the headnodder session ep 58 mp3

Episode Transcript

Speaker 1 (00:01):
So just because the radio show is doesn't mean it's over.
After time after the party, they had not a session.

Speaker 2 (00:12):
Drop it down, Drop it down, the radio show.

Speaker 3 (00:17):
Sixth sending them on and public sat my door fast
shot to speak across the bath through floor out the
back window. Didn't even escape. Did it mean to get
a chance to get my old school tapes? As my
man iced tea right there? Uh six in the morning
is the song so big shout out to ice Tea
on that always paying how much of the old school
artists as we bring you the head and out of

(00:40):
session looking for the new school artists, the new school
artists that we get to learn their lyrics from in
the near future. Right here, will bring this to you
each and every week directly after the radio show. And
this is where our music submission is all done. We
take these songs that to send to us, give you
that honest feedback. He constructed criticism, and then you know

(01:01):
what you got all right. Uh, if you cannot have
kind of constructive criticism, see the young lady right there
with all the chandelier stuff on. Don't waste her time, MD,
do not waste her time. And you cannot have a
constructive criticism, and you can take the information we give you,
send it over, send it back to us, and keep

(01:22):
you for putting out records that may not be as good.
And this is awful entertainment purposes only MD go ahead
and give them that disclaimer of y Q up the
first record, all right.

Speaker 4 (01:34):
Just we're looking for only only unreleased music. If your
music is on Spotify, Apple Music, YouTube and all that
good platforms and you're trying to sell it, you should
have sent it here because it's not done right. We're
gonna let you know. You might well take it off

(01:56):
the shelf. If the people, if my people say ain't good,
go to Spotify, YouTube, snatch it because we're gonna dog it.

Speaker 3 (02:12):
Okay, all right, so we got the first record we're
gonna play right now tonight. This is a Bougie Diva
by Keyborn. Bougie Diva by Keyborn. All right, let's check
it out here we.

Speaker 5 (02:26):
Go, Bugi, I can't watch you have bougie, don't care
what your have done. Now, I'm telling now what's going on?

Speaker 2 (02:46):
A holp on now.

Speaker 6 (02:48):
They don't want to settle on you hitch going through
time coach steal text dude, Bugi diva care what you
have dow. I'm telling now I'm more scales want to
have one. They don't want to set or to go
to tan.

Speaker 3 (03:08):
I've been searching for my other app. How much time
for the broader app?

Speaker 7 (03:12):
There's some stuff and then for the match or these
might team taking all the path I've been on some
date side on starting field like I'm wasting bit. It
doesn't take all day to swipe from charting ice and
breaking ice.

Speaker 1 (03:22):
Man you want the trip to six.

Speaker 7 (03:24):
It feels like there's been a little clique there mines
playing some simple tricks.

Speaker 8 (03:27):
There's some out for free for me.

Speaker 9 (03:29):
They want for all the sparkles calls out just.

Speaker 7 (03:32):
The loop for the shouts and the wants to flow door.

Speaker 1 (03:35):
There's also some whose shop calls.

Speaker 7 (03:37):
They don't want to grow with us, turning to the
riches on the road with us as long as the
comst th robust, make jam wishes an open trust.

Speaker 8 (03:44):
It's so power who praise the bills.

Speaker 7 (03:45):
Mostly there for the slaves and chews or their nines,
and there's the chows.

Speaker 3 (03:49):
Rather than making your rover excuse, you'll.

Speaker 10 (03:51):
Prefer the big spend.

Speaker 7 (03:52):
Just woo can double a speak length Just bloom and
trumpet and leads, blends, are gets senters.

Speaker 6 (03:58):
Not the words below. Want to suppair when the rose
gets off, those in their life to comble, gloves and
bills on them when the bones get shot boogie.

Speaker 9 (04:07):
Look here what you have done now? More scales want
to have fun.

Speaker 6 (04:13):
They don't want to settle or create to go to
tank co steal takes to bougie div Look here what
you have done now?

Speaker 9 (04:25):
Most scales want to have fun.

Speaker 6 (04:27):
They don't want to settle or to go to sand.

Speaker 1 (04:34):
Who wants bread?

Speaker 11 (04:35):
Not?

Speaker 3 (04:35):
Who lacks my poster stairs?

Speaker 7 (04:36):
Who's not about our closing air with me and the
post work kids. So it was kind of a joke
when she said, I need a man this book.

Speaker 3 (04:44):
That's understand I would opt to see in someone judging by.

Speaker 9 (04:46):
Oversto just want to go unlocks your trips.

Speaker 6 (04:49):
Ask for they bring and utterly tips of four men
with money and books act the metine.

Speaker 8 (04:53):
They started being leaves.

Speaker 6 (04:54):
Just want a man with his drinks on plans so
they can watch just skins expand. Some of the chicks
are meals on the grand and everything's about gems. Some
brands they don't want a part of lovers and friends.
But for the cash audisan brands, this is not a
magical bird of recommends.

Speaker 3 (05:07):
These are like act on covers and trends. These are
my lgic sours.

Speaker 7 (05:10):
I'm deep care without ignoring that resports.

Speaker 3 (05:12):
I've been keeping the private dogs. There's a period. Who
picks with the shattered clocks, puts about building the pont
They will be all on you.

Speaker 8 (05:18):
When the building is long.

Speaker 7 (05:19):
They still wipe and energy is wrong when you do so,
stress to whether it's not. Don't be impressed when to
speak of this, because they won't stay down to the
week of weeks. They are money obsessed and speak of
peaceboard deep.

Speaker 9 (05:29):
Down didn't want to keep us six boogie. Look here
what you have done? Now most scales wanna have fun.

Speaker 6 (05:38):
They don't want to settle or you to go to
tank call still takes to bougie devil. Okay, what you
have done and now most scales wanna have fun. They
don't want to settle or to go to tank coach.

Speaker 1 (05:58):
Still it takes to.

Speaker 3 (06:00):
All right, that's bougie diva by playborn to a keyborn
boujie diva by Key Bourne. So what do you think
about that? Give it your thoughts feedback on that record?
Right about now, Britt, what do you think our heads
were kind of bothering? What do you think about that?
When Britt start with you?

Speaker 12 (06:17):
Okay, okay, So when it first came on, I didn't know.
I wasn't sure, but then when he started rapping, I
was like, oh, it's dope.

Speaker 11 (06:25):
I like this.

Speaker 12 (06:26):
So then I started to get used to the chorus
more and more each time I heard it, So yeah,
I like it.

Speaker 3 (06:34):
Okay, all right, m D you look okay, MD, you
look perplexed. What do you think him D?

Speaker 8 (06:43):
He gotta go back and laugh and put some flavor
to it. He needs better music production. That music he
had on that suck.

Speaker 1 (06:56):
You know.

Speaker 8 (06:56):
It's the same old thing, repetitious, over and over and
over and over and over over and over and over again.
It's not like he got it. Seems like he got
bad ears. Yeah, so that that's not even close to
be ready. It's a good concept. They just got to
go and recreate it and do it right so he
can so he can flow a little better.

Speaker 4 (07:19):
I don't know what he was trying to do. He
was trying to speed wrap, but it wasn't coming out right.
That's all yeah, back to the lab, into the lab.

Speaker 3 (07:30):
Okay, all right, uh Kelly, good what you think about
the record?

Speaker 13 (07:36):
All right, man, I'm gonna give it a seat for cool.
And you know, I'm like, when it first came on,
I'm like, rush fi. But then do their hands out
of purposes? I'm like, man, I'm listening and I'm engaged,
and I'm not ready to cut it off from blocking out.
Soverin hand, be down in my hands. I'm pay for
a hands of purpose. I'm gonna give it combs up.

(07:58):
But then I'm gonna say I'm gonna touched on what
it Beat was saying. And then the hook. You know,
it kind of captivated me because I'm like, okay, where's
this going? And he started rapping. I'm like okay, But
then he kept doing it in the first person. He
kept doing that same shouts as a second verson, so
he kind of started losing me. But I think if
in the second version he may have changed it up

(08:19):
just a little bit and you know, swagged it out
a little bit. Let's call andrew a telephone numbers where
they monitored and recruited, I think it could have had
potential to be a little bit better so but basically,
I say, you know, it was cool he br head
out of session.

Speaker 3 (08:35):
It had my head and number of gotcha all right,
all right, cool beans, cool beans? Uh low digs. Were
you intrigued by?

Speaker 1 (08:47):
Yeah, man, I was.

Speaker 2 (08:48):
You know, like a great song to me is always
one that had that that's like a plane flight, you know,
it takes off and it lands smooth, you know, like
it hits a peak and then it and then it declines,
but it doesn't lose energy.

Speaker 1 (09:05):
It lands smooth. And I just felt like.

Speaker 2 (09:09):
This was this was a boat ride, not a plane ride,
and I've never enjoyed boat rides. So it just didn't
It didn't work for me. This song felt very like
I mean, I agree with with MD when he said
it needs to go back to the lap.

Speaker 1 (09:30):
It was very a B C D A b c
D A D.

Speaker 2 (09:35):
It was I could predict the next line and the
next melody. That wasn't comfortable for me as an artist.
So it didn't work for me.

Speaker 3 (09:45):
All right, all right, it's a fair assessment. Fair assessment.
Oh Nick left, so I didn't get him. So he's gone,
all right, it's all good. We're gonna roll on to
the next joint right now. This one is jin song
is called best gin song is called bath Salt. All right,
let's check it out.

Speaker 1 (10:04):
Here we go.

Speaker 14 (10:18):
I've been through so many situations, but this one it's
just too hard to mention.

Speaker 15 (10:23):
Our mutual homie told me, but I wouldn't listen. I
made a choice. I guess I gotta live with it.

Speaker 14 (10:29):
Six three tall doc and handsome hip her royalty y's sotender.

Speaker 1 (10:35):
I guess you would pretender.

Speaker 15 (10:37):
I thought you and my hearts defender. Remember when he
said to me that you want to meet my family.
I guess it's all about you. Hot, I'm feel the
Losco act tough, keep my chin up when it gets rough.
Now our dreams are up in the dust. I guess

(10:57):
it's just me now.

Speaker 16 (11:02):
You put me through the worst war, your fidelity. You
put me through a separation based on false premises. How
sweet did it be? How sweet can it be that
you're loving me? How sweet can it be? How sweet
can it be that you're loving me? Why can't you see?

(11:25):
Why can't you see?

Speaker 15 (11:27):
We were meant to be, We were meant to be
bastall bass sall sipping through my paws.

Speaker 14 (11:38):
But the pain is just too strong trying to figure
out where it went wrong.

Speaker 15 (11:42):
But sometimes I gotta let go trying to keep it going.

Speaker 14 (11:46):
Time feels slow, but I got to rise above it
all and let my true color show, And let my
true color show. No longer have a burden on my chest.
I'm gonna let go handle the rest. How sweet cold

(12:07):
it be? How sweet could it be that you loving me?
How sweet could it be? How sweet could it be.

Speaker 10 (12:16):
That you're loving me?

Speaker 15 (12:18):
Why can't you see? Why can't you see? We were
meant to be?

Speaker 9 (12:23):
We were meant to be?

Speaker 14 (12:28):
How sweet could it be? How sweet could it be
that you loving me? How sweet cold it be? How
sweet could it be that you're loving me? Why can't
you see? Why can't you see?

Speaker 15 (12:43):
We were meant to be? We were meant to be.

Speaker 3 (12:51):
Bass off by Jam, bass off by Jam. We're gonna
get some feedback on that in a few moments. Again,
if you want to sing your music to us, go
to www. Dot The Radio Show dot com, as ds
and David as and Apple Radio Show dot com. Go
to where it says submit music, fill out the information,
uploads your song, and it make its way over to
us here for the after party. Again, We're got to

(13:12):
looking for music that needs production work, music that's not
out right now. We're only looking for that for this
portion of the show, so we can help you with
your production, all right, Uh, Kelly Good? What you think
about this one?

Speaker 13 (13:27):
Oh man? I thought that it was good for her boyfriend,
and she's like, you know what, babe, I made a
song about you know, about us? You know, how sweet
could it be if you loving me? What's for your head?
Not a purpose? I don't think that it was good
for her head, not a purpose to make my head now?

Speaker 3 (13:48):
Yeah, not at all. It did not right there? It
was a no go right there? All right? Because I
actually thought, I can I agree with you, Kelly Good?
And I thought the record was a little bit too long,
and it was only two minutes and thirty eight seconds long.
But it's all good. Brita LEVINEX to Human Chandelier. What

(14:11):
you think about it?

Speaker 17 (14:12):
You know?

Speaker 12 (14:13):
It gave me like an underground rat feel, you know.
So when I started listening to it like that, then
I started to enjoy it. But what I didn't like
was the name of the song was bath sucks. What
are we talking about here? Are we talking about bath sauce?
That we get in the tub. Are we talking about

(14:34):
those other bath saus if you know what I mean?
You know, so I'm like, girl, are we singing about
bath sauce?

Speaker 11 (14:40):
Which one is it?

Speaker 1 (14:41):
Like? Is it?

Speaker 11 (14:42):
Is it drugs or is it bath sauce?

Speaker 18 (14:45):
Like?

Speaker 11 (14:45):
Which one?

Speaker 12 (14:46):
So, you know, like when I was listening, I was
trying to get to her getting in the tub. But
she never said she was getting in the tub.

Speaker 3 (14:54):
So did she reference drugs in it? Because I didn't
really listen to it lyrically.

Speaker 13 (15:00):
Was it?

Speaker 3 (15:00):
Was it referenced in the song that you heard?

Speaker 11 (15:02):
So look that's what bath saws are, you know, like
that's a slang.

Speaker 12 (15:07):
So I started to feel like she was talking about
the slang bath sacks, you know, like how she's talking
about her dude.

Speaker 11 (15:15):
You know, like because I'm a repeat and you could
correct me.

Speaker 12 (15:19):
I never heard her say anything about her going in
the bathroom turning the water on.

Speaker 11 (15:24):
You know what I'm saying?

Speaker 3 (15:28):
Yea, yeah, so'st about about the drug side of it?

Speaker 12 (15:30):
Then, right, I don't tamper with bath saws like that. So,
you know, I mean, kudos to her. You know, I
like the vibe of the song, but I can't relate
to bath Sacks. If that's what she's talking about.

Speaker 3 (15:45):
Yeah, I can't either. I'm a shower guy. So it's
all good. It's all good.

Speaker 11 (15:51):
MD.

Speaker 3 (15:51):
What you think I go to Dicks. I'm gonna feed
off him, all right, low Dick. But if we're gonna
feed off you, low Digs, go ahead, man.

Speaker 2 (16:00):
You know, I don't want to sound redundant like I
did on the last record. But it didn't go anywhere.
And I definitely agree with Brittany when she said that
ensure that the title was deeper than the song.

Speaker 1 (16:16):
You know, it just it just the record went nowhere.

Speaker 18 (16:19):
For me.

Speaker 2 (16:20):
It just was like a tick tick tick tick tick
tick tick tick tick tick.

Speaker 1 (16:24):
The whole way.

Speaker 2 (16:26):
There was nothing dynamic about it. And it started out
as a story and it and it never went anywhere.
So it was just it was presumptuous and it had
no conclusion. I wasn't even sure how she felt, so
it was I mean, I'm I'm looking for evoked emotions
when I hear records, especially if they're concerned their love

(16:48):
or either some kind of addiction or you know, somebody
manipulating you.

Speaker 1 (16:53):
I'm looking for emotion, and I didn't hear any emotion bro.
So yeah, that's that's that was.

Speaker 8 (16:58):
That was the one one for me.

Speaker 3 (17:00):
Yeah, Digs, my feelings is hurt man. Yeah, it's all
good a r MD. That's a tough fact to follow
right there, So go ahead give it a show.

Speaker 4 (17:11):
No, everybody is basically saying the same thing. Uh, the
storyline was wrong, the music was repetitious.

Speaker 8 (17:21):
Actually, that to me.

Speaker 4 (17:22):
That track wasn't even designed for her. I think it
was for somebody else and they just gave it to
her to rap on. They do have a concept, but
it's not ready for the public. They got to go
back in rewrite the song, make sure the lyrical contents
makes sense. Make sure your music production is well put

(17:45):
together now. So they could have used strings on there,
They could have used a semi pe piano solo type
of play. It's a lot of things. It was, Missy,
but I looked at it as a demo trying to
find an idea, and I would tell them, you got

(18:06):
the idea, now go correct it, bring it back to
us at this roundtable, and let's see where you end
up at.

Speaker 8 (18:16):
Concept is there?

Speaker 3 (18:19):
Okay? All right, Joe, that's thoughts on that gen bast
Water again. If you didn't get in. You can leave
your comment on any social media platform. You're checking us
out right on right now at keyword da radio show.
Let us know your thoughts. We will read those while
we're on the air. So okay, the next record we're
about to play right now, All right, Britta living next

(18:40):
to you, Micheane Leon, Kelly Good, we got another one
by you right now.

Speaker 19 (18:44):
This is a.

Speaker 11 (18:47):
Chest not Checkers, right, Kelly Good, go.

Speaker 3 (19:02):
Over out here. You're Kelly Good.

Speaker 11 (19:04):
I try it again.

Speaker 8 (19:05):
They can't again, tell them putting another quarter in the
in the.

Speaker 13 (19:15):
Field here in prison. So why are you call chest
not checkers? By Kelly Good? Feature of BBA took.

Speaker 3 (19:22):
All right, let's check this record out here we go
chest not Checkers, make it happen, heading out a session
powered by the radio show.

Speaker 17 (19:39):
We're playing chest not Checkers, popping off the fORCH mob
and I'm a stepper. If I want her, I'm gonna
get her. I bust her down and I passed her
to my head is Alo stays greens would have bread at.
I heard you got that fine with a head at
composing line that that bly whooping all the time. He
the jet pack.

Speaker 1 (19:59):
If I'm us a move on him. They gonna tattle
on him.

Speaker 3 (20:01):
I heard you'll try me a snitch.

Speaker 17 (20:03):
You gotta rattle on him. Well, I'm gonna like a roughie,
keep a paddle on him, knock her out, the boxing
out her socks. Till the early morning, I woke up
feeling blessed. O harder, don't go. I got it written
on my chest. I'm a bbah du goo and you
know we gonna step big bees none the less, all
the suckers feeling pressed, looking like I hit a lick
and feel the bag up. You know I keep one
on my hip. You better back up, solidified and stified.

(20:26):
I'm gonna reptor anything less. It's unacceptable be playing chest
not checker, hopping off the porch rob, and I'm a stepper.
If I want her, I'm gonna get her. I bust
her down and I passed her to my head. Is
playing chest not checker, hopping off the porch mob, and
I'm a stepper. If I want her, I'm gonna get her.

(20:47):
I bust her down and I passed her to my
head and suck.

Speaker 19 (20:49):
Hey see, if I want her, I'm gonna get her.
I ain't wasting time, but I'm breaking, but I'm different,
a different type. But you're trying to duck her.

Speaker 1 (20:56):
Ex nigga.

Speaker 19 (20:56):
He ain't hit her right, she says, she let him
move and kill it. So I just said it's when
they are trying to get me bailt you ever been
in the dine like, did you even go to jail?
I just cut her off on men say that's the
whole in me. Me and Klie Bragin is good.

Speaker 15 (21:08):
Ask my soul. Chris Blue on the blood trying to do.

Speaker 19 (21:11):
Down you want to smoke with the next you took
it back to the hood.

Speaker 1 (21:13):
Look they gonna go with me.

Speaker 15 (21:14):
I'll be sending message. I ain't talking about no textion.

Speaker 1 (21:17):
I'm my letter.

Speaker 19 (21:17):
You take in my mind because I'll be fletching county
whooping nasty k taught me be aggressive niggas. They be
going to take offensive. It ain't directed. Don't believe in lines. Boy,
you know you're really nice. Whoopie Now, he throws, I ain't.

Speaker 17 (21:28):
Found out he can't fight, playing chest not checkers, hopping
off the porch mob and I'm a stepper. If I
want her, I'm gonna get her. I bust her down
and I passed her to my heads. You playing Chest
not Checkers, hopping off the porch mob, and I'm a stepper.
If I want her, I'm gonna get her. I bust
her down and I passed.

Speaker 3 (21:48):
Her to my heads. Okay, Chest not Checkers, Chest not Checkers, Keller,
Good BBH, Dukes and anybody else in that record.

Speaker 20 (22:01):
I that.

Speaker 3 (22:09):
Okay, that's what's up, son, Make it happen right now, MD.
What you think of it?

Speaker 8 (22:14):
I wasn't feeling it.

Speaker 3 (22:16):
Okay.

Speaker 8 (22:17):
Cally Love has did a lot of great things, but
this time, he he, he dropped the egg.

Speaker 1 (22:26):
On this one.

Speaker 8 (22:27):
He dropped that.

Speaker 4 (22:28):
It's a good it would be a good feller for album,
but it's not a single for radio.

Speaker 8 (22:37):
You might get away with it in the clubs, might get.

Speaker 4 (22:42):
Away with it, but it's basically it's a filler. Just
just throw something on the album type of situation.

Speaker 3 (22:54):
Go ahead and go ahead, finish, go ahead.

Speaker 4 (22:56):
Yeah, It's it's not nothing close for he normally been doing.
You know, this is not this is not a single.
You know, it's a feeling.

Speaker 3 (23:05):
Okay. I thought it was actually one of those records
that are you know, at my local slave ship that
I'll be at every day at the slave ship. The
kids there be listening to the records like this all
day long.

Speaker 1 (23:15):
Man.

Speaker 3 (23:15):
So that's that's that's that's perfect for them. This is
what they do, that's what they listen to right there. Yeah,
so it's right up there, alley, right up there, alley,
right there.

Speaker 4 (23:26):
I feel you, I feel your net. I was I
was PO two, you know, but I understand. I understand that.
But when you talk about making money, no, this one
ain't gonna do it. Okay, the feeling for the album,
but it's not the singles that would help the album sell.

Speaker 3 (23:49):
Okay, got you uh low digs what you think? You know?

Speaker 2 (23:54):
I actually really liked that record. I thought the record
was extremely conversational. The only thing that I wish it
had was more bounce at the bottom so I could
feel a dance.

Speaker 11 (24:06):
Right.

Speaker 2 (24:07):
If I could feel a dance or like a two step,
like a little trot two step, I think the record
would actually work. But the lyrics was delivered well. The
chorus stayed conversational in modern and the and the you know,
the voice in the background. It created an ambiance. I

(24:28):
just needed a bounce.

Speaker 1 (24:29):
I just needed to.

Speaker 7 (24:30):
Boom boom boom, boom boom, boom boom boom boom boom boom.

Speaker 1 (24:35):
I'm gonna boom boom boom. I needed something to make
me bounce. That's all. Outside of that, it was cool.

Speaker 12 (24:43):
It makes fun of cruise down the freeway, don't I
don't know if it makes you want to do what
you're saying, yeah.

Speaker 11 (24:48):
But it makes you wanna.

Speaker 1 (24:50):
Yeah, it was.

Speaker 2 (24:51):
It was a cruiser, and I felt like it needed
to not be a cruiser because it was so conversational.
Records like that right now, like records like that, that's
exactly how kids talk.

Speaker 3 (25:04):
Yeah, exactly, that's right.

Speaker 2 (25:05):
I say that is their language right now, Like I
listen to my son and his friends, and that's exactly
how they talk, right.

Speaker 1 (25:13):
So the language is modern.

Speaker 2 (25:16):
The only thing is that the the music is now
bouncing to their frequency.

Speaker 21 (25:23):
If you boom boom boom boom boom boom boom boom
boom boom boom boom boom boom boom boom.

Speaker 2 (25:30):
Just all bottom and just a little clack at the
top with that same melody I just gave you, or
something similar.

Speaker 8 (25:38):
You got a record, mh, but tell Arsenal to do
something for him.

Speaker 2 (25:46):
I don't produce that, but I know a guy who
does though, named Jamel. Jamel would produce that he just
run the base and find a find a good sample.
I think another uh sample that might be.

Speaker 1 (26:00):
Good for that is DJ Quick. DJ Quick had a
old wrap, old record.

Speaker 2 (26:09):
I wonder, how does it feel to get with It's
just like you and that monkey till it's funky, Like
if you slowed that record down to about I don't know,
but just slowed it down because that record speeding like
it's doing like ninety five to one one. If you
slowed that record down to like eighty five eighty nine
or something like that, that would fit right. That would

(26:29):
be that what you need to smother under a record
like that, because it's a language.

Speaker 3 (26:36):
Got you got, you got, you got your little digs,
all right, Big Fieve says that way ig. Anytime I
hear BRIT's voice, I'm like, yes, okay, all right, shut
out the big feed right there in fact us the
big th Yeah, no doubt we're gonna play a big
feed record. Matter of fact, you just sent this one
to us. The records called Ladies featuring Shanita Young, Big Fever,

(27:01):
Big Fever featuring shin Needa Young songs called ladies. Alright,
let's check it out here we got.

Speaker 1 (27:14):
Here on the head, then other session it is with that's.

Speaker 8 (27:27):
Come on.

Speaker 20 (27:30):
Right, yeah, y'all know what we do. Stop, Hey, hey, lady,
don't argue the man at the door. I'm trying to
get in the club. Stop a hole in the float. Clubs,

(27:52):
filties go right the stage tonight. Ain't your pellectuadies like
my man. Don't like you know, big Sea sneak about
it when the club, and I hope these sons didn't
bring the guns. Get drunk against the shoot the joint up.
We want the women to be badging it up. People
go on a chick like Toran Tura love and you
can't get down. If you can't get up, the club
gotta be packed with people the duck, y'all, hurry over,

(28:13):
get down here, and hell you waiting for bounds.

Speaker 1 (28:15):
Baby, don baby bounce with me.

Speaker 8 (28:19):
Cons baby, don baby bounce.

Speaker 10 (28:21):
Me down to get fired her.

Speaker 3 (28:27):
Come on, don't mean it stop, come on.

Speaker 20 (28:35):
Get saw baby, get tired, y'all. Now, I ain't got
nothing to gainst the new millennium. I'm not coming to
party like a seventy one. Get loud in the club,
and shake something up. You don't want to rust the
bowls and have some fun. Now, bounce baby bounced, take
me bounced from me? I want the healthiest chick. When

(28:55):
it's time to leave, slip my shoes off and let
down to weave.

Speaker 3 (28:58):
You say Joe tea, and it's time to free.

Speaker 20 (29:01):
But right now, if he kind of sweat a little bit,
ain't holding up the wall looking cool?

Speaker 15 (29:05):
Its loop?

Speaker 1 (29:05):
Close?

Speaker 10 (29:06):
My eyes likely looking cool?

Speaker 3 (29:07):
When I groove, I might be many. I'm the smoothest.
Ain't no looking at me? Gonna do what you do?

Speaker 8 (29:12):
I got the healthy chicken.

Speaker 11 (29:14):
You know how to move.

Speaker 10 (29:15):
I'm so flop.

Speaker 15 (29:16):
I'm so I'm so fla.

Speaker 10 (29:20):
Now the kitchen, I kick you with jew baby girl?

Speaker 1 (29:22):
Can I kick you with chi?

Speaker 15 (29:23):
Something I want to do? I'm so flu I'm so fine,
I'm so fat. I'm so far.

Speaker 8 (29:29):
Can you kicken?

Speaker 1 (29:30):
I kick you with jew baby girl? Can I kick
you with jees? Get fly?

Speaker 10 (29:36):
Huh?

Speaker 22 (29:37):
I'm here, I got your game us own baby, loot
the fly back here.

Speaker 3 (29:51):
On the women in the club get a.

Speaker 20 (29:53):
Break tonight stepping denner with a man with the trouble
Like before it's over, you be glad to.

Speaker 3 (29:58):
Catch just turp right down, then shake your pay.

Speaker 20 (30:01):
Make you go up when you play it this way
represent like the three to keep it sexy.

Speaker 22 (30:05):
And how oh riding close when you wiping your boat side.

Speaker 10 (30:08):
When to ride your boat? Y'all bounds me the bounce maybe.

Speaker 15 (30:11):
Pounds of men bound to be down to the bouncing mad.

Speaker 10 (30:15):
Bound baby down theay be bounds for me bound.

Speaker 15 (30:17):
To be bounce, bounced, were mad.

Speaker 10 (30:19):
Don't lay bound? They be bounds for me.

Speaker 20 (30:22):
Bounce baby bounce where down bound the downs gave it
bounding me boun.

Speaker 10 (30:34):
Hot stuff from.

Speaker 23 (30:37):
Stup walking from the club buying. We talk about the
come on, get off, yeah, stow together.

Speaker 3 (31:08):
Right there, Big fee feature in s I need a
young sauce called Ladies Big Thieves. So, man, we just
played the record Big Fieve. So is that is that
our of coming out of what's that big five No
I record?

Speaker 1 (31:21):
Like twenty years old? I just wanted to see what
I think.

Speaker 3 (31:24):
Oh that's twenty years old, Okay.

Speaker 8 (31:26):
I figure was that I've never released it because the
way the song was. I want to say that.

Speaker 1 (31:38):
I'm just trying to be with britt Man. I'm trying
to get like britt Man.

Speaker 8 (31:44):
Okay, what you can't go, you know, back to the
lab and you know recreated.

Speaker 18 (31:51):
Nah, that's what my conception was, trying to sign me
a grand jury. So okay, okay, I'm working with a girl,
a girl group called it Loujah All.

Speaker 1 (32:06):
I had to deal with them.

Speaker 18 (32:07):
I had to deal on the table with her, Tasha.

Speaker 1 (32:10):
Neil Letta and a girl named Monika.

Speaker 18 (32:12):
I had to deal for them on the table over
the Dream Works with John McClain.

Speaker 12 (32:17):
Bragga, Tasha is my homegirl. Tasha was my first drill
team captain.

Speaker 6 (32:22):
I was.

Speaker 11 (32:24):
Wow, like twenty Tasha dance for me.

Speaker 22 (32:35):
Waha when you say dance, That'sasha.

Speaker 11 (32:38):
You did all the choreography.

Speaker 1 (32:40):
She was so dope.

Speaker 18 (32:43):
Wow her Niel Letter Mo and then of course Neil
Letter unfortunately left and then they brung in Nicole, who's
their friend to this day.

Speaker 8 (32:54):
I shall live in Vegas now, I know, I know
she told me.

Speaker 1 (33:00):
Wow. Yeah.

Speaker 18 (33:01):
When they was fresh out of high school, I got
him put them in the studio with uh Alan Tatum
over right, yap young uh when Q over at Offer
Crenshaw we cues and then used to take them to
Carson to Mike Conception studio with uh.

Speaker 1 (33:23):
The Wizard Productions.

Speaker 18 (33:26):
Across the street from who he lived, who's at doob
Dog who we.

Speaker 1 (33:31):
Call top Dog today.

Speaker 18 (33:34):
Yeah, right across the street from doove Dog.

Speaker 1 (33:37):
We were recording and Mike Exception Studio that.

Speaker 8 (33:41):
On Avalon Yep, that's it.

Speaker 1 (33:44):
Look who are you?

Speaker 8 (33:46):
Yes, yeah.

Speaker 10 (33:51):
Alone radio show.

Speaker 8 (33:56):
You only get this information with your radio shock on
the radio show.

Speaker 1 (34:07):
Yeah man, he said.

Speaker 18 (34:08):
I was like, you know in the coda, sack baby,
that's what's up.

Speaker 3 (34:13):
That's what's up, man, shut out to everybodybody doing anything.

Speaker 1 (34:18):
Man, y'all got all the drop, man.

Speaker 3 (34:21):
That's what's up? Man, Low digs and what you think
of the regular digs?

Speaker 1 (34:26):
Man?

Speaker 2 (34:26):
You know, sounds like that are always classic, bro, Like
you can drop that record.

Speaker 1 (34:36):
Man. It sounds like r Kelly like this. And Vincent
told me say, say, man, you got to come here.
This guy named Little Kids Man feed he's so dope.

Speaker 10 (34:47):
I went over there, like, this dude is so dope.

Speaker 3 (34:50):
So what.

Speaker 8 (34:53):
Stevie wondering.

Speaker 4 (34:55):
Cont he broke that out fifteen years before he put
it out?

Speaker 2 (35:04):
Yeah, man, that that record could actually be released right
now and which would probably uh have a dual audience
of young and old. You know what I'm saying, so,
don't sleep on those kind of like records like that.
I call those Picnic records. Those are West Coast Picnic records, right.

Speaker 1 (35:25):
The work. Yeah, like West Coast Picnic records, Like they
always work, bro, they always work.

Speaker 2 (35:33):
It's just it's just really about the campaign for records
like that, Like if you got good cameos, if you
got people to walk through them, if you got people
to you know, just stuff like that, like really make
it like homegrown. Those records are homegrown for West Coast,
Like you got the right elements that are that are
accept that are you know, recommended for West Coast radios,

(35:56):
cars ladies, you know we you know, you got all
the stuff that's supposed to be in West Coast videos,
Palm trees.

Speaker 1 (36:06):
That record always works, man, So don't never give up
on that. On that kind of record. It just always.

Speaker 6 (36:10):
Man.

Speaker 1 (36:11):
They sold me a dream.

Speaker 18 (36:12):
They told me I'll be over there to write. He said, man,
you come write for Little digs Man went over there, he.

Speaker 1 (36:17):
Was writing up everything. I said.

Speaker 24 (36:18):
See, he got no wrong for me. I'm like, man, yeah,
sold me a dream. I got over there, like this
guy right up.

Speaker 3 (36:29):
Every Hen wrote three books in the Bible.

Speaker 1 (36:32):
I'm like that.

Speaker 22 (36:34):
Rod for me at digs were using hot wax.

Speaker 2 (36:39):
Yes, I do right over there of right in Compton, yeah,
right apart right there, a big V.

Speaker 1 (36:47):
Spot you in the studio with low digs.

Speaker 8 (36:50):
Don't do what you know about bad man.

Speaker 3 (36:53):
I love the history, man, love this l a history here.

Speaker 18 (36:56):
Man.

Speaker 3 (36:56):
I really am fulling.

Speaker 1 (36:59):
Around like you.

Speaker 2 (37:00):
I know, if everybody doesn't know you as some capacity,
you ain't really been.

Speaker 3 (37:05):
Nowhere on the West Coast exactly exactly, know what You're right.
Everybody everybody knows somebody around here.

Speaker 15 (37:11):
Man.

Speaker 3 (37:11):
It's a small world as big as LA is small, right,
very small, very small, very.

Speaker 2 (37:18):
Really when you really especially if you've been grinding for
like the last ten years, if you've just been out
here for ten years rubbing elbows, and the people that
was actually making it happen, everybody.

Speaker 3 (37:28):
Met each other exactly at some point one way or another.

Speaker 8 (37:32):
Especially after that Urban.

Speaker 1 (37:35):
Urban network, the urban network that was the hub.

Speaker 3 (37:39):
Yeah, yeah, exactly. Yeah, you had to go through Urban
network back in the day there. Kelly, good, what you
think about the record?

Speaker 13 (37:51):
Yeah, man, it was great confidence. You know, you could
tell that there was a little older like heavy Ga
and and a telephone number with the monitor and recruited.
It was cool man.

Speaker 1 (38:11):
Shout out, sure, I'm pretty pet you bro.

Speaker 3 (38:15):
It's all good man, that's what's up. That's what's up, Britt.
What you think.

Speaker 1 (38:20):
I like?

Speaker 11 (38:20):
You think that they do?

Speaker 18 (38:21):
So say that because I'm saying that about you. Man,
I do Thompson. Black Thompson just text me, look, dude,
we were black you.

Speaker 1 (38:36):
Black Thompson is the man, Bro, Black Thompson is the go.

Speaker 2 (38:41):
Like, if it's one guy that me all these years
that I've worked with, if it's one guy that I
felt like what had everything, it's it's Black Thompson. Black
Thompson has had everything. He's had the ability to produce.
He's had the ability to engineer, he's had the ability

(39:03):
to write, he's had the he's had the you know
that look that the ladies like that smooth kind of
cuddly guy thing. You know what I'm saying, Like, Black
Thompson has had everything for a very long time.

Speaker 3 (39:19):
Like he need he he should be all the way
on if you ask me, big shut up thoms.

Speaker 18 (39:26):
So when I let Black Thompson, he was signed to
Electric Records with Sylvia Rome and he was managed by
Big West, Crockett, Western Peace and Al Hayman who works
with Floyd Makeweather as a promoter to this day. And
so Black was in the group with him, Troy and

(39:47):
whatever OKK and they won the group together.

Speaker 1 (39:50):
Of course Binkie was producing them as well. So I
met Black there and then I took.

Speaker 18 (39:56):
Him to Hot Wax got him out of that.

Speaker 1 (40:00):
That's where I met Black and Hot Wax.

Speaker 8 (40:03):
The record's why.

Speaker 20 (40:04):
Y'all met Black because I bring y'all mat Yeah, because
I murder the mud wack y'all man Black.

Speaker 1 (40:11):
It could have been a song. Yeah, he said, fiend.

Speaker 18 (40:16):
Uh, I'll send the fouls in the morning.

Speaker 1 (40:20):
Uh, please send me the email.

Speaker 18 (40:22):
We got a new record out. We got a new
record that Tracy Lange is mixing. He's familiar with the
radio show. He's a fan of the radio show. Tracy
Lang from Long Beach.

Speaker 4 (40:32):
Yeah, Hey, hey, hey, he did the hook life KG
Sum that have wrote and produced for him.

Speaker 8 (40:41):
That what was that record?

Speaker 3 (40:43):
Dundee on deck?

Speaker 8 (40:45):
Yeah, back on deck, Yeah, back on that, back on deck.
That was his vocals.

Speaker 18 (40:50):
My mentor is calling me Dale Atkins Bassis.

Speaker 3 (40:54):
Oh yeah, yeah.

Speaker 18 (40:56):
Atkins played with Gladys played with our viewers.

Speaker 3 (41:00):
He's now okay, Well, of god, I'm gonna ahead and
play another record right now. Man, we can roll along.
We've got a few more records left and we're gonna wrap. Okay,
tell him, I said, what's up? Uh? We got this
little bit to us, Old Mars Scott. Oh, Mars Scott's
sounds called switches sweet, Old Mars Scott. Switch is sweet.

(41:21):
Let's check it out. Here we go a head not.

Speaker 15 (41:25):
Uh huh.

Speaker 21 (41:29):
Got pretty as a picture, sweeter than the Swish. If
he can't put me in a beezon, I don't want
the nigga? He says, May, how much you need? I
say about six figgers. I love my clutch at home.
I got a new bag and it's bigger pretty. He
has a picture sweeter than the Swisher. If he can't
put me in a beezon, I don't want the nigga out?
He says, May how much you need? I say, boy,
six figgers. I love my clutch at home. I got
a new bag in his biggles. Bad little ships then

(41:49):
like five cents, pretty ass smile and you know this
ship price is better. Watch what you say, because you
know she fights, and you know what they say about
them down pisson. He asked me what I wanted to eat.
I told her, nigga some chick, and I ain't talking
about to burn. I'm talking about the riches, like when
he fucked me hard and make me fuck. It's grange
to beat that pussy down. Get me recall, let my
knee make that ass shape.

Speaker 15 (42:08):
He gonna make the.

Speaker 21 (42:09):
Ship quite like if you have me bussing. So he
called me baby drake. I told that hold a running,
that vidge, run, get a way out of the part. Well,
my shit, don't see the looks on on their face.
I just made some money, but I blew that ship
twenty inch lace wrong. You would think I grew the
ship this ass little baby.

Speaker 15 (42:23):
Lot the way out. I throw that shit.

Speaker 10 (42:24):
I don't like my.

Speaker 15 (42:24):
Nigga quit with us and no window.

Speaker 10 (42:26):
We looked at us.

Speaker 21 (42:26):
Freddy he has a picture sweeter than the Swisher. If
he can't put me in a bus, and I don't
want the nigga that he says, Bay, how.

Speaker 15 (42:32):
Much you need? I say about six figures. I love
my clutch at home. I got a new bag in
his bed.

Speaker 21 (42:35):
And Brady, he has a picture sweeter than the Swisher.
If he can't put me in a bus, and I
don't want the nigga help, he says, by how.

Speaker 15 (42:41):
Much you need? I say, if I saix figgers, he
I love my clutch at home. I got a new
bag in his bigger.

Speaker 21 (42:46):
I had to run that ship. Oh, I would see
being on them catches. But just ain't give a fuck.

Speaker 15 (42:50):
He ain't messing me. I might let him put it
in my butt. Ain't no chick me, no check for me.

Speaker 1 (42:53):
I don't give a fuck.

Speaker 21 (42:54):
Don't come pet me to no bitchuer fuck anything for
some change. I can't ask visiting everybody look the same.
When you shit differently, they say you let me try
to shame? Why how you pert you a missions? Don't
play up at my game? Shake that as they can
go running. He's being on his ass like a drum
jump jum numb.

Speaker 15 (43:09):
I've been raising a nigga thinking that I don't want him.

Speaker 21 (43:10):
Don't be dumb. And if he's speaking on my nagger, right,
the only way to come.

Speaker 15 (43:14):
I need me a big vog.

Speaker 21 (43:16):
I don't like they have a good time and spend
a couple of dollars a big big shot collar and
he gonna niggle a lo on and scootchie anytime that
I I need me provide.

Speaker 15 (43:25):
He crazy buy me because it's supposed to be ripping.

Speaker 21 (43:27):
When he had side catch me, I said, well, my riches,
any riches sticking, you can find me. I ain't e
ain't pretty as a picture, sweeter than a swish. If
he can't put me in a bus and I don't
want the nigga, he say, By how much you need?

Speaker 14 (43:39):
I say if I say, ex figgures, I love my
clutch at home.

Speaker 15 (43:41):
I got a new bag in his biggel. They go
pretty has a picture sweeter than a swisher.

Speaker 21 (43:44):
If he can't put me in a basin, I don't
want the nigga, he says, By how much you need?

Speaker 15 (43:48):
I say if I say, ex figures, I love my
clutch at home, I got a new bag in his biggles.

Speaker 1 (43:55):
Just hurting this record.

Speaker 3 (43:57):
Let's get some.

Speaker 18 (44:00):
Man.

Speaker 3 (44:00):
You know it sounds like you really approved of this
record right here? Man, what I'm not approven on this?
This dude's name, and I don't understand. I got here
Omar Scott. But that don't sound like an Omar Scott
to me. That sound like a young lady there.

Speaker 8 (44:15):
I sound like a.

Speaker 11 (44:16):
Teenager because she's underage.

Speaker 3 (44:21):
Okay, but they don't say who it is though. It's
just say Omar Scott.

Speaker 11 (44:25):
Right, so that's her manager. But she's under age. I
remember she. I think she was under eighteen.

Speaker 3 (44:29):
Oh you know her?

Speaker 11 (44:31):
We played her before it.

Speaker 3 (44:34):
Was this song or a different song.

Speaker 11 (44:37):
It was his song.

Speaker 3 (44:38):
It was this song.

Speaker 11 (44:39):
Yeah, her people, her people.

Speaker 8 (44:42):
Yeah, I thought I recognized that song.

Speaker 12 (44:45):
Okay, if you didn't know she was underage, this song
is popping. But if you know she under age, it's like,
you know, like I would want you talking about something else,
but like.

Speaker 3 (44:57):
Yeah, yeah, she was going at it lyrically.

Speaker 12 (45:02):
If she was older, and I would bump the song.
But said she at the time. I don't know what
she is now, but at the time she was under eighteen.

Speaker 3 (45:11):
Okay, why they maybe because of these other two see
I thought, okay, because I thought that we played because
it's three songs, as they sing, So you said we
played that one. We asked her, did we play this one?

Speaker 15 (45:24):
Hey?

Speaker 8 (45:24):
Hey, hey, Brick, is that's the one I said.

Speaker 11 (45:28):
It was about?

Speaker 14 (45:29):
Rat?

Speaker 11 (45:30):
Yep, yep?

Speaker 3 (45:35):
Do you ever remember insta?

Speaker 15 (45:36):
Right here?

Speaker 11 (45:37):
Let it play a little more, all.

Speaker 21 (45:43):
Right, Bobby, keep bringing up, pussy. Don't stop me pussy,
so we may keep jumping at.

Speaker 15 (45:51):
Poppy.

Speaker 21 (45:52):
Keep brooking up, pussy, don't start on so like me
a little bit, so that into your weekend, and skinny
bitch takes it like when you pound it and show
me to I cannot breathe. We could suck all night
into three. I bounce on that ta with the good news.
Won't stop to you begging me, please suck on my
like some flower seeds. You just ain't fucking with me.

(46:15):
Why And it's not just cause I'm pretty. You just
can't party with me. If you want to sit around
here and just look pretty better shake g ass or something, bitch,
get lady, I will pull up and show white in
your sick never duck in no action pussy who I'm.

Speaker 15 (46:27):
Sitting up like some brand new tea. Just ritty poppy,
Keep working at pussy.

Speaker 21 (46:31):
Don't stop you, pussy. So wet need a moppy. Keep
dropping that teeth, pee drop it, ritty poppy, keep working
at pussy, don't stop it. So wet need a moppy
six with me hoople top pe Yeah, he like no
way that I I do not say that.

Speaker 15 (46:49):
She was on slid eye beach oppyweight.

Speaker 21 (46:51):
And I sig man because a nigga want to slice
of my powe, want to pull it up just so
I can back an eye. You pull up with one
of three people. I'm coming outside with my motherfucking fire. Bitch,
you can never pop your ship like me.

Speaker 15 (47:02):
I go where I won't. I do what I please?

Speaker 21 (47:04):
Yeah, you know you want it to be me forever.
I'm too special. Bitches ain't never even hurt on my level.
I gave him a pussy once and not this nigga
thinking that we go together, which I got times in
the day. Do you just be looking a mexican't dressing y'all?

Speaker 15 (47:20):
Wear this a little like a tootin?

Speaker 14 (47:22):
Huh?

Speaker 10 (47:23):
What you say?

Speaker 15 (47:24):
This nigga want me to obey? What what you mean?
Are your royalty? You do what the fuck?

Speaker 16 (47:29):
I say?

Speaker 21 (47:29):
Yes, Riddy Poppy, keep working at pussy, don't stop it.
Pussy so wet and eat a moppy? Keep dropping that
pay dropping, Riddy Poppy, keep working at pussy, don't stop it.

Speaker 15 (47:42):
Puss this so wet and need a moppy? Since with me?
Who could top here?

Speaker 10 (47:45):
Yeah?

Speaker 3 (47:47):
Just did you play that one? No?

Speaker 12 (47:55):
We didn't know, we didn't. I'm gonna cary you the
same thing. If this girl was over eighteen, she is
the next thing popping. But since she was under eighteen,
it makes me uncomfortable to hear about what she talking about.

Speaker 11 (48:09):
You was gonna bring her on the radio show.

Speaker 3 (48:11):
I was gonna bring her on, Okay. And maybe that's
why they resent the three to me because I didn't
jump at it. Okay, maybe that's what it is. Okay,
all right, I'm glad y'all refreshed my memory because this,
this is so, this is the this is the second
time that you re emailed me, uh threse three songs.
I just thought we didn't play.

Speaker 12 (48:29):
It, like maybe you didn't you didn't hear it, or
you know, let's give it another shot, like no, the
girl is fired. The girl sound like what's out today?
I just, since I'm older now, uncomfortable that she under
eighteen talking like that.

Speaker 3 (48:42):
Right, Okay, right, okay, right, low Diggs. Are you uncomfortable
with this record being.

Speaker 1 (48:48):
That she might be if I didn't, like I said,
if I didn't, I got daughters, bro, and the record
is uncomfortable.

Speaker 2 (48:59):
The thing is is that this I mean, if I
was just talking about it from a musical standpoint, the
market is huge for her.

Speaker 1 (49:07):
Right.

Speaker 2 (49:08):
If I was just talking about it from a marketing standpoint,
ratchet music always go. Any song that make girls shake
their lady parts go, right.

Speaker 1 (49:21):
But if we're talking about a girl that's not.

Speaker 2 (49:26):
A legal woman yet, then we have to just we
got to drive past it because it does, it does
become an uncomfortable thing, you know what I'm saying.

Speaker 3 (49:37):
Okay, all right, all right. By way of I g
MC Johnny T. Also Johnny T, I think I'm old now.
That song did nothing for me. No hate, just not
for me. Okay, that's what John T said. Shout out
to him. Uh md MT Mike, what do you think?

(50:00):
Oh yeah, I'm that Mike and d It looked like
he froze.

Speaker 11 (50:09):
No he no, he's there.

Speaker 3 (50:12):
You got the mic there, not another other one, the
other mic. Yeah, I mean, I mean, I mean I'm
mut the zoom mic and not the clubouse Mike.

Speaker 11 (50:24):
Okay, what your computer look like? It should be on the.

Speaker 3 (50:34):
Yeah, it should be on the screen there.

Speaker 1 (50:37):
You know what's crazy about that record.

Speaker 2 (50:39):
A lot of people would think they would think that
it would be urban uh urban black women that would
be and that would be all about that record. That
would not be the majority of the people that would
be about that record. It would be suburban white girls. Yeah,

(50:59):
that record would make them feel like somebody that's that's
you know what I'm saying, So that.

Speaker 1 (51:05):
Record like we always trust me because.

Speaker 2 (51:08):
We just I mean, and it is sad to say,
but we don't consume as much of our own music
as we think we do.

Speaker 1 (51:19):
They consume our products, you know what I'm saying.

Speaker 2 (51:23):
Yeah, like the suburbs, the ones way, the ones that
are that ain't never lived a life.

Speaker 1 (51:29):
They never walk through the neighborhood, they never talk like that.

Speaker 2 (51:32):
They want to live like that, and that's why they
would play that record. Like that song would be the
hottest song at some Beverly Hills school.

Speaker 12 (51:42):
You saying, like, right, the girls pop popping mm hmm,
she popping out at sixteen, you know what I'm saying.

Speaker 3 (51:50):
Yeah, Yeah, okay, okay, that's what's up, Kelly Good? What
do you think about that?

Speaker 13 (52:00):
Out to her? That first song hit her her curve balls,
you know, because we heard that before. So she like, no, y'all,
I'll hear this again. You know, I'm not I'm not
feeling the first song really like I was feeling the
second one. You know, her being underage. It's crazy hearing

(52:20):
her talk like that, trying to bob to it. You're
trying to picture the person who's rapping to you. So
then once you say that she's under raged, like, oh man,
this is crazy. But if she wasn't under rage, you
know she's talking to that shit, it'd go crazy.

Speaker 10 (52:36):
Yeah, she do her thing.

Speaker 3 (52:37):
I like the song, all right, for sure? For sure?

Speaker 8 (52:43):
Now I got you, okay, I mean why would the
fire god damn button?

Speaker 4 (52:52):
You know, I'm I lovet my train of thought on
that on that song. You know, you know it's it's
like it's like what Lo Digg says. You know, other
racists you know will love that because, like Lo Dig said,

(53:12):
they never experienced that before. And she had a bunch
of hood hood niggas that call themselves producers training her
the Doudo lyrical context.

Speaker 8 (53:24):
Mm hmm, yeah, because they got a kick out of that.

Speaker 1 (53:28):
Yeah, they do. They.

Speaker 8 (53:31):
I mean, I've been in the studio with him before.
You know, they get a kick out of it. They
tell her what to say, and she might a lot of.

Speaker 4 (53:41):
Nine percent of the time they use the girls rapper
is against it, but they somehow convince her, if you
want to make some money, this's that you got to
do it.

Speaker 1 (53:52):
Right.

Speaker 4 (53:54):
She does, and she do it on the autistic. You know,
she doing it autistically, but the commercial audience is saying
now and she don't realize it. But the kick out
of smoking weed in the studio.

Speaker 1 (54:14):
Yarn on.

Speaker 2 (54:15):
Here's here's the thing about records like that, right, MD.
And I don't know if you can agree with this.
Records like that never let you outlive them. That she
could never do any other kind of music and be accepted.
Right when you when you walk in the room with
a dark cloud over your head like that, being provocative

(54:37):
as a woman, you can't come out with anything.

Speaker 1 (54:41):
There's no way you can soften up your image. You're
always going to be that.

Speaker 8 (54:46):
And that's what happened a little Kim.

Speaker 1 (54:49):
Yeah, there's no way, there's nowhere to go.

Speaker 8 (54:53):
Nicki Minaj is a little different.

Speaker 2 (54:54):
She was smart, Yeah, nick Nicki Minaj played the game
and she she created a She created a like she
jumped into the barbie lane.

Speaker 1 (55:05):
See, toys are forgivable you you know what I'm saying.
You can forgive your toys, but you can't forgive a
person who consciously knows what they're doing.

Speaker 2 (55:16):
So, like I'm telling you, records, like, ladies have to
be careful about those kinds of records because those it's
just like a guy doing against the record. Once you
do against the record, it's really hard to get out
of that lane. Mm hmm, like especially if you win.
If she win with one of those records, her career

(55:38):
is already pigeonholed.

Speaker 1 (55:40):
You have to be careful about how you fall in.

Speaker 3 (55:45):
All right, what was this record by you?

Speaker 1 (55:47):
Lo?

Speaker 3 (55:47):
This is King of the BOREO did you.

Speaker 1 (55:52):
So this record?

Speaker 2 (55:54):
I'll introduce this record right, so I know people from
all over and a lot of them have to be
you know, happened to be Latin and uh, I mean
all over the place. Bro, So I had to do
one for my homies from from the BODYO. You know
what I'm saying. So I'm so I'm wanna hook it.
I'm want to I'm on the uh the change at

(56:15):
the end so you can hear it.

Speaker 4 (56:17):
Let's chug it out right for those who don't know
what the word bodyo be be the ghetto in Spanish.

Speaker 3 (56:23):
Let's chug it out.

Speaker 10 (56:28):
And king about what the fuck cow wanted me to do?
The King get about what the fuck I'm the King
got up?

Speaker 4 (56:46):
King' got.

Speaker 10 (56:51):
Can't get about you? What then want me to do?
The King got about you? What the cow wotan King
got up?

Speaker 15 (57:03):
The King got me.

Speaker 10 (57:06):
Look left King of the track, laying on this.

Speaker 25 (57:10):
Riding in the web, about six seven bricks, laying off
seven steal six in the cliff two stripper business with
me sitting in the web. I don't sell dreams, ho
I sell visions well known club working rigs in the kitchen,
little pants tion keik got game, Denzel washed hold another club,
but you lost in the sauce.

Speaker 8 (57:25):
And the flox for the costs since it's on the stand.

Speaker 10 (57:27):
That's a part of the game winning bag and the grabs.
And he's walking the flame.

Speaker 3 (57:30):
I don't play games, but the killer's coat sign that
to them for in the city.

Speaker 25 (57:33):
You had to get him like a line bait, hold
another fly, bitch a whole another climate, nor Wiley gonna
profile it, move on, silence, King of the audio, sit back,
play Spain's at the party. Don't get bad holes in
the room that we caught it over off Champagne in
him own and hit the stove comps on fall with
him on it.

Speaker 10 (57:50):
Yeah, I said they had a luga.

Speaker 19 (57:52):
Holy, he's trying to bud and I gave money off
the rip off ripped out.

Speaker 11 (57:56):
Can't send me out a man?

Speaker 10 (57:59):
What the fuck get I want me to do? I
can't got nobody of you, of your of your What
the fuck you can't got out? I can't got out.

Speaker 1 (58:13):
The king' you got an?

Speaker 10 (58:14):
I g l e ed up?

Speaker 1 (58:15):
Oh o deep?

Speaker 10 (58:16):
What it how I'm leaving?

Speaker 1 (58:17):
Boy?

Speaker 26 (58:18):
The homies ain't shoot, they ain't missing boy about a
nine loasis and God and I simple and then but
I'm for mind you hind tripp.

Speaker 10 (58:24):
But no, I just flipped the floor. Everybody know tries
about the dump I did hen head.

Speaker 11 (58:29):
I'll breathe in, breathed.

Speaker 10 (58:30):
Out everything that I do. I'm a max it that one.

Speaker 11 (58:32):
So look, it's goool, simple fag.

Speaker 1 (58:34):
You know what it is?

Speaker 26 (58:35):
Talk breake Fandeco call me burd Man for the letter
special of this fresh fish. What you eat your Fresco
Papa Hope. He told me how to handle ship. Put
the pedal to the metal in them out. This bitch,
put the pedal to the metal in them out.

Speaker 10 (58:46):
This bit got you bao, what the fuck cowd want
me to do? I can't get out of you? Of
your What the fuck cow want me to do? Can't
get out? I can't got out.

Speaker 1 (59:03):
I can't got nobody.

Speaker 19 (59:04):
You You ain't no dat body, your squad pushing dopp turnt,
your squaws got whole power by in the squad.

Speaker 15 (59:10):
Making dot Yeah, I'm part.

Speaker 10 (59:15):
Of that br over in the tron Charlotte Truss. Don't
we move it?

Speaker 15 (59:21):
We moved the us, got anus, got muscled the way
got Buss was.

Speaker 1 (59:29):
This is the world, this is your l.

Speaker 10 (59:33):
I got the square, I.

Speaker 15 (59:35):
Got the scrat.

Speaker 10 (59:38):
What the fun cawt want me to do? But I
kn't got nobody?

Speaker 15 (59:41):
You out?

Speaker 1 (59:41):
You budd you?

Speaker 10 (59:42):
What the fuck cow woman?

Speaker 16 (59:44):
I do?

Speaker 10 (59:44):
I'm the king?

Speaker 16 (59:45):
Got up.

Speaker 15 (59:48):
The king got.

Speaker 10 (59:52):
The king got the King is becoming political. The shooting
is becoming identical. We try to have levis.

Speaker 15 (59:59):
The treat is like said it discus me the Kings
of the video.

Speaker 10 (01:00:02):
The King is becoming political. The shoot is becoming I
didn't go.

Speaker 20 (01:00:06):
We're trying to deles the treets like seven discused me
the kings of the video.

Speaker 3 (01:00:14):
I like I like the delivery, wrote wrote the beat nicely.
That's what Johnny said about this record right here, Lo Diggs.

Speaker 1 (01:00:22):
Thanks man.

Speaker 2 (01:00:24):
Two of those guys on that record are very notable,
real gangsters, like very notable.

Speaker 3 (01:00:34):
It's like I'm talking.

Speaker 2 (01:00:34):
About that, says and two six playboys like Latin King
type of you know what I'm saying.

Speaker 1 (01:00:42):
So that's one of that.

Speaker 2 (01:00:44):
That's one of the reasons why when they brought the
track to me, I said, how about King of the
Budio and they was like, yeah, that's it.

Speaker 1 (01:00:52):
It was supposed to go on this Latin It was like,
you know, like a Latin gang movie. That's where it
was supposed to go.

Speaker 2 (01:01:00):
They never released a movie that one of the guys
actually got incarcerated who was putting up all the funds,
so he'd to actually release to be released at the
end of this year.

Speaker 1 (01:01:11):
So we'll see what happens.

Speaker 3 (01:01:13):
Okay, we'll see what happens. See if the track be
on there and it makes it and all that in
the film actually do come out.

Speaker 8 (01:01:20):
Is that a solo artist or is that a group?

Speaker 1 (01:01:25):
Those are all solo artists.

Speaker 2 (01:01:27):
But it was like basically like a Latino piece record,
you know, like a lot of Latin gangs.

Speaker 1 (01:01:34):
Was actually beefing real bad.

Speaker 2 (01:01:37):
And they called me and was like, Lo, we're doing
our own peace treaty. You think you could come up
with something.

Speaker 1 (01:01:46):
To this track?

Speaker 2 (01:01:47):
And I couldn't say no. So, you know what I'm saying,
I'm the only Afro Latino singer that they knew. So
they was like, so they send it to me. I said,
how about this right here? Can't get a video like
everybody's a king? They all right, So the visual they
got for that is in their real hoods, with real
reputable game. It's like tattoos all over the face, like

(01:02:10):
that kind of South Sider.

Speaker 1 (01:02:12):
It's all that. It's crazy. The video is crazy.

Speaker 2 (01:02:15):
Like for me to be surrounded with that much stuff
going on, you would think I was really affiliated.

Speaker 1 (01:02:22):
You know what I saying. It's crazy, bro. I already.

Speaker 8 (01:02:28):
Back in the late nineties, I was. I was working
with the artists.

Speaker 4 (01:02:32):
His name was Spade and he was locked you know rapper,
and they took me over the East Lay shoot the
video for the song.

Speaker 8 (01:02:40):
I was the only brother there.

Speaker 2 (01:02:46):
It was crazy, it was I'm talking about but but
but as far as far as like the camaraderie and
the love they were showing it was it was.

Speaker 1 (01:02:52):
It was cool.

Speaker 27 (01:02:53):
I wasn't you know, ironically, I wasn't the darkest person there.
I don't know, Yeah, I was not the darkest person there.
There was some some real morenos there, like some real you.

Speaker 1 (01:03:05):
Know what I'm saying.

Speaker 8 (01:03:06):
So the show in South America, yeah, man, real South
America stuff.

Speaker 3 (01:03:11):
So same here.

Speaker 8 (01:03:14):
When I was over there, I saw I saw some
food blacker than me. You know, I was like, I
think ecole. They all started laughing because that means.

Speaker 23 (01:03:26):
Yeah.

Speaker 6 (01:03:27):
So.

Speaker 1 (01:03:27):
But but the video was crazy. I don't you know.
I haven't seen it since the day we watched it.
I haven't seen it.

Speaker 2 (01:03:33):
But when I tell you, bro, tattoos all over the face,
I'm talking about big big two sixes on black of
people's heads.

Speaker 1 (01:03:41):
I'm talking about hand tattoos.

Speaker 2 (01:03:43):
I'm talking about homies with I couldn't show their face
on top, talking about for real, it.

Speaker 1 (01:03:49):
Was heavy, bro.

Speaker 3 (01:03:50):
I get it, man, I get it. Really good to
see here, Oh, Johnny says, I like each verse had
different deliveries, kept things interesting all all the way around. Okay,
all right, that's what Johnny T has to say about it.
He's on what he's on Instagram. He's on Instagram tonight,
uh in need you like it?

Speaker 8 (01:04:12):
Yeah? Mindy?

Speaker 4 (01:04:13):
And what KD did with with with that Spanish the
Spanish guy why you was about to play?

Speaker 1 (01:04:21):
Yeah?

Speaker 3 (01:04:21):
Yeah, okay, all right, that's what's up. That's what's up, Britta.
You're still there?

Speaker 14 (01:04:27):
Yeah?

Speaker 1 (01:04:27):
Yeah, I thought it was cool.

Speaker 12 (01:04:31):
Thought yeah, it had high energy. What I can say
is I can hear it in the club. It's not
like I can hear it in the club. You know
what I'm saying. You're having a good time, having some
drinks and that's all planning to keep the vibe going.

Speaker 3 (01:04:48):
That's what's up, all right, Kelly? Good what you think.

Speaker 13 (01:05:00):
The rook was brilliant? The first verse was good. I
think that the second verse for store sounds like that
Hispanic dude, but it's a little more Hispanic, like a
Hispanic artist flavor. It would have maybe a meat meal

(01:05:21):
on it, just that session talking that stuff and talking
about why is the king of the video, Like we
want to know why you're the king of the video,
you know, just to be able to paint that picture
and illustrated would be dope. I can definitely see a
music video too, And with all the hobies out there
in the woods. And although I really wouldn't hear it

(01:05:42):
in the club, I hear it on the soundtrack. I
see it on the movie, and yeah, it was a
good job though. Man. It was good for the headcount
of session, that.

Speaker 3 (01:05:55):
For sure, for sure.

Speaker 11 (01:05:56):
All right, right, well, Parter World, you in uh Palmdale?

Speaker 8 (01:06:03):
Okay, I sound like you're in the matrix?

Speaker 1 (01:06:06):
What?

Speaker 3 (01:06:10):
Oh wow? Okay, okay, yeah, we have to work on that,
but on that not We're gonna end this mother tonight.
I like to thank you everybody for checking us out
tonight and heading out of session again. We hear every
Monday night directly after the radio show with the Head
and Out of Session. If you want your record play
during this portion of the show, you can always hit
into it. She got six days to make it happen,
So go to www dot the radioshow dot com. That's

(01:06:33):
Diaz and David Asinapple radioshow dot com. Click on where
it says submit music, click on the photo uploads your
song and the finest way over to us. Be ready
for next Monday night as we bring you the Head
and Out of Session right here, presented by the radio
show Awesome You can tell the radio show prior to
this every Monday night, nine o'clock Pacific extent in time

(01:06:55):
twelve a m. Eastern. We got another exciting guest, another
exciting show next week for you. All right, Jimmy ways you.

Speaker 8 (01:07:02):
Say no, I was trying to remind you telling them
what time?

Speaker 3 (01:07:08):
Oh time? Okay, the show. Okay, it's all good. Yeah,
so check out said it. I said, definitely check out
the radio show during those times. This show, the heading
out of session will be on the iHeart app as
well as the radio show itself be on the iHeart
app under the radio show, so you can check us
out right there and check this show out right there where.
Now this is episode number of My Math is Math,

(01:07:31):
and I think it's the episode number fifty four, So
fifty four, you got fifty three other heading out of
sessions you can check out, all right, just just giving
you a little fyi so we make it it happen.
What's on Roku Roku is the is the radio show
and also Spotlight three sixty media is on rokul album

(01:07:52):
with the head and out of session on there. Because
I haven't got to figure out how to make it
more entertaining on now, you can't put that on there,
so yeah, yeah, I can't put that on there, but
I'm not doing video. Yeah, I'm figured out how to
do that yet. So we'll leave it just on on
on on audio only platform right now as well as YouTube.
You can check it out. Oh it's doing music video

(01:08:15):
music videos please. He song on a half of one,
not even done. Remember that they're not even produced right,
so there's no video form yet. Is it better than
I be? But it's all good. We're out of here.
See you next week, y'all, same bad time, same bat channel.

Speaker 11 (01:08:32):
We gone.

Speaker 3 (01:08:35):
All right, little dick.

Speaker 1 (01:08:39):
Make sure you follow us on all social platforms. Are
radio show