (01:02:15):
You know what I'm saying.

Speaker 7 (01:02:16):
So like even Hammer knew that.

Speaker 23 (01:02:18):
That's why he said, oh that we want this ty
here get kidd on.

Speaker 35 (01:02:26):
He knew bridge righte did he go back to the base, right,
and then he went back to the right. So so
you have to know that when you have a uh,
you know, a monotonous hook that by that third hook

(01:02:46):
or the space for that third hook, it should be
a bridge and not just another hook because you overkill
the audience.

Speaker 23 (01:02:53):
So yeah, that's all I have to say about that record.

Speaker 8 (01:02:56):
Remember remember those those old school guys, you know, they
had to be almost my age.

Speaker 4 (01:03:05):
Yeah, they're trying to make it happen, y'all. You know,
we got one more record. Just yeah, nothing wrong at all,
We got one more record.

Speaker 8 (01:03:11):
It just stunk in until they get up, until they
get on the stage and try to perform it.

Speaker 4 (01:03:15):
Well then feel it. Alright, well that's true, all right.
This is the last one quick Man exactly. Uh, this
is the last record for the night. Promise jeter Man one.
I'm sorry jeter Man. Jeter Man. Song is called in

(01:03:35):
the morning, jeter Man in the morning, last record for
the night guarantee because I'm going to bed go the
last one. Here we go in the morning jeter Man.

Speaker 7 (01:03:49):
M h.

Speaker 3 (01:04:11):
You want me in the morning, you want me in
the evening, You want me when it is then or time?
Let me show you why I'm winning.

Speaker 4 (01:04:21):
Look, you want me in the morning, you want me
in the evening.

Speaker 7 (01:04:27):
You want me when is then or time?

Speaker 3 (01:04:29):
Let me show you why I'm whinning. Look, let me
show you why I'm winning. Baby, come and take swovel
really drive you really crazy? Let me show you why
we start from the beginning. Baby turnaround. Let me put
my tongue in your feelings. Baby look, let me show
you why I'm winning. Baby, come and taste swovel really
drive you really crazy? Let me show you why we
start from the beginning. Baby turnaround, Let me put my tongue.

(01:04:53):
Put it to the side.

Speaker 7 (01:04:54):
Don't be emotional. I'm a real king. Let me show
you what I'm supposed to do. My tongue give you
a feeling.

Speaker 3 (01:04:59):
That's your body, the stroke at you pennies to this sod.

Speaker 7 (01:05:01):
Give you the feeling. I'm approachable. Girl. You know my
name is sa Man. So what you want to do?
One plus one equals two. That's why I'm adding you.

Speaker 3 (01:05:08):
You could bring a friend if you really really wanted to. Yeah, rap, singing,
dance the baby, that ain't nothing. Now you want me
in the morning, you want me in the evening, You
want me when it's then her time.

Speaker 7 (01:05:23):
Let me show you I'm winning.

Speaker 3 (01:05:25):
Look, you want me in the morning, you want me
in the evening, You want me when it's then her time.

Speaker 11 (01:05:33):
Let me show you I'm when.

Speaker 3 (01:05:35):
It's the roller coaster, the way we Go and juice
so on, Pussy super soaking. She even wed her in
the morning. Now I got her open, she really horn't
you on any time? Time to bust it open? Pussy's
power so much.

Speaker 7 (01:05:45):
Show her that I got the motion.

Speaker 3 (01:05:47):
Put her in the pretzel with nothing the over I
got tost.

Speaker 7 (01:05:50):
In my mouth full. I'm slowly stroking. She about to come.
I told the white piece. Let me eat it slowly.
She said, eat it in the morning. That my day
is go there. I know you're working on this book,
but can that be your soul?

Speaker 3 (01:06:00):
I said, baby, gir your bucket, please go catch the
soap play because this book is never ending.

Speaker 7 (01:06:04):
But you said your home creak, tell me said.

Speaker 11 (01:06:06):
Your home, dreint.

Speaker 3 (01:06:09):
You want me in the morning, you want me in
the evening, you want me when it is then or time.
Let me show you why I'm winning. Look, you want
me in the morning, you want me in the evening,
you want me when it is then at time. Let
me show you why I'm winning. Look, let me show

(01:06:30):
you why I'm winning. Baby, come and take swoop really
drive you really crazy.

Speaker 7 (01:06:34):
Let me show you why.

Speaker 3 (01:06:35):
We start from the beginning, baby turning around. Let me
put my tongue and your feelings. Baby look, let me
show you why I'm winning. Baby, come and say swooper village,
drive you really crazy. Let me show you why we
start from the beginning. Baby turning around, Let me put
my tongue in your feelings. Baby look, let me show
you why I'm winning. Baby, come and say swooper village,
drive you really crazy. Let me show you why we

(01:06:56):
start from the beginning. Baby turning around, let me put
my tongue.

Speaker 4 (01:07:00):
Uh all right, that's in the morning by jeter Man.
In the morning, jeter Man. Let's get some feedback on
that real quick while we wrap this puppy up for
the night. Britt, I saw you bopping your head and
I see the fire emojis pop up. I taken you
a move by this one.

Speaker 6 (01:07:17):
Yeah, I thought I thought he was fire.

Speaker 16 (01:07:19):
I thought he was fired.

Speaker 6 (01:07:19):
He say rapping and saying he dancing.

Speaker 5 (01:07:21):
Uh, I like it.

Speaker 7 (01:07:23):
I thought it was dope.

Speaker 4 (01:07:25):
Mm hmmm hmm. That's what's up. That's what's up, Kelly,
good what you think.

Speaker 9 (01:07:38):
I don't hear?

Speaker 13 (01:07:41):
Like that's for like a Marc move, like you won't
be in the morning, you won't be and even you
won't be in time.

Speaker 7 (01:07:53):
Right in the time.

Speaker 4 (01:07:59):
That's what's up, man, good, that's what's up. That's what's up,
Low Diggs. What you think, man?

Speaker 15 (01:08:05):
I mean he's he was really entertaining, man, I mean
he he was entertaining bro like people would like to see,
like you would actually enjoy him.

Speaker 4 (01:08:18):
I'm sure more than you would play the record. People
would come.

Speaker 23 (01:08:22):
Out and buy tickets to see him.

Speaker 4 (01:08:25):
M That's what's up. Just based on the just just
based on the.

Speaker 15 (01:08:28):
Image and the and the confidence of the record, you
know what I'm saying. Like he was he was open
to doing everything like uh, with the right with with
a better production. He knows how to construct the song.
So with a better production, people would come and see him,
no doubt about it.

Speaker 4 (01:08:47):
Okay, that's what's up. That's what's up.

Speaker 7 (01:08:49):
Uh.

Speaker 4 (01:08:50):
Indeed, what you think.

Speaker 9 (01:08:53):
The same thing?

Speaker 8 (01:08:53):
I mean, you got a better production musically because he
was he was singing it the way it sels be sung.

Speaker 17 (01:09:03):
You know.

Speaker 8 (01:09:05):
Actually, I think they don't even really missing that song
was a better baseline. The bass line should have been
riding with him. He should have been able to he
should have been feeding off the the bass line. Bass
line should have been a little busier. The guitar was good,
it was right where it's supposed to be at. But
I think the bass line was lacking skills. You know,

(01:09:30):
it's just lacking skills. And Berkeley, yeah, Berkeley. He could
have add little ad libs and stuff, you know, kind
of spread the vocals out a little bit more.

Speaker 4 (01:09:42):
Okay.

Speaker 9 (01:09:43):
Uh it was a good song.

Speaker 4 (01:09:46):
That's what's up? Okay, last thing here? Uh G The
man on one said, Oh, he said himself, like changing comments.
I just shed a tear. I'm screaming for help. If
you guys want to connect and no better production companies,
can you send me them over? My email is and
he gave us email, so okay, so he he's looking

(01:10:09):
for help. So that's that's what we do. That's what
this Where you located?

Speaker 3 (01:10:14):
Do you know?

Speaker 7 (01:10:14):
Ja Man?

Speaker 6 (01:10:17):
I don't.

Speaker 11 (01:10:20):
Yeah, I just like this music.

Speaker 4 (01:10:22):
Okay, all right, So ja Man, what I did? I'll
I'll reach out to what we got and people that
we got. I don't know what city you and you
happen to be in the LA area. We could better
assist you with that. If not, Oh, he's in New York,
New York. He's in New York. Uh, don't know everybody
in New York. I'll see if I know anybody in

(01:10:44):
New York. Who's that ringing?

Speaker 8 (01:10:46):
Randy?

Speaker 4 (01:10:47):
Oh that's Randy ringing? Okay, all right with you the Man,
I'll tell you what I'll see if I know anybody
in New York, and I'll send you what I have.

Speaker 9 (01:10:55):
Okay.

Speaker 4 (01:10:56):
Yeah, so I guess I know. It's a good place
to end the show tonight. Again, if you want to
be like you the Man, you can send your music
to us always at the radio show dot Com. Go there,
click whord says, submit music, fill out the info and
it'll find its way over to us for next week's show.
Hold on MD and mute hid and then we about

(01:11:19):
to get a body here for another night. Like, thank
everybody for checking this out. Uh, Bridge, since it's there,
you got a final word anything before we go?

Speaker 5 (01:11:27):
Hey, My favorite thing is that. My favorite thing to
say is stay consistent. Just stay consistent, no matter what,
stay consistent. Sometimes it feels like you're being consistent, ain't
panning out. It could be a long time, but if
you stay consistent, it will pan out.

Speaker 4 (01:11:43):
That's what's up. So good to see your face tonight, Hey,
how you.

Speaker 6 (01:11:47):
Did some complaining last week? You know, So I was like,
all right, let me let me try to pull it together.

Speaker 4 (01:11:53):
Oh it's all good.

Speaker 7 (01:11:55):
You got her?

Speaker 9 (01:11:56):
What you got her on YouTube?

Speaker 4 (01:11:58):
No, she's on zoom. So next on YouTube?

Speaker 9 (01:12:03):
I don't see it on zoom. I don't see it.

Speaker 4 (01:12:05):
Oh okay, what's on YouTube right now too? It's on YouTube?
What was on YouTube?

Speaker 10 (01:12:09):
Yeah?

Speaker 7 (01:12:09):
Yeah?

Speaker 4 (01:12:10):
So next week I'm gonna have to figure out how
to get us all on here. All right, we're gonna
work on that this week. All right, So on that note,
we're gonna get up out of here. I think everybody
for checking us out next week, everybody have a wonderful week.
See you next time, see your same and see you
next time.

Speaker 7 (01:12:27):
How d yo?

Speaker 4 (01:12:28):
And if you got tracks, please send them. If you've
got tracks to work on, please work on them and
send them as well. See you next week, same bad time,
same back channel with another exciting guess we got on y'all.
See ya.

Speaker 7 (01:12:41):
Hey the radio show so far. Make sure you follow
us on all social platforms at three Radio Show