De La Soul | The Dr. Greenthumb Show

Episode Transcript

Speaker 1 (00:08):
Willlcome, doctors.

Speaker 2 (00:47):
I welcome to the highest show in the world, The

(01:08):
Doctor Green Thumb Show live on Twitch, Discord, YouTube, kick
x and the homesite w W dot b Real dot TV.
Would it be like to my right, mister Goodlight, dj
C minus Hello, to his right, the illustrious Son Dooby.
We got the Sideline crew in the house, Bolton Blombo,

(01:29):
Bra Brown, the Dominator?

Speaker 3 (01:31):
Yo Yo, what up? How you doing great?

Speaker 2 (01:33):
And I'll tell you why I'm great because our special
guests today are some of my brother's legendary inspirational I
can't say enough great things about these gentlemen. Positive News
and DJH.

Speaker 3 (01:50):
What's first off?

Speaker 2 (01:52):
I want to start by by giving flowers to you
guys that you know that I that I probably never
had a chance to to, you know, in a public form,
But you guys were inspirational to us because you guys
were being yourselves in a different way and pushing a
line of hip hop that was different than many others.
It was distinctive, it had its own sound, like you

(02:13):
knew a Daylight soul song when it popped off. And
some of the first shit that I heard from y'all
was so inspirational, like that. You know, it kind of
put a flame under us. You know, mugs included in
terms of production and you know how we would do
our thing.

Speaker 3 (02:29):
Man.

Speaker 2 (02:29):
So thank you for being y'all and not afraid, not
being afraid to explore the musical.

Speaker 3 (02:38):
Path that was laid before y'all.

Speaker 4 (02:40):
Man.

Speaker 2 (02:40):
That that's one because y'all did it very different. And
two for what we do here right here as this
live stream. I told y'all, I was gonna say this
right before we started, but my man DJ Masio put
me onto the live streaming many years back through u stream,
which was one of the two giants of live stream.
There was Stickam in u stream and Macio invited me

(03:03):
to do something on the network that you were doing
on u stream and I saw that and Bobo and
I had previously were, you know, we were doing radio,
and we left radio because of politics and all the
bullshit that happens there. But we were looking for another
platform and you totally put me onto the live stream platform.
So thank you for that, my friend. And number three

(03:26):
because three is a magic number. Indeed, we all know
absolutely y'all y'all gave me the great what are the
greatest checklist moments of my career with peer pressure.

Speaker 3 (03:40):
Y'all asked me to get on that. I was like,
what and.

Speaker 2 (03:44):
Look look look normally like for you know, when people
asked me to be a feature, asked me to write
bars in sixteen and a hell no, I got to
spit bars y'all created for me.

Speaker 3 (03:55):
And that was like amazing, yo.

Speaker 5 (03:58):
I mean, it was so organic the way he went
down so, I mean because it was just like how
he just did before we start.

Speaker 3 (04:04):
He just blew smoking my face.

Speaker 2 (04:06):
He's sighed on you to make you laugh and because
I don't smoke, and he was like, is this pressure on?

Speaker 5 (04:12):
And I was like, Yo, that'd be a dope name
for a song. Yeah, hey, we just made this song.
The concept to that was was dope, man. And see
in giving me that checklist, you gave me another checklist.
Y'all don't even know what it is. It's the only
song I ever did with J.

Speaker 2 (04:26):
Diller's with y'all man legendary recipe, legendary wow wow man. Yeah,
y'all did that for me. Man. I gotta say, Man, Hey,
del us all has been good to be real.

Speaker 6 (04:41):
Bro.

Speaker 3 (04:41):
We've been fancy, you know since came out in likewise,
you know what I'm saying, Man, the love.

Speaker 4 (04:46):
Has been reciprocated for real, Like I mean, mugs, We've
been on Monks since seventy eighty three, Yea, you know
what I'm saying. So he's been big bro for a
very long time, you know what I mean. And then
his transition with you guys, you just you've been just
an inspiration to us as well. Like we look across
the water who we love and like and we keep

(05:08):
it going. You know what I'm saying. I sec minus
on Twitch and you know I'm in the tack room right.

Speaker 3 (05:17):
Yeah, that's my bro right there.

Speaker 6 (05:18):
That is.

Speaker 2 (05:20):
You know, It's crazy how we've developed this, this this
bond throughout the years, because I mean when we came out,
you guys obviously came out before us, and we were like,
oh bout y'all. You know, anywhere we could go see y'all.
We were we were were doing that. And I remember
there was one particular show when we were finally on
and we we were doing we were opening for Third
Base and we were playing the same city, but you

(05:42):
guys were playing the night we got there were I
guess we're playing the following night and we got to
go see y'all.

Speaker 3 (05:47):
Tim Dog was with us, who was doing all kinds
of crazy. Yeah, did some shows.

Speaker 2 (05:53):
Yeah, yes, those very interesting shows with Tim, you know
what I'm saying, especially when we go out towards the
West and the Midwest and West, because things changed the dynamic,
like on how much people were getting down with that song.
It's very dangerous in Texas very much. I remember seeing
them because we would watch his show, you know, like

(06:15):
right before we were going on after him, so we'd
sit there and see what the vible is going to
be like. And in Texas, man, they love them some
easy e down there. So like what he's talking, all
that f ouptions ship he live. They start lifting up
their T shirts letting them know, like.

Speaker 3 (06:33):
So not that song.

Speaker 2 (06:36):
Yeah yeah that was wild times man, But yeah, no
man it it's it's been great to to to become
friends of yours man, because like we did, say, yeah,
we because we didn't anticipate that happening. We were just
fans of y'all, and then like you know, just something clicked, man,

(06:57):
and and when y'all asked me to get on that song,
where I was like, man, I love these fucking guys.

Speaker 3 (07:02):
Man, we've been.

Speaker 2 (07:04):
Yeah, we run it to each other in places and
poke the funk out. It was it was just I
just gotta say, man, it's it's an unforgettable feeling to
have been able to like get down with y'all and
call you my friends.

Speaker 3 (07:20):
Man. We run in to each other a place and
we're like, oh, ship, what are you doing there? You go? Oh?

Speaker 2 (07:28):
Man, I gotta say congratulations on the new album. Thank
you so much for let them know what it's called.
It's called Cabin in the Sky Man. It's a beautiful album.
Very proud of it drops November twenty first.

Speaker 5 (07:40):
Yeah, man, our first album obviously without Davy and the
physical and we just felt like, yo, it was something
we need to do just right by him. Like I
keep saying that, Like if any of us of Asian
remember that movie Outsiders when Matt Dylan is sitting there
in the bed and they about to fight.

Speaker 3 (07:58):
The sotion, He's like, turns around, It's like, we gotta
do this, yeah, Johnny, Yeah, Yeah, that's right. I was like,
we gotta do this for Dave. Man.

Speaker 2 (08:08):
I was holding a knife, I was probably holding the fork,
and I was like, Yo, we gotta do it.

Speaker 3 (08:13):
You know what I'm saying, have been holding the bong?
Yeah yeah, uh nah.

Speaker 2 (08:20):
But like every like everything I heard, like all elements
of it, right, it's it's twenty joints, yep. And it
doesn't feel like it if because it feels so good
and it rides so nice that it just goes by
and you don't even realize you knocked twenty joints down.
But not only that, just the cohesiveness of it of

(08:40):
having g. Carlos Posito like do the narration on it.
That was dope and the features, man, the features they
showed up for y'all.

Speaker 3 (08:50):
Man showed up show.

Speaker 5 (08:54):
I mean that's family, Like you know, comment is on it, Yes,
Black Thought.

Speaker 3 (08:58):
Is on it talking about killing mic Is on slick Rick.

Speaker 2 (09:06):
I'm gonna tell you that ship was dope, Like how
y'all fucking skilled that man? Like it's like a it's
a new take on a young world. No, it was
something we really want to do something this lyrically. I
just want to do it from a standpoint of like
not not being mean to the young guys, like because
we know what it is to be young, So I mean,
I just want to kind of come at that pace

(09:27):
of like Yo, we got your We got y'all back
in a lot of ways, and we can teach y'all.

Speaker 3 (09:31):
Yeah.

Speaker 5 (09:31):
So when Rick heard it, it was just like us
getting approval of approval and.

Speaker 3 (09:35):
He was like, nah, like I love this, Like can
I get on it? Yeah?

Speaker 2 (09:40):
Hey, that that was a great move for y'all to
put it on because it just sounded so natural. It
felt like that old school vibe, you know what I'm saying,
but with the new school flavor on it. And I'm
glad y'all said, I'm glad you said this because like,
not enough of us from from the Gold School say it,
because we're the Gold School called that old school shit.

Speaker 3 (10:01):
We're the Gold.

Speaker 2 (10:01):
Stee You know, a lot of us when some of
these youngsters came out, we didn't embrace them like the
guys before us embraced us. And we're willing to pass
the torch to us or even give us the stamp.
Said hey man, y'all need to listen to this shit
over here. A lot of our generation we were like
too bold on that mic, and we don't want to
give it up because we know we still got that fire.

(10:25):
But you could still have that fire and that flame
and that that sharp sword and give it up to
some of these young bucks that are sharpening that sword.
And I feel like it's more of us need to
do that, like you said, instead of being mean to them,
like fucking embracing them and like, you know, if possible,
guiding them and if not, just supporting them.

Speaker 4 (10:45):
You know, I mean, a lot of it I think
is a distance. Remember when we came up behind the catch,
we came up you know, growing up too, we actually
came up in the same room. Yeah, with them, was
the same room and I had to go through that room.
It's a different room, different room, and we're looking across

(11:05):
the way, you know, and we're critiquing across the way,
you know what I mean. It's like, you know, it's
it's different when you could critique in the same room,
but when you watching it on TV or whatever from afar,
your criticism is a little bit different. She gets misinterpreted. Yeah, right,
you know, it's it'd be nice if we could all

(11:27):
be in the same room, you know. I think we
need more of that ship. Yeah, yeah, you know.

Speaker 2 (11:32):
I like when when they throw like some musical festivals
that we we we've often played together, and it's mixed
genres like that, and they'll play like they'll have some
guys that are, you know, in our in our school,
they'll have some younger cats and then other motherfuckers in
different genres and stuff like that. And I feel like
that's that's the key on like building those kind of bridges,

(11:55):
because you're in those spots and if you run into
each other, it's hard to not say what's up unless
you're on that bullshit.

Speaker 5 (12:02):
Yeah, And that's what we were always blessed to have
because the first tour we did eighty and eighty nine
was just like it was us n W a ice
uh uh slick rick.

Speaker 3 (12:15):
Too short to short, damn stacked. It was stocked, it was.

Speaker 5 (12:23):
But then right from there we went to doing these
gigantic festivals like Fine Young Cannibals, and like we got
the taste of, like you said, going overseas and these
festivals that could have this rock star, this hip hop.

Speaker 3 (12:35):
Dude, this folk dude, pop star.

Speaker 2 (12:37):
Yeah, and like you you cross past with these people.

Speaker 3 (12:41):
So it's definitely a dope way pop. I mean, we
were blessed.

Speaker 5 (12:44):
Yeah, go ahead, sorry now, I'm just say we were
blessed to do that. When we met a SAP like festival.
He passed by and sat down and just start kicking.

Speaker 3 (12:53):
We had a good conversation, beautiful, great conversation. Yeah man,
you know.

Speaker 2 (12:57):
You know that that the key to some of the sex,
that the success for some sex.

Speaker 3 (13:07):
Part of this whole ship, right.

Speaker 2 (13:11):
Is the the the nature of a global hip hop group, Right.
They can go do these these these festivals and live
there and then be called back to these festivals because
you're bringing the fucking goods, right, And y'all opened up
a door for a lot of us that wouldn't have
been opened if groups like yours and PE hadn't gone

(13:33):
out there, showed up and like created those those lanes
for us out of the.

Speaker 3 (13:39):
Front even run.

Speaker 4 (13:41):
Yeah yeah, like they was over there first, like you know,
and and it kind of sucks being the first sometimes
because people don't really know it's you know what I mean. Yeah,
but one of them was doing Glastonbury Festival way back.
Wait yeah yeah, p Glastonbury Festival way back. You know

(14:04):
what I'm saying.

Speaker 2 (14:04):
So you know what's crazy is that, like we we
probably know plenty of people in in our industry that
do what we do that have had a significant enough
run just in general, but have never been overseas, right,
It never went and created the presence there, planted the flag,

(14:28):
brought value to the group or the brand or the
music and shit like that. And if half of them
had gone out there in the time where you know,
all of us were going out there, yeah, man, it
would have stabilized the career. That would have you know,
went as long as they wanted it to go.

Speaker 5 (14:45):
Now that's very true because, like you said, that was
happening because definitely over here we had this were funny
enough when we came up the idea for peer pressure.
We had this this summer jam lane, you know, like
where I'll even say it like our own brother he
could be like, yo, man, like I want my records
to get played on all these stations, so I'm gonna
make sure I do all the summer jams for this

(15:07):
radio set, that radio station. More around, you get your
record spun. But when you start realizing when we got
to this thing where records being spun on radio stations
didn't matter no more, they hadn't built up that aspect
of going all overseas and doing what they need to do.
And now that's what they're trying to catch up and.

Speaker 3 (15:25):
Do these days.

Speaker 2 (15:26):
That's that shit right there, like, you know, because there's
there's plenty of us that we know that had radio
action over some of us, but didn't do those same numbers,
even though they were getting mad fucking rotation. They didn't
sell the units and they didn't sell tickets, yep. And
that's because they didn't do all that groundwork that was

(15:46):
necessary to like get get the people excited and say, oh,
you know what, I'm gonna buy h that record, man,
because when they go on tour, I want to hear
that shit. If you don't feel like that artist is
coming on tour, how much you're gonna invest in them
with if they're not known for that? Right, So some
of this stuff just you know, like you know, they
they sort of waste opportunities when they don't like take

(16:09):
the time to build that.

Speaker 3 (16:10):
And I watched y'all build that.

Speaker 2 (16:11):
I watched a lot of folks build that, and it
you know, because we were students, you know, like most especially
with Mugs because he was first in the gate with
with seven eight three. He was with us before he
was with seven eight three. But I was off gang
banging and fucking up, so like he took the opportunity
with them and got in the gate and then came

(16:32):
back for me later, you know what I mean, And
him seeing all the things that others, how the others
were navigating the adventure of this music industry ride right,
seeing the dudes and the do nots. We kind of
had a head start on that, like, you know, because
we had examples to go by, like who was successful

(16:53):
and why they're successful.

Speaker 3 (16:55):
In Yeah, so you had a good mental.

Speaker 2 (16:57):
Yeah, well, we were watching y'all and others, like you know,
how to see and how y'all navigated this and then
learning from mistakes that people we knew that were clearly
making bad decisions and staying away from that ship.

Speaker 3 (17:11):
You know what I mean. I could say for us,
we was watching stet Yeah, we were all watching somebody.

Speaker 2 (17:18):
You know.

Speaker 5 (17:18):
It's wild to hear you say that, man, because it's like,
be real, gang banging, but be real when we met
you with the doest, nicest god, you know what I'm saying,
it ain't what you would be like Stereotos, but like
now young dudes would be like.

Speaker 3 (17:34):
Yo, this is what I'm doing, So this is kind
of how I move.

Speaker 5 (17:37):
That was one of the first things we in coming
to l A, just trying to figure things out, and
we could turn around see like two dang dudes fighting,
but then as they see daylight, I'll be like, yo
home myself, and I like smiles on their face, and
it was just like, you know what I'm saying.

Speaker 3 (17:54):
I think for some gang what's craziest.

Speaker 2 (17:59):
So when that was and I was banging right in
our generation, you know, and I was like from I'm
gonna say probably in between fourteen and sixteen and up
until I got into my twenties, right, yeah, you know,
the younger generation we listened to hip hop, so we
were about all that shit, you know. We were fucking
with y'all, and sometimes we'd remix the lyrics to gang

(18:20):
bang lyrics as shit like that.

Speaker 3 (18:22):
I said. Our older homies did not fuck with the
rap shit.

Speaker 2 (18:27):
They were like, you know, the way Michael Jordan, they
say Michael Jordan was, he didn't like no hip hop shit.
It was all R and B and old school shit
for him. That's what a lot of older gang bangers
were doing. They could not fuck with the rap shit.
It was us in our generation. We felt it was
ours and y'all got a lot of run in the hood,
fucking Beastie boys, Paul Revere, that ship would get crazy run.

Speaker 6 (18:50):
Yeah. Man.

Speaker 2 (18:52):
But the reason why, like when y'all met me at
that at that point and I wasn't like with the
chip on the shoulder and still kind of like you know,
rough on the edges with the gang bang shit, was
because I knew what the opportunity was in front of me,
and I knew I wasn't gonna get another one. And
I knew that if I was the one fucking up,
I was gonna be the first one that they you know,

(19:15):
that they toss away, you know what I'm saying, Because realistically,
the other homies didn't have a gang bang profile on
them like I did. So if anybody does anything, I knew,
the first motherfuckers they're talking to is me.

Speaker 3 (19:28):
So I had to change everything.

Speaker 2 (19:30):
That's why I didn't, like, you know, where a lot
of you know, red rags hanging out in my pocket
or red shoe strings or you know, overtly like telling
people that this is what I was from or whatever,
you know. So I just kind of you know, like
learn that early and learned it young enough to where
by the time y'all met me, I was past the
set tripping or like having to you know, prove that.

Speaker 4 (19:53):
I'm I gotta give a lot of respect for that man.
Thank you, sir, me and one of the ones to
make the real transition, Like you came and you stopped
living the story and you came told your story.

Speaker 3 (20:05):
Yeah, you know what I'm saying.

Speaker 5 (20:06):
But I'm also saying, like, and you could tell them
we're wrong. I still feel like you are still children
of like parents who had a different way of wanting
to look for things and wanted something better, like my parents.
My parents from the country and they moved to the
Bronx and they wanted a better life. And but I
think like as time went on for us, those some

(20:28):
of the children just what they got caught up in,
whether it was the crack erar, It's almost like those
those children became way cooler with their kids and they
didn't have this separation.

Speaker 3 (20:38):
It was almost like they was in the street.

Speaker 2 (20:40):
With the kids, you know, right, No, that's right, that
is the truth is different.

Speaker 5 (20:44):
You know, so you knew how to put on that
like you could be in the street, but you know
how to still come in the house and be like yes.

Speaker 3 (20:50):
Ma'am, and you was wild chamelions.

Speaker 2 (20:55):
He You'd be surprised, hey, brom, you'd be surprised how
many mony fuckers were like hard core on the street
and they went home where they lived with their parents.
They were like church kids.

Speaker 3 (21:07):
Oh man, I've seen that a million times. Yeah.

Speaker 4 (21:10):
A lot of my homies who really come from really
sound homes, got mommy and daddy and then church on Sunday,
but throughout the.

Speaker 3 (21:19):
Week they out. Yeah, that's what it was out here.

Speaker 2 (21:23):
And shit, I mean and half they're like half the
motherfuckers did bang against each other. Their mothers go to
church together, their families know each other, they went to
high schools together, played on the same football, basketball, baseball teams,
and shit like that. It's a difference of a block, right,
you know what I'm saying. And you know, fortunately I
got over that man. And you know, I knew there

(21:45):
was a lot of crips in the industry more than
there were bloods at the time, so you know, but fortunately,
you know, and they knew this, They knew where I
was from, they knew to get down.

Speaker 3 (21:59):
No one ever set triped on me.

Speaker 2 (22:00):
They were always like very cool with me and respectful
and and like willing to get down with me, like hey,
let's collaborate on a track rather than this mother, you
know what I mean, Like that type of ship, like
surprisingly because I thought I was gonna get that, but
I had like a couple homies that that that did
bang on the other side that embraced me, or like
hey man, you're cool man, let's get like.

Speaker 3 (22:22):
Yeah, that's what that's what this is about.

Speaker 2 (22:24):
I'm not bringing this that I that I escaped into
this world because this is something different. This is show
trying to show kids that there's another alternative, there's another
there's opportunities for you out there.

Speaker 3 (22:37):
There ain't just this.

Speaker 2 (22:39):
Yeah, And that's why I said to myself, I'll never
set trip on anyone. I'll not let someone set trip
on me. But I won't be set tripping on anybody.
And I'll just be neutral the whole fucking time, because
it ain't worth blowing the opportunity.

Speaker 3 (22:54):
Just ain't. God gives you something, you better cherish that ship.

Speaker 5 (23:01):
That's I mean, it's a lesson to say here with y'all, man,
we we loved all that.

Speaker 2 (23:06):
Man. That's ship the nigga. You know, it's a mutual love.
But I'm just saying, like, be all that son deep, Yo.
We was listening to us try we would be like
bugging on certain things. Y'a would say how y'all would
be doing things, and it was definitely your identity, see.

Speaker 3 (23:25):
And that was and we were trimming on that off
of y'all too.

Speaker 2 (23:28):
Like the fact that y'all had like the family popping
off of all these different different artists. That's what inspired
soul assassins for us to like, you know, make make
our own clique and have our own musical family like
the way y'all had it, you know what I mean,
the way y'all had it.

Speaker 3 (23:45):
We were like trying to recreate that over here.

Speaker 2 (23:47):
Remember, oh, this fucking guy, forget about it.

Speaker 3 (23:53):
Yeah, it's just stupid.

Speaker 2 (23:58):
Did you do an interview with Derek Bobo one time
and he was nodding out and ship, you know, I
finally I finally found out about the nod out right
because we were we were sitting here talking and and
you know, we take questions from our our live chat
every now and then, and someone asked him if he

(24:18):
had ever done heroin or an opiate right.

Speaker 4 (24:23):
And something because we was on the road and he
was like, mate, he was falling asleep.

Speaker 2 (24:31):
That was the second one, but that's happened because there
was one they caught on YouTube where he was doing word.

Speaker 3 (24:36):
They asked him a question. He's smiling and he's just.

Speaker 2 (24:41):
And so fast forward so many years later, you know,
one of the one of the folks that are are
arch live chat says, hey, Bobo, have you ever because
we always talked about, you know, doing mushrooms and asked
it and all this stuff from the old days when
we do shows we get tocked up before we go on,
and asked him, maybe you have you ever done Heroin?
And I thought it was going to be a no,

(25:02):
because like I've always you know, like I always been
rep well not always, but most of the time I'm
always around when he's getting extreme.

Speaker 3 (25:10):
And he was like yeah, I'm like, oh ship.

Speaker 2 (25:14):
And then I don't know if I think you might
have been watching that show where you you you fucking
commented like, well, fucking that explains what happened in.

Speaker 3 (25:25):
I'm like, oh shit, it's real.

Speaker 2 (25:31):
I was amazing, amazing. Addition, I looked at Boba. I
was like, Bobo and he was like, yeah, I tried
it once. Or twice. And during that interview that was
and then and then there was another one before that.

Speaker 3 (25:43):
I thought he was just tired.

Speaker 4 (25:47):
Because he was on the road. He was on the
road with the Beasties one time.

Speaker 2 (25:53):
Right yeah, yeah, back and forth. Yeah, he was working.

Speaker 4 (25:58):
All his podcast interviews and stuff. So yeah, he he
fell out.

Speaker 3 (26:08):
The brain just switched off. It's like real quick. So
your your your turn.

Speaker 2 (26:17):
Was the second time I had heard about it, because
there was another one that we saw on YouTube.

Speaker 3 (26:21):
We was in the.

Speaker 4 (26:22):
Hotel one time and we did we did an interview
and Bobo was falling asleep and at the table, I
was like, yeah.

Speaker 3 (26:30):
You know what I'm saying, Yeah, show you want to
do this. You know you got me. We can do
this and.

Speaker 2 (26:45):
See before before like you know you when he was
falling asleep, it was because of the hours, uh that
changed for him and moving back from from Argentina back
to back to here, because when he moved out there,
he had a total fucking try to adapt to uh
you know, the time out there, yeah, and then coming

(27:07):
back out here and then all the travel. He was
like totally fucked up with his sleep patterns. But then
he fucking admitted, right, here.

Speaker 3 (27:14):
What time that? Yeah, I tried it a couple of.

Speaker 2 (27:16):
Times and and then he was like, yeah, you know
I was doing it. I was doing an interview with
Masio and d and then and and you commented that, Okay,
now that makes sense.

Speaker 3 (27:29):
I was wondering what was going on.

Speaker 4 (27:32):
I remember not a boring guy, but I remember the
one in the hotel.

Speaker 2 (27:36):
Yeah, yeah, that ship was crazy. Man, it's lu Terek Bobo.
He'd be here, but he's tracking some uh some percussions
on something the new ship we're doing right now. And
you know, I'm sure he'd love to be here right now.
That is a fact, because he loves y'all as much
as I do.

Speaker 3 (27:55):
Man.

Speaker 2 (27:56):
And gotta say, man, it was dope hearing everything you
guys put down on this album.

Speaker 3 (28:02):
Man, that the feature with nos he fucking killed that.

Speaker 4 (28:06):
Yep.

Speaker 2 (28:07):
That running back record is run back ez Nah. Man,
it was fun making that.

Speaker 5 (28:12):
I was produced by Super Dave West, and man, he
just he's just always been in our cannon, man, like
just he got the artillery. I mean, like Super Dave
Wests always been down with a sister like the Aoi,
the Aoi era of our songs.

Speaker 3 (28:25):
And so when he came with that.

Speaker 5 (28:27):
I heard it like to hear this police sample and
you're like, all right, I know this, but where is this?

Speaker 3 (28:33):
Where's this going? And then it goes backwards. I'm like,
where's this?

Speaker 5 (28:37):
And the bee kicks and man, I was like, yo,
Dave West, you've done it.

Speaker 3 (28:42):
Yeah.

Speaker 5 (28:42):
So I wrote my ROMs to that to give it
to NAS forget it. I gave it to NAS early.

Speaker 3 (28:47):
One day.

Speaker 2 (28:49):
At home doing what I'm doing, go to bed, Me
and my wife's in the bed, want to clock my
phones going off?

Speaker 5 (28:56):
He's like, yo, who's calling you? I was, I don't know.
I get up and it's my brother. Shawn c is like, yo,
Na's been texting you. I was like, what he got
his verses? He's got two verses. I was like, what.

Speaker 3 (29:09):
I need?

Speaker 5 (29:09):
I need you to hear these verses. Then he sent
me one verse. I'm like, that's crazy. He sent me
the second one dope, but it was win. We wind
up running with the first one, and like, you know,
I mean, come on, man, we've been out before NAS.
But I mean, like, yo, we we study and we know,
we know who he is and the fact he.

Speaker 3 (29:27):
Got down with us all agree.

Speaker 5 (29:29):
Yeah, And he feels the same, which is a blessing
about us. He was like, Yo, thank you for thinking
about me on his You.

Speaker 2 (29:37):
Like, hey, listen, y'all sounded amazing together, man, like the
the contrast and the voices. Man, they just worked. Y'all
need to do more work with that ship to be stupid.
And I heard it. I was like, we'll hold it
real quick. Mother, me too. We're high together, right, yeah,

(30:00):
I told he's sitting here complaining.

Speaker 3 (30:02):
He was. He didn't want to do a bunch of press.
He's like, y'all should be doing later.

Speaker 4 (30:07):
This should have been later. We should have been doing
this at the end of the day. You're just gonna
get more creative right about. We don't have this work,
but I don't know if anybody else outside this room
might be ready for that.

Speaker 3 (30:26):
If you gotta do that little that little spike floating.

Speaker 4 (30:34):
Come up in a smaller I want to get on
the mailing list. I know that. Yeah, absolutely what we're
gonna say. See, I wanted to ask.

Speaker 2 (30:50):
I noticed the production is super Dave West along with
Pete Rock and DJ Premiere, and you guys originally were
going to do it, and now of half Pete Rock
and half Premiere. Right, are these songs included? What was
completed during those sessions? Yeah, well there's the album itself.

Speaker 5 (31:10):
It was gonna be called Premium Soul in the Rocks,
put Cream into Am he Rocked So and Us Soul.

Speaker 3 (31:16):
But nah, we never finished it. We did a few
with Pete.

Speaker 5 (31:20):
We had a bunch of joints from prem Dave never
really got on the Prem's joint, even a joint on
this new album called NF Like theyve love that record,
but he just never got a chance to write to it.
So yeah, I mean, like when when we got asked
by masterpilling them to be a part of this whole
Legends run we had we still actually contractually old Mass

(31:41):
Appeal an album because the Premium Soul and Rocks will
come up through, so I just try to reactivate that,
like you know, well look we got this. But then
I was thinking like, nah, I don't really got none
with Dave with prem anything that he's on, Like he
got he's on this joint Good Health with Super Dave West,
He's on his other joint with Super Days, He's on
his other joint called Patty Cake with Jake One.

Speaker 3 (32:03):
I was like, let me just open up the album Twurk.

Speaker 4 (32:05):
There are a lot of stuff he recorded during the pandemic,
you know, before the pandemic, and it seemed to fit,
you know, especially with trying to his legacy.

Speaker 3 (32:16):
But yeah, we didn't want no made up stuff. We
didn't want to.

Speaker 5 (32:18):
Like take his run verse put on a new beat.
So what he what you hear him on, is what
he was on. The last record, Don't Push Me. He
produced that himself and he's on that and the first
record he made that too, you Don't Stop. But he
was just saying you don't stop. And I just felt like, yo,
let me extend this and make a record out of it. It
was something he just did during the pandemic and it

(32:41):
faded up, faded down, but I extended it into a
song where his voice is like really like walking us
through life.

Speaker 3 (32:47):
So yeah, man, I mean it was a pleasure to have.

Speaker 5 (32:51):
Of course, everything we have from Pete and preem but
super Dave West did his thing on it.

Speaker 3 (32:59):
Hell yeah. Yeah. Even we have a drunk called just
how it Is.

Speaker 5 (33:06):
Sometimes it's done by People's Eric from the group Little
Dragon's Hell Joshua, So yeah, man, it was it was
just great man to have and put together what we
put together, man, I'm proud of it. It feels good.
We couldn't we could be nothing but authentically ourselves. So
we weren't gonna change for nothing and just put out

(33:27):
a great album and just give it to the people
who are aligned with it. And it seemed like a
lot of people so far a little bit of the
songs we dropped and they love it.

Speaker 2 (33:35):
Yeah yeah, I mean, look, the consistency has always been
there and it has not dropped. The quality of what
y'all put down for people is at top level, man,
no fall off, no drop off, bars upon bars, and
none of it sounds like, you know, like ship you

(33:56):
had to pull from this. It all sounds organic, thank
you know what I mean. And that that's that's everything
news news, yeh.

Speaker 4 (34:04):
Man, holding them, upholding them, balls that.

Speaker 5 (34:08):
And it's just only being a student of like, you know,
just the people I love, Like, I don't just stick
to like what we've done. I just I listen to
whatever's going on now and I just and I take
it seriously man. And even down to the way we
sequence albums were.

Speaker 3 (34:23):
Just from the era of just albums.

Speaker 5 (34:25):
Yeah, yeah, so it is, you know, like we we
hear a certain song like, Yo, this sounds like something
that should be at the end. Wait a minute, this
feels like something that will just keep you interested in
the middle. So that's why the runner back is where
it is like to peak you up again. But maybe
the next song after that is different world. And then
Jean Corlo's voices like all that means something you.

Speaker 2 (34:45):
Put in the puzzle together? Yeah, yeah, everything, yeah, yeah, yeah, yeah,
absolutely exactly, sir. Ain't nothing like the right fucking track
listing to take your ship over the top.

Speaker 3 (34:59):
It's be like a roller coaster ride exactly.

Speaker 7 (35:01):
It's what makes the album perfect is the order of
the songs, you know what I mean. And you know,
and it really matters because you want that trip, you know,
and it's you know, a lot of people say it's
a lot of heart form with you guys.

Speaker 3 (35:15):
Keeping it alive. But you know, I'm glad you guys
are still putting that effort.

Speaker 2 (35:21):
And I got to say, you said something that was
very important to me, you know, like because I've always
had this thought to write and with some mugs put
me on too long time ago. Is listen to others,
study what others are doing, like to be the best.
You got to see what everybody else is doing and
then figure out where you where you're at, right in

(35:42):
the middle, as opposed to what a lot of artists do,
which is we I don't listen to anything and we
just listen to what we do. I think when you
do that, you sort of you fall off because you're
not seeing what the motherfucker's coming behind you are doing
to get to your spot exactly. And like the evolution

(36:03):
of the style of how and what we do, you
know what I mean, like keeping up with that, like
constantly evolving your own style as opposed to stand like this,
like and this is no disrespect to to the kings,
because they are the kings of this ship and they
you know, even though they're like second generation, if you
think about it, they were the inspiration for a lot

(36:24):
of us to do this. Run DMC, right, Run DMC
were like the spark for a lot of us, even
though we know that the back man like.

Speaker 3 (36:34):
But yes, I know there was heads.

Speaker 2 (36:38):
I know, I know, I know about the first generation
and the heads that were ahead of them, But Run
DMC were like the spark I feel right. The problem
was is as as later on into their career. It
seemed like, you know, in terms of hip hop, they
were only listening to what they were doing, and they,
like the other groups that were coming up around them,

(36:59):
were flexing different styles of different rhyme patterns. You know,
it just kind of got it just got in front
of them, I think a little bit. And that's why
towards the last part you hear like trench riding for
him and other cats writing for them and like trying
to to snap them into the what was right right
right at that point. Yeah, And I feel like our

(37:23):
school didn't do that. We always studied each other and
studied what was new, And that's why I think a
lot of us still sound kind of like in the
now right now. Yeah, it's still sharp, still evolving, coming
up with different ways to flip at.

Speaker 3 (37:40):
Yeah, so what to do and what not to do,
not to.

Speaker 5 (37:44):
Do, and you know, and and and come on, you
know you're like that with your group. Like y'all travel
so at any given time, you can see the young
kid in Yugoslavia who's hungry. Yes, at one point, like
you know, London or or New Zealand, and they're trying
to like impress New York the way at one point

(38:04):
La and them was in La was like, you know what.

Speaker 3 (38:06):
New York for got here? Yeah, they show y'all what
we're gonna do, you know?

Speaker 2 (38:10):
Or New Orleans like fuck New York, or have the
South New York and lay show y'all.

Speaker 5 (38:18):
When you feel when you see that some that person
who is hungry and you're paying attention, it sparks you.

Speaker 3 (38:25):
When you can see these young kids.

Speaker 5 (38:27):
From whatever part of Japan who can outbreak dance anybody
from the United States, You're like, you pay attention and
you get inspired and you're like, yo, let me get
on what I am opposed to just having being able
to say we're from the country who started something like
all right, but where are you taking it?

Speaker 2 (38:45):
Where you're taking it? Where are you taking it exactly?
And I gotta tell you you're taking it constantly to
new levels. Man, I must say that to you. I
know where you're taking it to next levels. You guys
were the first. I mean that the style was unorthodox.
The way passio verse was unplug tuning was nothing like

(39:07):
what at that time, because you know, everybody was into
the house and all that, but y'all kept it still
hip hop. But then y'all kept it for the had
a little song for the house head still, but man,
for the gully hip hop, guttish ship.

Speaker 3 (39:19):
You know you guys rapped.

Speaker 2 (39:21):
In the in the contrast tones too, like in the
tones of of how you like how they interweave together. Man,
that ship was like I mean realistically, man, I mean
you know that that that inspired a lot of us
to like so that we aren't all rapping the same,
not sounding the same, like giving contrast in dynamics of

(39:42):
the layers and ship like that, because like your voices
layered each other's greatly.

Speaker 3 (39:48):
Man, I mean it stands up. You know you could
play listen.

Speaker 2 (39:54):
I'm a student, so you know I'm gonna tell you
what I what I've seen the student. I know that
many would agree with that, man, y'all.

Speaker 6 (40:04):
You know, plus, y'all were the first group that I
ever seen sell out a club like arena. I ain't
never seen no one, no rap group sell out of
a club like an arena. When I saw y'all did
that with you know the first album man, and yeah, y'all,
y'all killed it, man. The shows were amazing and preston peace, Dave,
y'all just killed it the way y'all passed it off

(40:25):
and forget it. It was just amazing on the turntables
once and two. It was a sick man. I think
it was the Palace, you know, it was so packed.
I never seen a palace so packed like that man
in the eighties even graduated. I didn't even graduated high
school yet.

Speaker 3 (40:41):
Many did y'all. Did y'all do a show at the Palace?
We could have, I don't think so. Really. The Palladium,
it was the Padio. I was there. I almost got
in five fights. Yeah, it was a lot going on,
was Yeah, it was the Palladium. It was I don't know.

(41:05):
We had so many shows. I think that show too.

Speaker 6 (41:08):
Yeah, there that night for the Palace. I think it
was seven eighty three opened up for y'all. It could be,
it could have been, but it was a long time ago, man,
That's how long it was.

Speaker 5 (41:19):
That's what's amazing. When you could do so many shows
you can't remember. Yeah, I don't know who.

Speaker 2 (41:26):
Oh the Bush, Water in the Bush is one of them,
but he's talking about something. Nations, Oh, United Nations, United,
and they used to do the parties like I think
it was that the United nations like Wren could be
in the crowd.

Speaker 5 (41:42):
You could be in the crowd and they playing the
Pasture or Mike while in the crowd, you start rhyming and.

Speaker 3 (41:46):
Then Hollywood Yo, yeah yeah that's right yo.

Speaker 5 (41:56):
And it was just dope because you know, like trust,
we was from like New York and like so like
us and Puerto Ricans was like this, not realizing that
their parents didn't want to fuck with us.

Speaker 3 (42:09):
But you know what I'm saying, it was like we
was like this, Like I.

Speaker 5 (42:13):
Came from the Bronx, I was around Puerto Ricans all
the time, and then you know Long Island all that,
so when we came out here, we were like yo, Ali
brother was like, nah, funk out of here.

Speaker 3 (42:27):
But hip hop Puerto Ricans is some fighting motherfuckers. Question.
I actually learned how to fight for Puerto Rican Dude.

Speaker 4 (42:33):
They're good with the hands, eased to up with some fighting.
But we was always slap boxing.

Speaker 5 (42:44):
I'm just saying, like how hip hop can draw people
out of their culture problems with each other, and it's
like we're standing here along with hip hop, and I
just think it just kind of allowed it to leak
into other aspects of when I went home and motherfuckers
act like they don't fuck with my peoples who's Mexican
or my people from over here. Like I'm like, yo,
these motherfuckers, it's cool, and you realize how much you

(43:06):
are the same. Specially when we saw Traveling Man, you
saw what was the same, and then you saw the
dope differences as well, and we all just gravitated through
hip hop and we learned to fuck with each other.

Speaker 3 (43:17):
Yeah, I love that.

Speaker 4 (43:19):
Yeah, like you as everybody learned how to perfect that show.

Speaker 2 (43:23):
Yeah, yeah, I mean listen that that That was one
of the essential things, like going on the road and
figuring out your show.

Speaker 3 (43:31):
Yeah, and giving it to them, Yeah, without question.

Speaker 5 (43:35):
We had to figure it out because like at one
point the the visuals are three feet high in Rising,
we wasn't We weren't really.

Speaker 3 (43:43):
Locked in on how to show that to you live.

Speaker 5 (43:45):
And then so we had people like Chuck d would
sit us down, tell us this Dougie first was citizen
tell us that j be like yo, do this, do that,
and it helped, man, and that's what we we felt
like we did the same when leaders came like leaders figuring.

Speaker 4 (43:58):
Out how to how to put form a bunch of
songs in twenty minutes when you ain't got that much.

Speaker 2 (44:04):
Time, Yeah, have it, you know, having the guidance that
you guys had, like with guys like Chuck and Ll
and the rest. I mean, I think that's part of
why you're you're like the mentality where you're like cool
to these young cats because it's the same thing, like
we got to be that way, Like, you know, they
got a question like, hey, how should I go about

(44:25):
this instead of dismissing them, like giving them that game,
like the way they were so willing to give us
games if we asked, you know what I mean.

Speaker 4 (44:32):
Well, you know I always said the criticism just needs
to be more constructive. Absolutely, we can't be sunning them,
you know, right and on these public platforms out in
them and all that kind of.

Speaker 2 (44:46):
Yeah, we can't be we can't be stepfather or fucked
up brother.

Speaker 3 (44:51):
We got to be cool cool hell yeah. And it
means a lot. It means a lot of thank you, brother,
thank you for real.

Speaker 5 (45:00):
And it means a lot as well, like when just
like in this this time that we're in with this
new album, and it's a blessing to see all the
people who could comment, but I don't like sometimes when
they comment on like, yo, we love this and this
is what they we need because these young dudes, nah man,
don't like, don't put this album we made in the
middle of your issues and your echo chamber of having

(45:20):
a problem. We don't got a problem with no.

Speaker 2 (45:21):
Young Yeah, just say we need this, We needed this, Hey,
we needed this. This is also great as opposed to
the comparisons, because that is what, like, you know, starts
the fire on the bridge, because then someone sends that,
they take it out of context and think you said it,
and then it blows up and becomes something that it's
not at all. And for me, you know, that's like

(45:45):
I've been fortunate to have worked with a lot of
the young cats coming up, not not all of them obviously,
but you know, when when I started doing some of
these collapse, I had a different mentality, Right, I was like,
all these young cats want me to get on. I'm
gonna show them what this rap shit is, and I'm
like trying to cut their head off on their own song, right,

(46:06):
And then I started realizing, like, why am I fucking
cutting their head off and trying to out wrap them?
Let me just make the song better. I'm not gonna
dumb my shit down or any of that because I
won't take work that I would have to do that
because fortunately a lot of the young bucks that were
coming at me were dope, and they were actually students
of the game, and I didn't prejudge anything. I just

(46:27):
in the in the beginning, I wanted to let them know.
And then I realized, you know what, fuck letting them know.
They know this is why they asked me exactly, So
let me instead of try to out wrap them, let
me try to like snap with them and make the
song better. And as I did that, I started getting
more work from from some of these young cats, or
more calls like, hey, yo, be real, I got this track,

(46:48):
I got some bars for me, and and I feel like,
you know, that's what the cats that were like older
than us would have done, you know what I mean, Like,
let's work together, more collaborative, you know.

Speaker 3 (47:00):
What I mean?

Speaker 2 (47:00):
Because when I started getting calls from some of the
dudes that I looked like y'all, as like as my idols,
like people that I was inspired by, There's no way
that I can't work with someone who I think is dope.
Just because they're in the the the younger generation that
I'm like, no, y'all ain't y'all ain't y'all ain't paid

(47:21):
the dues yet. Fuck that. If I think they're dope,
I'm gonna run with them, you know what I mean.
And I feel like that's that's that's been why, Like
I have a good relationship with a lot of them
young cats man, and I think that's why they fuck
with y'all because y'all do that shit like say, hey,
don't don't downplay what they're doing at all.

Speaker 4 (47:43):
I mean, overall, I'm inspired by creativity, right, and it
all starts with noise trying to come up with some
cool ship, you know what I'm And when you're looking
at across the room and you yeah, when you fuck
with something, you fuck with it, you fuck with somebody,
you fuck with them, you know what I mean.

Speaker 5 (48:01):
And I'm also inspired by people who believe in what
they're doing and if they are a little left left
of center there and they take it with their crew
to where they need to take it to.

Speaker 3 (48:15):
I love that.

Speaker 5 (48:16):
Like whether it was the Asap Mob crew or whether
it was you know, west Side Gun and all them
them dudes like rise. Yeah, like I'm saying, yo, because
you believe in what you're doing, because I know how
it was for us to believe in Jennifer taught me,
and I know that it wasn't the toughest, the streetest record.
And you could have someone maybe like Dre, who appreciated

(48:39):
music I love it, and you can have the person
who hat it. It's subjective, you know, I get it,
you know what I'm saying. But as long as you
can understand that, yo, it was a piece of art
I want to do and I did it my way,
you know what I'm saying.

Speaker 7 (48:53):
It was a.

Speaker 3 (48:54):
Good song.

Speaker 2 (48:56):
Yeah, absolute, yeah man, and yeah, so yeah, it's it's sometimes,
don't It's not. It's not the people that are putting
out the music that like fucking say these things. It's
it's the other people in between who want to create
something bye by by adding some ship like that. And

(49:19):
it's like, you know, hey, listen, I appreciate the compliment,
you know, I get it, but let's let's not downplay
with what what they do. What they do is art,
and art is like any other art. Like you, someone
may see something great on the wall and the person
next to them might say that is crap, but it's
all you know, the difference of opinion, and there's people

(49:41):
that support one or the other.

Speaker 3 (49:44):
Yeah, and just accept that.

Speaker 2 (49:46):
Why spend time knocking the ship because I mean, what
what does it get you?

Speaker 3 (49:50):
Nothing? Right? And and that's why, like you know, it's
best we.

Speaker 2 (49:54):
Don't engage in that that part of it, like okay,
thank you.

Speaker 3 (49:57):
But but you know they're always going to do that.

Speaker 2 (50:00):
This trollism that happens today is always going to be that.
Like when they don't see anybody else hated, well, let
me just throw some ship in there.

Speaker 3 (50:08):
See bites on this, you know what I mean?

Speaker 2 (50:12):
Like everybody's showing love and flame emojis and it takes
what motherfuckers. Yeah, this is the way it needs to be,
these young motherfuckers, and it causes other motherfuckers to be like.

Speaker 5 (50:23):
Yeah, and they'd be like yeah, you old niggas.

Speaker 3 (50:31):
They'd be like yo, we didn't even say nothing, like yeah. Yeah,
that's how it always is.

Speaker 4 (50:37):
Man.

Speaker 3 (50:38):
I think everybody's going to have the criticism. Can't please everybody, question,
and you shouldn't try not at all. What's the point
of that.

Speaker 2 (50:46):
Do what feels good to you, right, and you and
knowing that it's like it's going to be in the
world forever after you put it out, and you got
to be good with it, you know, because there's plenty
of motherfuckers that aren't good with what they put out
into the world at all. After a few years it
might not age well and they're like.

Speaker 4 (51:04):
Well there's some stuff that it has aged well, and
you still got that individual right. I don't know, because
it wasn't people how people looked at me and that
the period of time.

Speaker 2 (51:17):
Ye, yes, yeah, you know, because I know, like we
were talking about it some months ago about how like
even the Beastie Boys right towards you know, before before
mc A recipe passes. You know, they're changing lyrics, they're
leaving songs out of their set list because of you
know what they were talking about before it became or before.

Speaker 3 (51:39):
MCA became a Buddhist.

Speaker 2 (51:41):
Yeah, and it felt like he needed to change some
of that ship because you know that it was reckless
some of the stuff he was saying, obviously and defensive
towards women and other groups and ship like that. And
you know that that for some it becomes a thing
where it's like, no, I can't play that song. I
don't feel right playing this song or saying these particular lyrics.

(52:04):
I don't feel any of that. But you know that's me. No,
I'll tell you that. Hey, listen, I'll be one thousand
with you, and I said, I've said it here. There'll
be times where I'm so fucking high on stage right
before we like when as we're on right I'll be
high already, and then it gets to the point where

(52:25):
we're breaking out and fucking joined on stage, and I'll
be really fucking stoned, and I'll be self analyzing the
songs as I'm doing I'm like, I can't believe I'm.

Speaker 3 (52:34):
Saying this ship that's really violent and aggressive in my head, Like.

Speaker 2 (52:44):
Yes, after I meditate, I realized that, so I don't
feel bad about it, but like the in the moment,
I'm like, you know what I'm saying.

Speaker 3 (52:58):
No, I mean, this is a book that it's true.

Speaker 2 (53:02):
It's true, I mean because these are all based off
of the experiences that that you know, we're a part
of our lives and stuff like that. But it's just,
you know, like I'll be their high as fuck and
I'm seeing the crowd and there's some young ass people
like really young.

Speaker 3 (53:16):
And it didn't matter.

Speaker 2 (53:17):
Like back when in our twenties, it didn't matter because
we thought, you know, we're talking to the same motherfuckers, right,
and here we are at fifty talk about to these
young motherfuckers.

Speaker 3 (53:26):
I'm like, damn this.

Speaker 8 (53:29):
Being responsible and responsible I'm not your role model, I know,
yehs while even think about how even like you know,
some of the most legendary records that were disrecords and
at some point you can have like a relationship that's
now filmed and between a person who was an enemy
with but the song that lives in a space, yeah.

Speaker 3 (53:53):
I was, you know, like the bridges over will always.

Speaker 5 (53:56):
Be yeah, I can't care what we do it, yeah,
you know, and but he'll be like he'll do it
and like him and Shannon is in such a great
place with each other, and people can see that as
a part of the time. But you know, but they're
not gonna understand maybe why nas and maybe j will
be like, yo, we will just stay.

Speaker 3 (54:12):
Away from them.

Speaker 5 (54:12):
Yeah, it's a it's a period that they don't want
to go back to when we live.

Speaker 2 (54:16):
And you know what I'm saying true that it depends
you know, like wh this song is iconic. This song
what are you going to do?

Speaker 3 (54:23):
What you could you do?

Speaker 2 (54:24):
No Vassiline? I mean every we all love n w
A yeah and all them. That was a prolific this Yeah,
you know what I'm saying, hot Like you can't?

Speaker 3 (54:35):
How can you not? When it comes on you're like, oh,
you're like, you know, it's crazy? Is a trip now?

Speaker 7 (54:44):
Is like the media even social media now, like you'll
see like more articles that come up within a certain
time period.

Speaker 3 (54:50):
They'll be like, what's the best this record of all time?
You know what I mean? And they try to like,
you know.

Speaker 2 (54:56):
I hate when they curate those lists because nobody ever
knows what the fuck they're talking.

Speaker 7 (55:00):
Yeah, there's always some misses. But I did see a
lot of them. Thought that No Vassaline is one of
the number one greatest diss record of all time because
he kind of goes in and says some of them
most wild ship.

Speaker 3 (55:14):
Yeah, he says wild ship. That's for sure.

Speaker 2 (55:16):
We should make they should make a top ten list
of the shittiest list makers. That'd be the viral one
out of all of them.

Speaker 3 (55:27):
Yeah, yeah, the list makers. Yeah, I would love to
make some. I've seen some shitty list.

Speaker 2 (55:36):
Shitty list man, Yeah, on the ship list, man, don't
do it.

Speaker 3 (55:40):
You know what I'm saying, don't be it. Don't be
on the ship list.

Speaker 2 (55:43):
I know you guys gotta gotta run because you've got
a bunch of ship to do.

Speaker 3 (55:46):
So let's I'm done for today. You're not done for.
I'll tell you one thing though, I must say, I'm
I yeah, all right, you feel to feel good?

Speaker 2 (56:01):
Hey, look, I just you know, if my wife is watching,
and she's a big Day Life fan wife, he look,
he says he's high and smoked nothing and we got
high ceilings and smokes developed dust down here, and he
says he's high.

Speaker 3 (56:15):
Contacts exists. Contacts definitely exists. Yes, some people don't believe
in him.

Speaker 5 (56:20):
They they can with the mace on purpose, just like Yo, man,
I need to kick in my lyric.

Speaker 3 (56:24):
Let me just sit next to the mace for a
little bit. There it is.

Speaker 2 (56:28):
Let's go to the asylum real quick for any questions
we got for them.

Speaker 3 (56:37):
Welcome to the insane asyl. All right, let's do this.

Speaker 9 (56:43):
We got a mic in here asking Yo, Dala soul,
how is it working with Redman?

Speaker 5 (56:48):
I mean, Yo, Reggie is that's family. I mean, he's
just a ball of energy and but and even let
alone where he's at now in his life, but when
we work with him on it was just so much fun.
It was even Dave in our group was just saying, like, yo, man,
we need this energy for this dislike this this chorus,

(57:10):
and he said, what do you think about Redman?

Speaker 3 (57:11):
I said, Man, I love that Red Mental record.

Speaker 5 (57:13):
The crazy thing about oh is that there was a
remix that we just never finished where it was supposed
to be Redman rhyming and corrupt, corrupt put his rhymes down.

Speaker 3 (57:22):
But then where we never finished it. Yeah, oh wow.

Speaker 4 (57:26):
Wow, that would have been crazy. But that man today
is a Buddhist monk hang gliding out of planes and yeah,
he's jumping out of planes. Bro, he's an instructor. Now
hey hey, he sounded like real. He sounded amazing with y'all.

Speaker 2 (57:44):
I mean that was another another I mean, every every
collab y'all do work, though, I mean it's hard to
point one out that don't. You There ain't one that don't.
But I'm saying, like Red like killed that moment with y'all.
It's about meeting the moments. And he met the moment
with y'all and just tied it all together. That ship
was awesome. I was the classic.

Speaker 4 (58:06):
Yeah, you know been and grew up with everybody in
this game, man, you know, and you know you hold
on to the good ones.

Speaker 3 (58:13):
That's right. It's family, that's right, that's right. You know
ship dang all right.

Speaker 9 (58:20):
Both Karina saying Yo saluted Dayla is so much love
and all the flowers to y'all. It was great catching
up with y'all with Cypress Hill this past year. Been
a fan since I first heard three.

Speaker 5 (58:30):
High mm now I was it was you know, me
and Mace can say it all the time, man, Like
when we got the call that we could go out
with y'all, man, we was like, of course we love y'alls, man,
because you know, it's it gets to a point where
for us now, like it's shows is almost an autopilot.

Speaker 3 (58:49):
Yeah, it's kind of like, but who are we with?

Speaker 5 (58:51):
Yeah, and how the energy is going to be and
like we didn't.

Speaker 4 (58:55):
We come from our school like you want to rock with?
Who wants to rock the crowd?

Speaker 3 (59:01):
That's right?

Speaker 4 (59:02):
Everybody who want to bring their A game to the
table to make sure this audience is left tired.

Speaker 3 (59:08):
Yeah, man, that's right period.

Speaker 5 (59:09):
And to get on stage with you and to test
my knees to see if they can jump.

Speaker 2 (59:16):
Yeah. Yeah, you know, I'm counting calories the whole time.
That's that's the end of the workout. Take your heart
beat up to the last thing. We bring it down
smoking before this. The next one is going to be
the check of these tour.

Speaker 4 (59:38):
But you love rocking with people who love the rock,
the crowd, and especially when you're fans of them at
the same time and you became peoples.

Speaker 3 (59:47):
You know, it's it's like a family reunion. You know,
there's nothing better than that at all at all.

Speaker 9 (59:55):
Jerry is saying, as a DJ that uses streaming apps,
it is dope to see Dayla Soul's music finally available.

Speaker 5 (01:00:01):
No, man, I mean it was a blessing. And you
know we went through all that. It took a long,
long minute to say the least. We were still being positive,
we were still putting out music. But to see like
our first six albums not available, it was like almost
you felt like you was being a race from.

Speaker 3 (01:00:19):
History, right but in this digital world.

Speaker 5 (01:00:22):
Yeah, you know it was crazy, I mean to but
to have it taken care of finally to even have
like at right when it was taken care of, like
Marvel hit us up and it was like, yo, we
want the three f high and Risen joint in the
Spider Man movie. And so we had all these little
kids like trying to saxamin it and we had finally
got control of the the catalog, but we were just

(01:00:43):
still trying to get things.

Speaker 3 (01:00:44):
Right and they sh salmon and they couldn't find it.

Speaker 5 (01:00:46):
So it was just dope to see like a young ard,
a young a young audience wanting to have this music,
and we knew it was gonna not just stand in
the place, not only with the people who loved it
from the beginning, but the new audiences as well.

Speaker 2 (01:01:00):
Yeah, Salt Peppa's going through that right now. Yeah, let's
hope they get that ship figured out too, because that
you know, I mean, they're they're like the female run
DMC of this ship. You know what I'm saying icons legends.
They deserve that ship too, And we need our streaming
rates changed. Our royalties on stream rates could be changed.

Speaker 3 (01:01:23):
They're gonna change it though, they are.

Speaker 5 (01:01:25):
They're gonna change it once they have all the artificial
intelligence artis up front first, then they will give it we.

Speaker 4 (01:01:31):
Probably yeah, alright, yeah, once they figured out them royalty
right anyway, Yeah, anybody who anybody who's making music, now,
you really love doing.

Speaker 3 (01:01:45):
This, Yes, you must love it.

Speaker 2 (01:01:48):
Don't be having no side gig because that you you
won't do it professionally with that just ain't gonna happen.
It's true, right, I mean, like, none of us did
they do this that have been around over you know,
twenty five and thirty years. None of us had a
backup plan. Oh no, there was no like, well if
it doesn't work out, I'm gonna, you know, go work

(01:02:09):
at we tried.

Speaker 5 (01:02:10):
I'm from that era where your parents, you know, would
say like, yo, you need a you need a backup.

Speaker 3 (01:02:16):
Plan, backup plan, you know.

Speaker 5 (01:02:18):
And Dave was studying to be an architect, you know,
Mabe was gonna.

Speaker 3 (01:02:22):
I was on my way to the military military.

Speaker 5 (01:02:24):
You know, I was on I was learning music law,
so I was I would have been a lawyer.

Speaker 3 (01:02:30):
I probably been more way more wow wow. But yeah,
that's what we was doing.

Speaker 5 (01:02:35):
And then and then, like I always tell the story
where Leor came to my college, Leo Cohen because we
were being managed by rush right when we about to
come up with the We came up with a new album,
the first album, and then he came to my college
like yo, like you know, we got this tour with
l COOJ and Slickrid that we need you on, Like,

(01:02:56):
you know, do you want to do college?

Speaker 3 (01:02:57):
You know what is? Well? You do you want through college?
Or do you want to be a superstar? Like I
was like, I want to be a superstar.

Speaker 2 (01:03:05):
That was the right after I had to you know,
I had to tell my pops like I'm dropping out
of college.

Speaker 3 (01:03:09):
You know what I'm saying.

Speaker 5 (01:03:10):
Like there was no B plan after I was like
I had a B plan. I was like, fuck my
B plan.

Speaker 2 (01:03:14):
I want to go with a Yeah, there is no
B plan After that, it's strictly on the one foot ahead. Yeah,
like you know and that and that's the crazy ship though,
as an artist that you have to like stay you know,
pretty much resolute on and and and not listen to
people that are trying to say, well maybe you should
you know, think about doing this.

Speaker 3 (01:03:35):
Well, you're trying to get it together because.

Speaker 2 (01:03:38):
The the the minutes and the hours that you take
away from doing this ship over here puts you behind
it's like Matt, you miss a day.

Speaker 3 (01:03:47):
Yeah, fuck you fucked without question? All right with us? Okay,
we're good, all right, Carr.

Speaker 9 (01:03:54):
I was gonna say, what did your dad say after
you told him you're going to drop out of college?

Speaker 5 (01:03:58):
He wasn't happy, but he saw that we he I mean,
he couldn't deny that we were on. We had we
had already put out two singles, we had an album out,
like he he couldn't deny he saw it.

Speaker 3 (01:04:10):
Yeah, he saw it.

Speaker 9 (01:04:12):
Uh mayn here's asking a Dayla Soul. Who are like
some of your favorite rappers currently?

Speaker 3 (01:04:19):
Is he?

Speaker 4 (01:04:22):
I mean, I wouldn't say they're probably they're not really new,
but who I do like?

Speaker 3 (01:04:28):
I like?

Speaker 4 (01:04:29):
I like Evidence, Yeah, you know Vnce Staples, J Cole
of course better you know it's yeah, and he and
he kind of a highbred to me, Anderson Pat you know.
And there's a lot more West Side guns. Guess a

(01:04:52):
lot of them, you know what I mean a lot
of them, all right.

Speaker 9 (01:04:57):
And they're also asking them, can you guys talk about
some of your favorite features or collapsed.

Speaker 3 (01:05:01):
That that we've done.

Speaker 5 (01:05:04):
Shaka Khan was definitely one of them because we were
just such a fan of Shaka, and you know, I
just loved her so to have her come along and
and get down with us, and and then she became
like immediately like a shaka, like you know, she's angry
with us, She's ready to do the song. She just
needed her drinks. She had a favorite drinks back a

(01:05:26):
few of them winning that booth.

Speaker 2 (01:05:28):
And it was it was it must have been surreal
to like her.

Speaker 5 (01:05:35):
It's like and like mind you we we we we
we recorded it out here. I forgot the name of
the studio. And so she was with engineer. We had
all she had an engineer, her engineer that she was
very familiar with, and she was like, you know, she
does something and you just floored and she's like is
that good enough? And like it's Shaka Khan, of course

(01:05:57):
it's good enough. Then her engineer was like, no, you
can push your boy. And he was like, all right, well,
let's get another better and better each take and Manu,
the first take was golden.

Speaker 3 (01:06:07):
She was just warming up. Yeah, But so that was.

Speaker 5 (01:06:10):
Definitely one of them rocking with Macio.

Speaker 3 (01:06:14):
Parker p yellis that that was just a great to
see the jb Ain't it a trip?

Speaker 2 (01:06:21):
Like to get to collaborate with with, you know, folks
like that that you grew up to like listening to
and like oh ship and be on their radar like that.

Speaker 3 (01:06:30):
Yeah awesome. Yeah, no, it's amazing.

Speaker 5 (01:06:32):
I mean a lot of the hip hop dudes we
rock with two, but I mean just as a fan
of like all types of music. Even on our last
album to rock with David Byrne, you know, it was
a joke. He was like crazy, you know, he may
thank you and he said, yeah, the people we grew
up to, That's what I'm saying. David Byrne is calling
me like poss yo, I got the idea and he's like,

(01:06:56):
I don't got the words, but I got the melody
and he's singing the melody.

Speaker 3 (01:06:59):
I'm like, I'm fucking on the phone with crazy. That's
that ship.

Speaker 2 (01:07:05):
Yeah, it's the unexpected perk of this game that you
would meet like people you fucked with like growing up
like yeah, yeah, man, I mean like you know, like
and it's a trip because you wouldn't expect like cats
in that era to know who the fuck we are,
right and when and when you meet him and they
and they and they give you game and they know

(01:07:26):
you and they're like, it's like, oh ship, these like me.
Like we were at an airport and we ran into
Quincy Jones and we didn't think he was gonna know
who the fuck we were, you know what I mean,
I mean totally so far separated from the style, right,
and he knew who the fuck we were.

Speaker 3 (01:07:45):
He was like, oh, ship, you guys are Cyper said
how you guys do it? What you guys do it
out here?

Speaker 2 (01:07:49):
Like asking us what what we were doing, and then
just talking to us about music. And it was the
craziest ship like the fact that he could name us
all because normally it's like the New York when they
don't know our names, right, they just know the group Yo, Cypress.

Speaker 3 (01:08:07):
Right right right right, all of us are Cypress.

Speaker 10 (01:08:14):
You know what I mean that they don't know it,
but hey your Cypress check this out plug one plug dude,
No man, But you know they when they know our
names and they and they let us know, hey, we
still study this ship too.

Speaker 2 (01:08:30):
That that that was inspiring. I was like, oh shit,
that means like when I'm seventy something. He was probably
at seventy something at that point, because this was like
ten fifteen years ago. I'm like, when I'm at seventy something,
I gotta be on game like he's on game right now.

Speaker 3 (01:08:46):
Exactly. That type of shit is inspiring. Man, it really is,
bro real it is. Wow.

Speaker 5 (01:08:52):
Well yeah I like that. Man, that's amazing. We've blessed.
You know, we've been blessed that have that happened. Shoot,
I mean talking about even outside of music. I'm Jesse.
Jesse Jackson saw us. He was like, I was like,
you know, Jessin Jackson, That's all I can say.

Speaker 2 (01:09:07):
It was like super and he was like, you're posta
nows and he's saying daylight.

Speaker 3 (01:09:12):
He said, posts that's the ship I'm talking.

Speaker 2 (01:09:16):
That's it's like you you know, you know you've tapped
into some ship when when they know you like and
that is everything. Man, that's what y'all mean to all
of us though, you know what I mean, like you
tapped in in a different way that Yeah, the real
motherfuckers and follow y'all know it's not just daylight Like
we know y'all.

Speaker 4 (01:09:37):
My star struck moment with Fara Khan, Wow, we was
on the Kings of the Mic talk and I was
totally like I couldn't believe he knew my name. The
other brothers was looking at me and they were like,
brother Macia, you want to meet the minister? Of course?

(01:10:00):
I mean I mean that's awesome, you know what I mean?
Like yeah, and he was he looked brother minister, brother Masi,
brother ma to come on in there. I was like, what, wow,
that's awesome, Like do you know I've been going to
save your day since I was like eight years old institute.

(01:10:23):
I had my moment. I was like, really, my moment
and he knows my name. That's crazy.

Speaker 3 (01:10:30):
That's like a different kind of feelings.

Speaker 5 (01:10:34):
Yeah, it is different, and you know, you just be
honest it well, you know, for me, it ain't necessarily
saying it was like the acknowledgment he was looking for
until you get it.

Speaker 3 (01:10:43):
It's like, yo, like these are people you respect, and
what the fact that they can.

Speaker 2 (01:10:49):
Yeah, like you know, it's like you don't think that
you're on their radar and give you they give you
these flowers and you're like, oh, ship, it's crazy, it's insane.

Speaker 3 (01:11:00):
Hell, word up, what else you got?

Speaker 9 (01:11:03):
Bolton Bibley is asking Maco posa news and to be real,
what do you guys find is the most complicated part
of releasing an album, The.

Speaker 2 (01:11:12):
Most complicated, Well, you know what I've found is it's
timing because like you got well back in the day
when we were dropping records on Sony and Tommy Boy,
what they dealt with as a record company is you know,
they drop it in certain parts of the year, and
then you got to see who else is dropping in

(01:11:32):
those parts of the year and can you does your
ship stand up?

Speaker 3 (01:11:35):
Will it soundline? Yeah? That could be complicated.

Speaker 2 (01:11:41):
Yeah, the deadline ship is hard to yeah, because you're
looking at your art and you don't want to rush
your art, but then you got to have this business
side or you're hearing the business side of people telling
you like, well, your art needs to be ready by
this time or it won't be put out by this time.

Speaker 3 (01:11:57):
And you know, mind you how you said we want
Tommy Boy. What is a.

Speaker 5 (01:12:02):
Pretty smaller label than your label where you can turn
around and have people talking about like, yo, we got
this person, that person, that person. They got to come out,
so you gotta be ready here yep, or they're gonna
go and then you go in And I don't even
know what it is to feel that, because we never felt.

Speaker 2 (01:12:18):
That even the funky ship, where like if they've given
you a big enough, big enough advance and your turning
date is what it is, right every month after that,
they're taxing you for a good portion of that fuck
it event, you know, like taking it back as this is,
we're penalizing you because you're not delivering.

Speaker 3 (01:12:40):
And if it's like and if if it's like you.

Speaker 2 (01:12:42):
Got heat, they don't want the heat to be fucked up,
so they're trying to turn it up on you to
get it out quick.

Speaker 5 (01:12:49):
We never went through that, and because we didn't get
in a dance taken, we had a we had an advert.
It was an advert without the ants so much.

Speaker 3 (01:12:59):
Small it was like they couldn't take nothing back.

Speaker 2 (01:13:02):
Yeah, our first dance was our second advance was was
was significantly bigger, but in that significantly bigger it was
like you had to deliver delivery. Yeah, and fortunately we
delivered without getting any any of the you know, any
penal you know penalties, yeah, fees and ship like that,

(01:13:22):
but like, yeah, you know, those those fees were there.

Speaker 5 (01:13:26):
Sometimes it's sometimes it's healthy to be under pressure because
you find yourself tapping into something right, you know, because
we we did do that with Bionics, we got like
this hard deadline, like, yo, we got to turn this in,
and we stayed in mind you Bonics happened right after
nine to eleven, and we're working on this album, and

(01:13:48):
we tapped in like we had we in New York.

Speaker 2 (01:13:51):
We had a quad studio, we had like two floors
running back and forth, and we got it done.

Speaker 3 (01:13:58):
You guys were in a fucking zone.

Speaker 5 (01:14:00):
We were in the zone and like so it wasn't
no compromise. We just tapped into something that was in
us and we got that shit.

Speaker 2 (01:14:08):
See that is the pressure sometimes does add fuel to
the fire, because like we went through that with Black Sunday,
Like we had spent so much time touring that we
came up on a time where it's like, hey, you
guys got to get off the fucking road and start
working on this album because your delivery date is this.
So we had like maybe three months three and a

(01:14:31):
half months to turn that shit in. So me and
Mugs we did like the first couple songs here, and
we knew there were gonna be distractions here, so we
fucking skated out to New York and we record most
of it at Baby Monster Studios. Remember that one. Yeah,
this is called Baby Monster or some shit like that.
And there was one other studio we used out there
that everybody fucking used. But we fucking hunkered down and

(01:14:55):
we recorded the shit in about two and a half
to three months, brought se and in on the last
week to get all his parts and ship and boom,
out it went. We had to pull h to the
K from White Man Can't Jump soundtrack, and we had
to pull Hand on the Block, which was a B
side remix for Hand on the Pump, and we said, fuck, boom,

(01:15:19):
we're pulling those and we're putting this on this and that.
Those two songs, along with I think the last song
Lick a Shot that we recorded in Philly, those were
the last three songs that album. And the only reason
we did that was because we were short on time.
So you know, we said, fuck it, we'll pull those.
They're they're good, they could stand up with everything else.

(01:15:42):
And we and and we used them. But had we
had to like do those three new songs or two
new songs, it would have threw us off, maybe by
a day or so, but it but even that day
or so could fuck up the target date. Yeah, indeed, yeah,
it may seem like a small but for these corporations
that are investing all this fucking money and like putting

(01:16:05):
greasing all the wheel gets yeah you.

Speaker 5 (01:16:08):
And like you said, you greased me for this amount
of time, where yeah, this is what I gotta wait
for the next grease session for these other people when
you know this is your window, right, you know, it's
all about window mastering the same thing, like, yo, we
set up. We set this window for y'all because we
got these twelve other things that this record company is
telling me.

Speaker 3 (01:16:29):
We got it, you know, and it's hard to see
it sometimes, isn't all? Yeah it is.

Speaker 2 (01:16:33):
I mean we're that like look, I said here a
lot of times, there's no school for this ship that
you know, we're not prepped before we go in to
this business.

Speaker 3 (01:16:41):
We have to learn it hands on.

Speaker 2 (01:16:44):
And you're blessed if you got a guy that's been
through it before you, which is rare for everybody, rare.

Speaker 3 (01:16:51):
So you know, it's hands on learning.

Speaker 4 (01:16:53):
And you know, when it even got to a certain success,
I remember Paul telling us, he was like, yo, I
can't help you any further because that's the Sonic didn't
quite have the success you guys have and so yeah,
I don't know what else to tell you, you know, right, Yeah,
But the rest we had to pretty much navigate on
our own.

Speaker 2 (01:17:14):
And that's the crazy shit, because that's the whole of
us in this hip hop industry. Whereas like, you know,
think about it like this, right, when artists, some of
the ship we grew up to where our parents grew
up to and we adopted as ours later, right, which
was let's say the motown sound, right, A lot of

(01:17:35):
that stuff was all in house. But in that in
house environment, they were grooming each other for like, this
is how you present yourself when you get success or
just as you're on the road to success, this is
you know, showing up no no artists development, which which

(01:17:55):
was fucked up because in nineteen ninety two or ninety
three is when they pull artist development. I think PolyGram
was the first label to do that, and then everybody
followed suit.

Speaker 3 (01:18:07):
That was the.

Speaker 2 (01:18:08):
Last of the sort of grooming the artist type of
situation that existed for us in the modern erascape. Yeah,
that's why all these artists are off the hook and
they don't know how to do interviews, they don't know
how to show up. They don't know how to do
their own shows.

Speaker 3 (01:18:28):
That media they have, yeah, they had, they don't.

Speaker 2 (01:18:31):
They haven't built their foundation like we've talked about it,
like we were talking about earlier. They never built their
foundation doing the promo shows, promo runs and and and
all these things like building up opening for artists. They
go now and off they go. If you know what
to do or not right, And a lot of them

(01:18:52):
don't know what to do. Some of them are savvy
though some of them do know what the fuck to do,
and they they've they've studied the lane and figured out
how to make it work. But yeah, man, it's uh.
In our time, there was no you know, you're lucky
if you had a mentor that knew the ship, you
know what I mean, Because after that, if you got
successful and it was like beyond their you know, skill set,

(01:19:14):
like Okay, you've gotten here. Now I need to put
you in better handscuz you know, I only know this much.
Y'all are now at this level. And that was that
was big of him to do that, because you know,
most motherfuckers will hang on and try to ride. Yeah,
and yeah, you have to stay open minded and and
and constantly be paying attention, because this game ain't gonna

(01:19:37):
do you no favors if you don't know, it's not
gonna tell you ask questions.

Speaker 3 (01:19:45):
Brutal brutal one. All right, what else you got? Both
of them?

Speaker 9 (01:19:49):
Tony and the super chats talking about clearing samples, asking
if sample clearances are a scam or legit.

Speaker 3 (01:19:56):
Oh, that's legit, that's it's legit.

Speaker 4 (01:19:58):
There's absolutely it's the case by case situation. Yeah, this
case bike, yes, because everybody, every owner is different, you know,
not everybody you know has the same stipulations for Clarence samples.
But generically, yeah, you got to get permission.

Speaker 3 (01:20:17):
Yeah, there's certain parameters or there could be some repercussions
if you know, you know.

Speaker 5 (01:20:22):
Yeah, I mean, depending on certain music. It could be
where the music is like public domain.

Speaker 3 (01:20:27):
Is that's public doma old forty years or something like that.

Speaker 5 (01:20:30):
Yeah, And it's crazy because like I in first hearing
that term, I was like, Okay, so this is some
old old music with orchestras. I don't know, but I
didn't realize like our music at some point can go
under that too, like like you said, like about forty years,
and like no one got to get your permission for nothing.

Speaker 2 (01:20:48):
Yeah, well that's crazy.

Speaker 3 (01:20:51):
Yeah, it is great, Superman. That's they got to change
the rules on it. They got to change the rules.
But it's all rigged.

Speaker 5 (01:20:57):
I mean, I don't want to jump away from the question,
but it's rigged because then that's where like you're have
people be like, So that's why I'm trying to tell
you to sell me your music now before it is
a meaning thing. But then but it ain't gonna mean
thehing why you want to buy it exactly.

Speaker 2 (01:21:11):
There's no there's no one takes something that's supposedly you know.

Speaker 3 (01:21:16):
I think that only exists on one side. You know.

Speaker 4 (01:21:20):
That's why the masters are important to have, you know,
because it's there's two sides to this. There's the publishing side,
there's the mastering side. And I think the part you're
talking about is the publishing side that ended up becoming
public domain. Yeah, but the master is a whole other game.
That's why licensing and all them sinks and blah blah

(01:21:41):
blah plays a big part.

Speaker 5 (01:21:42):
Well, point blankets it's real.

Speaker 2 (01:21:45):
Yeah, if you don't pay it, they're coming to take
your publishing all of it. Wow, boy, they will show
up and they will show out.

Speaker 3 (01:21:56):
Yeah, it's an ugly it's an ugly game. You know.

Speaker 2 (01:21:59):
Like what's crazy is that it was because it was
lack of information on both ends, right, our end being able,
like our labels not being able to like communicate to
who we were sampling that Hey, look, it's it's it's
not a it's it's not taken away from her song.

(01:22:19):
And as a matter of fact, if this song goes,
you're gonna see a boost in your back catalog sales
if you allow us to use this sample.

Speaker 3 (01:22:29):
They didn't.

Speaker 2 (01:22:30):
I don't think that the record labels knew how important
the sample was to be to explain it to the
owner of the music right and the owners of the
music saying, you know what, if that's gonna get me
back catalog sales, Hell, yeah, let's do this. Like a
few of them, older artists like George Clinton and James Brown,
they got up on game with that and that's why

(01:22:52):
they allowed so much. But others that stood kind of
like standoffish and like, noah, if you want my music,
you're gonna give me one hundred percent of the publishing.
They asked themselves out because they could have hit that
back catalog exactly sales, and then some artists said, fuck it,
well we'll.

Speaker 3 (01:23:09):
Give you the whole publishing.

Speaker 2 (01:23:10):
We'll take the hit because yeah, you know, we'll make
money on the shows merch In other ways, this is
like the sacrifice to get get get on the bigger place.

Speaker 4 (01:23:23):
That's why I said, it's the case absolutely that.

Speaker 5 (01:23:27):
But you you will definitely have certain artists who just
truly believe in their art and that they don't want
you to touch it. I mean, George Harrison was like that.
He didn't don't even want you to. I don't care
what you're talking. I don't care about hip hop. I
don't get nothing like, yeah, don't tell.

Speaker 4 (01:23:42):
Based on where streaming and all of that is today,
they are a little bit more lenient now, yeah, because
that catalog is kind of sitting dormant right, nothing.

Speaker 2 (01:23:52):
That they're hoping motherfuckers go back to sounds. Yeah, people
welcome for this new album. They welcome us with open arms.
Come on here, come on down to do it. Was
down to do business.

Speaker 3 (01:24:06):
You know.

Speaker 2 (01:24:06):
That's the thing though, You know, like if you're into sampling,
you don't always necessarily use the loop loop.

Speaker 3 (01:24:12):
You chop it the fuck up.

Speaker 2 (01:24:13):
Yeah, you know, people got away from that just because
you know, like I think just the thought of if
even that you chop it up, did they come after you?

Speaker 3 (01:24:23):
It's like, well, what the fuck am I doing here?

Speaker 2 (01:24:26):
But realistically, if if you could show the distinction, which
you absolutely can if you're chopping, then you know their
argument is pointless and it's a completely different composition, you
know what I mean. It's just we don't know how
to argue that properly, and our labels weren't going to
argue for for us, so they would just take the
l give them the fucking publishing and let's go.

Speaker 3 (01:24:48):
Definitely with record labels.

Speaker 5 (01:24:52):
They're looking at where technology is now because a lot
of kids is like yo, who love that feel and
that soul of sample music? Kids now is just using AI. Yeah,
kids like I don't need to sample.

Speaker 2 (01:25:06):
I'll just have I would have a soul record YEP
interpreted by AI that kicks out in like in five seconds,
and I'll sample that, yeah or replay it.

Speaker 4 (01:25:17):
Yeah, but they now don't mind you using their stuff
because it's like there's something in the way.

Speaker 3 (01:25:25):
Yeah. Yeah, it's crazy. Technology as a motherfucker.

Speaker 9 (01:25:28):
All right, Mike being here saying stakes as High as
my favorite daily soul album Resting Piece too.

Speaker 3 (01:25:35):
Indeed, Dave, Yeah, Dave did.

Speaker 5 (01:25:40):
Dave did the majority of Steaks as I I mean,
I only did probably what it's so easy.

Speaker 3 (01:25:46):
I did the breaks.

Speaker 5 (01:25:49):
Something else, but I mean the majority of stakes is
outside of the Dilla track.

Speaker 3 (01:25:54):
David handle it, yeah, man, you know, classic material.

Speaker 5 (01:25:59):
I mean, it was a beautiful making that album because
I was just that and that was the first album
we made where we had the title ready like every
other song was just like you know, title kind of
came towards the end or somewhere in the middle. But
before we started recording, like Dave's cousin had just said them, like, yo, man,

(01:26:22):
it's really important man, y'all gotta do you know this
because you know, at that time, Balloon Mine State didn't
really make the noise because I mean you're talking about
Tribe had Midnight Murda Wu Tang had came out, thirty
six chambers, and Balloon Mine State was what it was,
but it didn't really make the noise with all this
other noise that was around. So when we came around

(01:26:42):
to do Steaks as High, like his, Dave's cousin like, yo, man,
because Stakes is high, you gotta get And then everyone
looked at him and Unison was like, Yo, that's the
name of the that's the name of the album. So
that was the first time we had that title before
we even did anything, and so everything started being based
around that time.

Speaker 3 (01:26:59):
Did it come together easy?

Speaker 2 (01:27:00):
Easier because you had the title first, the ideas together,
because yeah, the ideas it already had kind of like
a northern star to go towards, you know what I'm saying.

Speaker 3 (01:27:10):
So yeah, it just started flying. So I did.

Speaker 5 (01:27:12):
And I just remember being at Tips crib q Tip.
He was playing records from from JD Dilla and you know,
every record has kept getting better and better and that's dope, dope,
and Tips like, yeah, we're gonna use this for You're
gonna use this.

Speaker 3 (01:27:26):
For the New trib ABLEMS Award. That's dope. And then
when that Stakes this High record came on, Wow, I
like yo. I was like, Tip, let me use your bathroom.

Speaker 5 (01:27:35):
I went to the bathroom, put out myself and I
was like, yo, Dave quote David like Yo, this nigga
Dila got this record.

Speaker 3 (01:27:42):
I was like, this is the title track, this is it.

Speaker 5 (01:27:45):
We called JD and got that record and it was
like yeah, like it was definitely the records was just
really falling into place really easily over that album.

Speaker 3 (01:27:53):
That was a great choice too, classic material salute on
the EP guys did Bill a Diller beat tape?

Speaker 4 (01:28:01):
Man?

Speaker 5 (01:28:02):
Oh god, yeah, that was a lot of fun. What
we call it the in uh what are we named
that daylight?

Speaker 3 (01:28:09):
Was it day or no?

Speaker 7 (01:28:11):
No?

Speaker 5 (01:28:11):
It was basic like basically like it played off Daisy,
like the inner sound of Yancey.

Speaker 3 (01:28:18):
Yeah. Yeah, man, wow, Yeah that was fun. Man. We
had a lot of fun doing that ship. Man.

Speaker 5 (01:28:25):
It just because some of those tracks with tracks like
we just missed, like we we hollered out to get
it and someone else.

Speaker 2 (01:28:31):
Got it, you know, but that ship happens all the time.
It hurts when it happened hurt. Yeah.

Speaker 5 (01:28:37):
I mean we got more like that on this album,
where like one of my brother Torrey was like, Yo,
that that young world that yours record with with common
and uh slick a slick rick. I asked Pete for
that and I couldn't get it because y'all had it.

Speaker 3 (01:28:54):
It hadn't happened to us a lot of times.

Speaker 2 (01:28:56):
Y'all made that special though, y'all made that really special,
so that that's the standout track on the fucking album, Yes, sir,
and your verse on the Common record too, bro.

Speaker 3 (01:29:08):
Thank you, Bro.

Speaker 4 (01:29:09):
Well.

Speaker 2 (01:29:09):
The crazy thing even about that, that's was that was
our record, that record that was.

Speaker 5 (01:29:16):
A part of the Premium Soul on the Rocks record.
That was another Pete Rocks just cannon. He had that
we did so when we have put the premium soul,
when we have put the Premium Soul on the Rocks
thing on the side, and then you know, months and
months and months later, Pete and Common is working on
their joint. He somehow plays it by mistake the instrumental

(01:29:42):
in Common Herd and comes like yo, I want.

Speaker 3 (01:29:44):
That, and Pete is kind of like ay ay.

Speaker 5 (01:29:47):
But then Pete finally telling him like, yo, this is
day Law's record, Like I don't think I can give you.

Speaker 3 (01:29:53):
I don't know if they really putting it out too much?

Speaker 5 (01:29:56):
Yeah, it too much, And I don't know if we're
putting out don't know if they're going to put it out,
but you gotta.

Speaker 3 (01:30:03):
Talk to them.

Speaker 5 (01:30:04):
So Pete actually hit me, and I felt a way
about it at first because I was like Dave is
on it, and I'm like, this is something that whatever,
we could use it for.

Speaker 3 (01:30:13):
It's a dope record that got Dave's voice on it.
But I just thought on it.

Speaker 5 (01:30:19):
I talked to my brother, I rote manager smiles and say, Yo,
what do you think? And he's like, yo, man calm
and his family. You don't know when you're going to
put it out. Just give it to him. And so
we gave it to him and then and then Common
then was like, yo, thank you. Mercy was like, but
I want you on the record. So I was like, Yo,

(01:30:39):
I'm down to get on record. It's funny how you
just said what you said a little while back. I
was like, but if I'm getting on this record, I'm.

Speaker 3 (01:30:45):
Gonna try to kill him. I wrote my rock Damn.

Speaker 5 (01:30:51):
I love that record. But no, that was a beautiful
and it was Grammy nominated and all that. It was
such a beautiful record.

Speaker 2 (01:30:58):
In that case, I could see you, well, the mentality works.

Speaker 3 (01:31:02):
Gotta kill it, you.

Speaker 5 (01:31:02):
Know, because yeah, I had to, because mind you, for
him to take the record the idea that me and
Dave had, I couldn't use those lyrics, so I have
to write new lyrics. And sometimes when you've made when
you've closed out on something.

Speaker 3 (01:31:16):
That's what that is.

Speaker 5 (01:31:17):
And I had to approach it from a level of
like this, I gotta be lyrical lyricals somehow, And then
that's what I did, And I wrote those rhymes really quick,
like because coming I only wanted me on it, and
he said yo, and you got four days to do it.

Speaker 2 (01:31:31):
You know what's crazy is that that is a hard
thing to do, right, Like your mind was set on that,
and then you wrote a certain style to it, and
then you got asked to be on a different version
of it, and you and again you don't want to
use that same style because it's like that moment's gone
right and you have to up the fucking annie and
like put the flip on it. It's not as easy

(01:31:54):
as the first now it's not. You got to be
more of a technician on the second one. That ship
salute to you for that, because I mean, but I
could see where if if that had happened to me,
I would have been like, oh, yes, I'm cutting comments
head off to day on the track I Love You,
but I'm cutting you to Dick.

Speaker 3 (01:32:18):
Oh man, that's a lute to comment.

Speaker 2 (01:32:19):
That that album with Pete was fucking classic to me,
was amazing, amazing, real quick. The Doctor Green Thumb podcast
is the top fifty podcast uh listen to excuse me,
Top fifty listen to podcasts on iTunes and is available
on all streaming platforms.

Speaker 3 (01:32:35):
All right, get up on game.

Speaker 2 (01:32:37):
Make sure you check us out on Apple, Spotify or
wherever you listen, and don't forget to drop a comment
or leave a review of some sort. Positive for negative.
We don't give a fuck. Just it, you know what
I'm saying. It is all right? What else you got?

Speaker 9 (01:32:52):
Bolton, see you one in here saying Yo, shout to
Daala soul pump for you guys. It's gonna be cool
seeing you guys at the Australian Tour.

Speaker 3 (01:32:59):
Yes, going back to Australia.

Speaker 2 (01:33:01):
Australia now in a minute, man, it's gonna be great
to get over there.

Speaker 3 (01:33:05):
I hate that ride though.

Speaker 5 (01:33:06):
I can't wait till they get that star trek energizer
so we can energize.

Speaker 3 (01:33:11):
You know.

Speaker 2 (01:33:11):
They are working on a new a new plane right
like to like do what the concord used to and
get you there, what three hours less or whatever?

Speaker 3 (01:33:21):
I'm don They were testing.

Speaker 2 (01:33:23):
It to see if they could get the flight off
without the sonic boom, because that's most mostly what the problem.
What one of the problems is flying over the United States,
and then they don't want.

Speaker 3 (01:33:35):
Them to blow up exactly.

Speaker 2 (01:33:37):
So they've done a few test flights and we may
be seeing this ship again in the next five ten years.

Speaker 3 (01:33:43):
Man.

Speaker 2 (01:33:43):
Wow, man, we need that going to Australia places like that.

Speaker 3 (01:33:48):
It is far.

Speaker 2 (01:33:49):
Yeah, well, for y'all on the East coast, that's what
like a twenty some hour flight easily for us it's
eighteen or something, not eighteen it's for us, it's like
sixteen seven.

Speaker 3 (01:34:01):
Yeah, yeah, I don't know, it's not another six of us. Yeah,
Like that's crazy.

Speaker 2 (01:34:06):
That's like, I mean, when you get there, it's great,
But getting there it's like, yeah, you gotta be in
that flying can for all their maurs, you know, crazy
all right.

Speaker 9 (01:34:18):
No comment is asking them are there any more plans
with Mass Appeal after the album?

Speaker 3 (01:34:23):
I mean it depends.

Speaker 5 (01:34:24):
I mean, you know, we on case by case basis
with projects these days. But I mean, like we there's
a lot of love over there from Nas and Peter
and what they're doing. If you know, we could probably
do something I would never say no and close that
chapter at all.

Speaker 3 (01:34:40):
I mean, this was really great.

Speaker 2 (01:34:42):
Definitely going to weigh options on other things we're doing
and other people down to even a reservoir, like we
we rock with them, you know, with our catalog and
they're really good people their family, so we'll see.

Speaker 3 (01:34:55):
Definitely.

Speaker 2 (01:34:55):
Yeah, I mean I think you know many of us
wants to keep and music from y'all.

Speaker 3 (01:35:01):
Man, you know what I mean. I mean that's the goal, man,
keep the vibe alive, to make more music. For sure.
We love it, man, We love music, and I know
everyone can relate. Man.

Speaker 5 (01:35:12):
You know you we probably sitting on like tons of
unreleased stuff because you just got it from from being
an artist. You gotta just get it out. But yeah, yeah, man,
we love making music, bro.

Speaker 2 (01:35:23):
So it's hard to get it out of your system
and say, you know what, I'm not down to do
this because you might hear someone and be like I
need to get into the studio indeed, And it's it's
just that type of thing like you could be out
of the mode for whoever knows how long. It's that's
subjective to some people like go away for a little while.

(01:35:43):
Some it's like a quick you know, quick bit, right,
But you hear something and you're like, oh shit, I
need to get back in there and and and be
creative and start doing something whatever this motherfucker's over here
is doing. I got I gotta get to that, right. So,
I feel as an artist that spark is always there.
It just takes a minute to like for something. You know,

(01:36:06):
some of us never lose that feeling of us will
just keep going going. Yeah, you know, and I feel
especially in our generation, because it feels like you know,
I know how it feels to y'all, but like for me,
it always felt like if I let go too long,
it goes away m and I don't want to go
away away. Yeah yeah, so you know, keeping practice with

(01:36:29):
it and do it.

Speaker 5 (01:36:29):
Yeah yeah, No, I know, I definitely know what I feeling,
but along with it, just wanting to do it. You know,
Like sometimes I'll just jump on a record with someone
who could be like, you know, they haven't been out.
You know, people be like, oh wow, you jumped on
that record, but I was like, yo, they asked, and
I like the record.

Speaker 4 (01:36:46):
You know, making beats a lifestyle. You know, it ain't
going nowhere.

Speaker 2 (01:36:54):
It's a part you Yeah, like it like it's it's
it's a part of us, you know what I mean, Like,
it's it's what we do, it's who we are. It's
not something we could stop unless we were just totally
fucked up about it, right, Like what.

Speaker 3 (01:37:10):
Our work pleases us?

Speaker 2 (01:37:12):
Right because when we hear the end result, we're like,
hell yeah, that's some ship, right, There's there's a gratification
that comes behind it. When that gratification ain't enough anymore,
that's when most of us will let go of this ship,
you know what I mean, Because it's that's the end goal, right,
Like you go through all these struggles as ship, but
when you hear that at the end, you're like, hell yeah,

(01:37:32):
I could let this stand up and I'm proud of
this work, or I feel like people need to hear
this ship When you're not at that point no more,
and it's like I got.

Speaker 3 (01:37:41):
A fucking studio, damn it. That's fucking then, then then
then it's done.

Speaker 2 (01:37:48):
When you don't want to get on that tour bus
or that flight to go off, that's fucking done. You
may hate the flight, you may hate the bus ride,
but when you get there the show, it's a different feeling.

Speaker 3 (01:37:58):
Man, when you don't give a fuck about that feeling
no more. You're letting the other things prevent you.

Speaker 4 (01:38:04):
My wife looking at me, going you better not putting
no workstation in the bed room.

Speaker 3 (01:38:11):
You ain't right at all.

Speaker 4 (01:38:15):
That's I'm ready to wake up to it, Master Solemn.

Speaker 2 (01:38:21):
It's not about just the gratification, you know. It's the
fact that you've accomplished this and you love the way
that it sounds, and you feel like, I need people
to hear this because I'm proud of this work. That's
gratifying when you're proud of the ship you did, you
know what I mean? Like and other folks are saying, hey,
that's that ship right there. If you're fooling yourself, that's

(01:38:45):
another thing.

Speaker 3 (01:38:46):
Thing.

Speaker 2 (01:38:47):
But it's it's it's it's more about that vibe.

Speaker 3 (01:38:51):
All right, what else you got?

Speaker 9 (01:38:52):
Diego in here showing of Aposta new scene. You and
the Gorillas are a great collab.

Speaker 3 (01:38:57):
Oh cool man, that's Gorillas is definitely like our family. Man.
They've become our family.

Speaker 5 (01:39:02):
Rocking with them, getting up with them through mutual friends
and yeah. From there, it's just been like they're like
our family, whether rolling with them on the road, jumping
on whatever different albums, and I mean, Damon Alburn man.

Speaker 3 (01:39:16):
He's just he's just our brother. He's just a good dude.

Speaker 5 (01:39:19):
And I mean like he's just like kind of like
the modern day David Byrne, where he runs around and
sees talent and use it and utilize it and he treats,
you know, the artists with respect. So making music with him, like,
he reminds me a lot of Q Tip in a sense,
because he's always been that dude who like, he'll do

(01:39:41):
something that's so amazing, but then he'll look at it
and be like, all right, so but let me try
to flip it. And I had never really saw that
until Tip. Like Tip is the person who he'll have
scenario and then he'll do like, all right, but let
me try three different versions of scenario, have more people
round on it, and you're like, but what you're doing
that because it's the first one, and then you'll come

(01:40:02):
all right, I'm bugging, I'm bugging.

Speaker 3 (01:40:03):
It was the first one.

Speaker 5 (01:40:05):
So that David does that, you know what I'm saying, Like,
but I love that spirit of of just like yo,
but why stop here? We made something great, but let's
just get in and do something else and try like
he I love that about him.

Speaker 2 (01:40:20):
Yeah, like opt you know, the optimism, like I could
maybe we come up with something greater.

Speaker 3 (01:40:26):
Yeah, I love that, you know what I'm saying.

Speaker 9 (01:40:28):
Yeah, my fair to saying green and saw the legends
at the table and jeffro in here he's manifesting cypercill
Dla Soul Tour.

Speaker 3 (01:40:37):
Let's go. Oh man, man, that's good rolling out. Say
let's Jeff say, let's go. That's easy. That's easy work.
Back up and let's go. That's fun work. Yeah. I
mean like if you just love each other, man, I
got so much love for y'all. That's amazing.

Speaker 2 (01:40:58):
And cats getting busy on stage, Yeah, I mean that's
you know, like when when when we've played shows together,
I mean that audience gets like two and a half
hours of some.

Speaker 3 (01:41:09):
To the jump around part for all the major cities.

Speaker 2 (01:41:12):
All right, secondaries they don't get the knees.

Speaker 11 (01:41:17):
You haven't recorded other part of the cities. I'm going
to the hotel secondary markets. They don't get the knees.
Your knees is break. I'm up for the challenge, bro.
I'll be like doing squats during the day.

Speaker 3 (01:41:34):
Ready and ready, get them calves up.

Speaker 5 (01:41:38):
Yeah, Tim, be ready for them.

Speaker 3 (01:41:45):
I'm just saying, like, what are you doing? Ready for them? Jumps?
What jumps? It's covered it, Yeah, indeed that you don't.
It happens right, And the last one is so far.

Speaker 9 (01:41:59):
Mike said, can you talk a little bit more about
working with Nas and making a run it back?

Speaker 3 (01:42:04):
Well, I mean NAS had had.

Speaker 5 (01:42:09):
They had came with the idea of him appearing or
featuring on every album a part of the Legend series,
so from Slick Rick to Ray Kwan to Ghost on Down.
So we knew early, like we you know, I would
love to have him on the album.

Speaker 3 (01:42:28):
So we knew we needed a song for him.

Speaker 5 (01:42:32):
So when that song came about, it was just one
that was a great one in the chamber of mind you.
Nas had already tried something to the song we had
called a quick sixteen for Mama that killer mic is on,
so he had tried something to that, and he wouldn't
let me hit a lyric yet. He said, I think
I gotta fix something. And then days would become like weeks,

(01:42:54):
and then I was like, a he's not sending me
the beat, and then Shawn c was like, YO, think
he want a rhyme to something like a little bit more,
And I was like, Yo, you gotta tell me, y'all
the one who told me to give him this, I
wanted to give this to kill a mic. So I said, cool,
we can get killing Mike back on that. So we
needed a record, now, mind you. We had this record

(01:43:15):
called a Young Yung that he liked a lot. But then,
like when I when I came across the run it
Back record Forget, I was like, you know what, let's
see if he'll he'll he'll fuck with this. And and
when he heard it, I mean, it was the rest
of history, you know, amazing.

Speaker 3 (01:43:32):
She loved that short. He got going like he got
it done.

Speaker 5 (01:43:39):
Yeah, And I love the record so much because, like
his part is different than our, you know, like it's
the same backwards police record, but the drums on my
part versus the drums on his.

Speaker 3 (01:43:50):
Like, everything about that record is so dope. Everything about
that record, Yeah, he brought. He brought like the fucking
a game to it.

Speaker 2 (01:43:59):
I mean, you know we knew he would, Yeah, I mean,
but I wasn't, you know, I didn't know what I
was expecting when I was listening to it. You know,
I was just listening to it song by song, and
I got I gotta say, like, everybody that you brought
on fucking killed it with you, bro. And then when
I heard that, I was like, okay, yeah, I mean
it just made too much sense. And then just the

(01:44:22):
way that it that it landed was just awesome. Man,
that's a fucking dope record.

Speaker 3 (01:44:27):
And it's not too long, That's what I like.

Speaker 5 (01:44:28):
It's like the right amount of minutes and seconds.

Speaker 2 (01:44:33):
It got in and got out, you know, But I
love that record. Not even a fucking chorus. Did he
realized that there's no chorus on that reckon. The chorus
is in the in the lyric like the run it back, yo. Man,
Like everything about that record.

Speaker 3 (01:44:48):
Is dope to me. See.

Speaker 2 (01:44:50):
I like different ship like that, because I think that's
that's something that we were doing in the nineties, all
of us, that we weren't necessarily going to this this
stuff sort of template of verse chorus, verse chorus, verse chorus,
and that shit happened in hip hop for a minute
where it was like that they stopped putting the bridges
and brakes and it just got to the meat and

(01:45:11):
potatoes without the fucking other sides. You know what I'm saying,
and that that's what was always dope about y'all, that
y'all kept that even throughout, you know, through your evolution
and a lot of the groups that kept that sort
of fucking style so that it kept dynamics and layers
as opposed to Okay, here's the verse, yeah, chorus, here's

(01:45:32):
a verse, here's a chorus. There's there was so much
of that ship that it it became redundant and like
so to hear like versus like songs like that were
it's long ass verse and there's not really a chorus.

Speaker 3 (01:45:45):
That ship is out of the box right there.

Speaker 2 (01:45:47):
To me, that's you know, that's what makes albums is
not being afraid to like go out of the so
called template of what they know is hip hop songwriting.

Speaker 3 (01:45:57):
No, I mean it.

Speaker 5 (01:46:00):
We even did it on the other Primo track n
F where it's just me rhyming. There ain't really no chorus,
but the niggas funny. This keeps happening, and then thought
takes over and this keeps going, like I just you know,
so it's like because I mean, I love the records
like that from kras One when he would just rhyme
like he just rob it all the way through the

(01:46:20):
way all the way through, and it was about no course,
it's about he picked it up from like ball.

Speaker 3 (01:46:27):
Yeah. Yeah.

Speaker 2 (01:46:28):
So you know what I always thought was a dope
hip hop technique in terms of that part where it's
like they're going all the way out on the verse
when the verse is so long and they just start fading.

Speaker 3 (01:46:39):
Fading it out right like damn be bodied had faded
out and he's still rob Yeah. Oh man, the lost
art of verse ate outs.

Speaker 5 (01:46:53):
What man, we got hours off on the view when
I at the end of the and we faded it out, yo, man, Yo.

Speaker 2 (01:47:04):
Yeah, Downs has one like that too, right, but I
know he does, he's got one like he does.

Speaker 3 (01:47:10):
He does.

Speaker 2 (01:47:10):
I can't remember what song right now in the moment,
but he's flipping bars that they did all just I.

Speaker 4 (01:47:16):
Think radio forced us into that verse chorus, verse chorus thing.

Speaker 3 (01:47:20):
You know.

Speaker 5 (01:47:20):
It's the trade off, man, It's the trade off of
like this product that you're making. You're realizing that, wow,
it can be a part of this other, this medium
that you know, we grew up listening to and and
it ain't you know, and it ain't only on the
rap the rap weekends, Like that's what New York was.
I mean, so even when kDa at one point came
and they were just playing rap, I was like, oh shit,

(01:47:42):
this is crazy. So I mean, like, you know, to
be a part of that system is great, but like
it came with like radio, well, radio stations and record
companies trying to make you conform to a way of
more format songwriting, you know what I'm saying. Yeah, and
like some gave in. Some wasn't even having it, you know.
I mean some did it well. I mean, like you
can't tell me that Timberland didn't do it well with Missy.

(01:48:05):
I mean, like I know, they went into that booth
making singles like we're you know, like they make music,
but they had the art for real, that's the art
down of like we're gonna make a banging that's radio record, Yeah,
and it's gonna be crazy.

Speaker 2 (01:48:18):
There's a formula that making singles and like you know,
hit singles.

Speaker 3 (01:48:22):
I mean, you know, everything is a gamble.

Speaker 2 (01:48:23):
You can't guarantee it, but like you know, there is
a style of it, and certain producers know this formula.
And he's definitely wonderful.

Speaker 5 (01:48:30):
Yeah, I mean, without question, but imagine like right when
after Tommy boy At, you know, tom had lost all
the artists and then we went into the the WIA system,
Elektra wanted us, Lectra grabs us and like, yo, so
Sylvia is over there and she's like, Yo, we love Daylight.
We want to do this Daylight record. But they was like,

(01:48:52):
but yo, we need Timberland to do the entire record,
and we.

Speaker 8 (01:48:56):
Was like what nah. Yeah, he was like I've been different.
Y'all would have would have been that.

Speaker 3 (01:49:07):
From that work. You know. It was like and we
you know, us as Daylight, we always feel.

Speaker 5 (01:49:12):
Like we can we can get we can be on
a track with anyone, We can be produced by anyone.
We just gotta marry ourselves to the right track. But
I don't think the intention was there correctly to even
do that.

Speaker 2 (01:49:25):
And it was like, yeah, it would have. It would
have changed to y'all work. I mean, because like y'all
had hits without trying to get the hits, and when
you're putting it in the producer's hand, who that's all
they do was hits. That's a different formula you kind
of got to get, like you either got to embrace

(01:49:45):
that swing or say or do what y'all did and say, well,
you know we're gonna have to pass on that.

Speaker 5 (01:49:50):
We have to pass you know. It's like, yeah, that's
the only way I could really do this. I was
like nah, and she was.

Speaker 2 (01:49:56):
You know, we we knew Sylvia for a minute, so
she and she it was cool with that. She understood,
and that's when we broke out. We left the weird
system and to be the grind date. He's like that,
I don't think I think she had good intention Like, no,
she did. Obviously she wanted to blow y'all up in
a different way, but it would have changed the dynamic.

Speaker 5 (01:50:14):
Yeah, no, exactly because even in those those moments a record.

Speaker 3 (01:50:19):
Label, even when they want to have your.

Speaker 5 (01:50:22):
Best intentions, they're not looking at you like for the
long game, because if you break, we got another one
in the closet that we can use. You know what
I'm saying, We break this tool, just going to to
should and get another one. Like, nah, you can't break
my career. My career, this is for me, Mace Dave, like,
we're here for this ship.

Speaker 2 (01:50:40):
Yeah, y'all got that thing called longevity that other motherfuckers
strive for, and and that's because y'all put so much work, sir,
thank you.

Speaker 3 (01:50:52):
We are fortunate to be doing well. Imagine someone telling
you to do it and tie I would tible it.

Speaker 2 (01:50:59):
Yeah, no, cyper Zil, it couldn't. Yeah, that couldn't happened.

Speaker 3 (01:51:03):
Crazy. I mean, you know, I know how I know
you would bang went out, but god damn, yeah, I
know how to adapt, you know.

Speaker 2 (01:51:10):
Yeah, but that's fall in the you know what I mean,
fall in that pocket of who you are.

Speaker 10 (01:51:17):
And if it doesn't, you got to say, god it right.

Speaker 3 (01:51:25):
It would have been a trip to hear that though,
you know that Mugs and Tim Millon in the same room.

Speaker 2 (01:51:32):
Like yeah, yeah, we're goo said it first. Two different
vibes too, completely different. Oh my god, that had been crazy.
I mean not to say that timbow greater with you.
It's amazing he does, but like yeah, well, like like

(01:51:55):
how how amazing? Yeah, it's just how how how does
the sound sound change?

Speaker 3 (01:52:02):
Yeah?

Speaker 2 (01:52:02):
It's like you you had like a sort of like
a something to go on, you know, because he had
a body of work out there. There's a specific style
with what he does, just like there's a specific style
of with Parrell does not you know what I mean,
you hear that and you like you're like you're saying,
you're trying to marry yourself to like what you think
that sound might be, like connecting with that and if

(01:52:25):
it doesn't make sense to you, not even in your head, Yeah,
it's kind of hard to get behind.

Speaker 3 (01:52:30):
Let alone if you're doing that.

Speaker 5 (01:52:32):
And then and I'm not saying they would do it,
but then you have that same new producer saying, but nah, man,
you gotta do it like this.

Speaker 3 (01:52:38):
We can see the young boy or.

Speaker 5 (01:52:40):
That allowed it, and you'd be like, nah, that's not
what I'm trying to do.

Speaker 3 (01:52:45):
I gotta be me authentically.

Speaker 5 (01:52:47):
And then as me being a creative, I'm gonna try
to you know, like I always said that, like yo,
I could have been on a track of fifty cent,
why not like, but be creative?

Speaker 3 (01:52:57):
Maybe fifty cent.

Speaker 5 (01:52:58):
He's on the street scrambling, I'm as who's not and
I'm trying to get him out the street, and right
there we're connected. He's gonna say the ill rhyme about
what he's doing. I'll say the right rhyme. You marry
the right ship. You just can't just just be like
so I could just say I got a song with
fifty cent, but the ship is not dope because the
intention of it being like you said earlier song, it

(01:53:19):
ain't dead.

Speaker 2 (01:53:20):
Yeah, you can't just throw it together. Ah, you got
to marry it. Yeah, concepts me and everything. Yes, cohesive
all that Dante Ross, That's that's my brother too.

Speaker 3 (01:53:34):
Man.

Speaker 2 (01:53:34):
He taught me that like early on when we were like,
you know, because he could. He knew mugs before we
were on on right obviously, and yeah.

Speaker 3 (01:53:44):
We was with Dante when we met mom.

Speaker 2 (01:53:46):
Yeah, and every now and then, you know, he dropped
some gems and ship, you know, like in terms of
you know, what things should be like in terms of
like listen, man, you know, the conversation was about producers
and you don't want to have to we released. We
were listening to someone's album, some someone that we knew
in common, and they had like like probably six different

(01:54:09):
producers on the album and ship, and uh, Dante was like, well,
you know, this ship is pretty good. There's a couple
of songs here and there, but it's not cohesive. I
could tell that, like there's six different producers on this
ship and that's a problem.

Speaker 3 (01:54:25):
Yeah, And that always stuck in my head.

Speaker 2 (01:54:28):
You know what I mean, Like even outside of like
doing the work with Mugs, who was you know, for
the most part, the one who produced all the Cypress
Hill ship in the beginning, right, one producer and maybe
you know, like on on a Black Sunday and and
something else we had We had t ray On Black

(01:54:48):
Sunday produced way of going out like that and uh
Rizza do uh kill a hill on on on uh
on Temple's boom. Yeah, but you know it was because
they were all guys the same mindset and he could
like understand that they understood what our ship was.

Speaker 3 (01:55:04):
It could open up like that.

Speaker 2 (01:55:06):
But it was always my mindset that like one producer
to produce the thing so that it's it has a
sound and cohesion. Yeah, you know what I mean, And
that that to me is like everything. But sometimes and
this happens. It's not uncommon because there's a lot of
classic hip hop albums that there are producers that come
together and and and put these albums together, and there

(01:55:29):
are classics. I mean, it works too. It just it's
just about what you prefer, I guess you know what
I'm saying.

Speaker 5 (01:55:34):
And like you said, either way, it's just the sequencing
marrying the right tracks to the artists, and and like
if that artist, like you said, have several different producers someone,
whether it's the artist, the producer, whoever's.

Speaker 4 (01:55:50):
I think I think it lends when the lyricist themselves
know how to produce as well, absolutely, because no how
to really picked music, how to pick? Yeah, man, that
makes a big difference.

Speaker 2 (01:56:03):
I've always felt that, like if if the rapper can
produce a DJ, they know how to pick music in
a different.

Speaker 3 (01:56:09):
Way, and and and.

Speaker 2 (01:56:11):
Someone having to pick, then someone having to pick for them.

Speaker 5 (01:56:15):
You know, it's very true because I mean we had
it happened throughout our career. I mean even recently on
this album, like you know not he did the ask
a quick sixteen for Mama would kill a mic, but
he sent us a gang of ship. And it's not
so like the tracks is crazy.

Speaker 6 (01:56:34):
But.

Speaker 5 (01:56:36):
In listening to what he's sending me and outside of
is getting excited. At every moment, I'm actually thinking of
the album album and I'm like, well, that's amazing. I
know I could write something crazy for it, but we
don't need another one this, Yeah.

Speaker 3 (01:56:52):
How does it fit into this? That one that we picked?

Speaker 5 (01:56:56):
It was nothing else like that, and I felt like
could go in between this song and that song, you
can work with this you start figuring out what to
marry to your project.

Speaker 3 (01:57:05):
You know.

Speaker 2 (01:57:06):
Yeah, I feel like when you have that kind of
experience that you can actually pull that off. Yes, you
know what you're you know what you're setting forth to do,
and you know what goes with and you know what
doesn't know.

Speaker 3 (01:57:20):
It's called a body of work for a reason.

Speaker 5 (01:57:22):
So you can't turn around and have three sets of lungs,
four titties, seven highest.

Speaker 2 (01:57:33):
You need, arms, you need, you know all that, all that.

Speaker 5 (01:57:38):
It's just you know what I'm saying, like, motherfucker, give
you a track and be like eleven titties.

Speaker 2 (01:57:44):
Absolutely too many titties, too much milk, not enough hands. Man, Hey,
I want to thank y'all for taking the time to
sit in with problem.

Speaker 4 (01:58:00):
Man.

Speaker 3 (01:58:00):
This has been fucking I wish we could do this
ship all the time. I love you, brother, Thank you
having up the street. Man.

Speaker 2 (01:58:08):
What hey, Look, you know, whenever y'all need me, I'm
a phone call away. You know this, And man, I
gotta say, man, it's been great that our idea sounds nice. Though,
we got to talk about that Salori. Yeah, because I mean,
you know, I know we'd go out there and flip
it together. You know what I'm saying, Because there ain't

(01:58:29):
nothing like a day last show. Let's just say that, right,
Hey Man, It's nothing but love always you know this,
and congratulations on a bangersang you Thank you man, thank
you for having us.

Speaker 3 (01:58:44):
Man.

Speaker 2 (01:58:45):
Yeah, you want to give any shout outs before we
roll Man, Man the whole cyper Hill family. Man, they'll
take that. You know what I'm saying, Man, You know
what I'm saying, Come on, man, come.

Speaker 3 (01:59:00):
On you what love you guys?

Speaker 5 (01:59:05):
Or you love y'all too, bro, love all of y'all.
I just want to make sure that people just remember Man,
Cabin in the Sky. It's a beautiful album. We're so
proud of it.

Speaker 4 (01:59:15):
Yeah.

Speaker 5 (01:59:15):
It's the perfect, may say, the perfect balance of joy
and pain. There's a lot of joy in this album. Man,
it's not I know certain people could be like, wow,
oh I gotta hear a new Daily album. I don't
know if days want to be in there. You know,
you got people showing up just for that reason. It's
like you'll show up because I feel, I really feel
like once you show up, you're.

Speaker 2 (01:59:33):
Gonna love it. Man, You're gonna love what we've cooked
up this art. You're gonna love it. And it's called
Cabin in the Sky. I'm stamping that they are gonna
love it because I know I loved it as a
DAIL fan listening to it.

Speaker 3 (01:59:47):
That ship was hit. Thank you.

Speaker 2 (01:59:49):
There's some very very very special music on that album.
Y'all should check it out. Word up, you got any
shout out to.

Speaker 7 (01:59:57):
Sea and your shut to me ceo news man, Like,
it's just it's been an honor knowing you guys as
long as we have you know, like and just you know, salute, salutations,
salutary up, salutory. You know, it's an honor, man, It's
really an honor to be able to sit here and
chat it up with you guys, and just.

Speaker 3 (02:00:18):
Man, you don't cut it out. You are a friend, man.
Gotta give you.

Speaker 7 (02:00:22):
Your you know, your flowers, you know what I mean, Like,
thank you, thank you, thank you for the music.

Speaker 4 (02:00:27):
I don't see you brothers often, you know what I'm saying,
So it's always great to see man. Yeah, man, we
always pick up from when we left off. That's right,
great time, that's right, right all the time.

Speaker 7 (02:00:38):
So so thank you guys, and you know for being
here hanging out with us. Shout out to everyone out there,
follow me a C minus fan for and all the
social media. Tonight, I'll be at Motown on Monday, myself,
DJ Fatrick and Mona Lisa. Oh oh, so that's tonight guys.

Speaker 3 (02:00:56):
You know, man, I have to sneak out promo should Yeah,
we'll be there. It's all right, that's get your second win.

Speaker 7 (02:01:08):
Hey, come on, all right, son ya, So see you
tonight over there.

Speaker 3 (02:01:12):
Yeah.

Speaker 6 (02:01:17):
Man, I just want to give a shout out today
they I was raised on these guys as music, so
they've kind of made me. So it's like, uh, I
got nothing to say and I still got goosebumps on
me they hear. So that's all I gotta say. Man,
thank you, Masio and Paus forget it man, what you
guys contribute to the hip hop world. This is I'm speechless, man.
You ain't no words to describe it. Just thank you,

(02:01:41):
congratulations on the new album.

Speaker 3 (02:01:43):
Thank you so much. That's it.

Speaker 6 (02:01:45):
I got to give a big shout out to Dilated
People's rock. I got to call you rockets, so lord,
I love you rock all right, man, so everybody else
man love y'all, word up you.

Speaker 9 (02:01:53):
Thank you guys yo yo, shout the Insane Asylum Show
to Ray Morning, Chet Film Show, to the Dominator, and
maybe we can get a Macy a little high before
he goes in and do more interviews.

Speaker 3 (02:02:03):
Let's see what's up being.

Speaker 5 (02:02:06):
Flying already got wings. On Natural Ring.

Speaker 2 (02:02:11):
We thank God, Oh red Bull, We thank God for
blessing us with one of the greatest hip hop groups
of all time.

Speaker 3 (02:02:17):
Day Last Soul, Swallow that, thank you, Thank you God
TV