Deftones Stephen Carpenter on this Strong Tuesday | The Dr. Greenthumb Show

Episode Transcript

Speaker 1 (00:05):
Studio, Like all video seatured on the channel's definitely intended
for a mature audience. This videos like please extaprol language
content is inappropriate for video, It's not for kids.

Speaker 2 (00:15):
Welcome do w.

Speaker 1 (01:13):
Oh, we'll be leading now huh, we'll be needed lots.
I helped today.

Speaker 3 (01:22):
On The Doctor Gray thus Show Live, Twitch, Discord, kick
x YouTube, the home site w w W dot b
real dot tv. Would it be like joined at the
table squared up with my people's.

Speaker 1 (01:40):
Psycho Leezy and the Bell Dad? What word up?

Speaker 3 (01:46):
We got the Sideline Crew Bolton Blombo, Broprun, the Dominator
you know, sidelining Yo Yo?

Speaker 1 (01:52):
What up?

Speaker 4 (01:53):
Formerly known as the Treehouse Crew. We got the Sideline
Crew here aka the Mormons. What's going on the Mormons? Yeah,
Kelly Blaze calls us the Mormons SLC Salt Lake City.

Speaker 1 (02:03):
Oh right, okay, got now, I got it?

Speaker 5 (02:06):
Yeah, we got many wives.

Speaker 1 (02:07):
Should be it should be the new wish. Oh then
I'll refer to you as the Jazz.

Speaker 3 (02:13):
It should be spoken by the strong One and the
building strong toe.

Speaker 1 (02:17):
I love everybody, that's right? And we got the mask
man in the house DJM. What of everybody? How we
doing happy? Tuesday. So would you could? So?

Speaker 3 (02:27):
Would Bolted consider moving to Salt Lake City to have
many wives?

Speaker 4 (02:33):
It is a beautiful state. Have you ever been to
Salt Lake City? Yes, I'm assuming you have. Yeah, of
course maybe driving through there, you see all the canyons
and everything, It's like, man, this whole place is clean
and beautiful.

Speaker 3 (02:44):
Beautiful scenery. But if you had many wives, you had
you would have many issues.

Speaker 4 (02:48):
Bolted All right, I'd I would be not a stay
at home dad, no kids. I'd be a stay at
home husband. That part, yeah, yeah, the wives would be working.
When they get home, the house will be clean, food
on the table, ready to go to lounge around.

Speaker 5 (03:03):
You want to smoke some weed? I got you?

Speaker 1 (03:05):
Is that what you think it's gonna be?

Speaker 6 (03:06):
Hap?

Speaker 3 (03:08):
Yeah, they slap you. Yeah, when they get home. They
slap him in the ass real quick. They put on
this motherfucker slapping the ass.

Speaker 1 (03:20):
Roll your roll? What if it became that?

Speaker 5 (03:28):
Oh my god, that sounds like a dream.

Speaker 1 (03:30):
Though, we don't be telling bullet. Did you need to
get out? Mad?

Speaker 7 (03:33):
You need to get out, bro, it ain't worth it
will break you out, bro. They got him on a chain.
We got guys with a van in trucks. We could
just you know, kidnap you and ship.

Speaker 5 (03:48):
If you like me going to Colombia, I'm not coming back.

Speaker 1 (03:50):
Bolted would be three times as skinny.

Speaker 6 (03:53):
You know.

Speaker 3 (03:53):
It's saying, be all fucking shriveled up. Too much work
for him, you know what I'm saying multiple wives that
that'd be funny bolting on the show Sister Wives.

Speaker 1 (04:03):
Wow, you know this. It's one guy always trying to
marry like a new one into the family.

Speaker 8 (04:08):
Looks like he likes to get tortured though, you know,
like you know, like he's one of the masochistics and.

Speaker 1 (04:18):
He's like more more, He's like, no more, think you
have another?

Speaker 3 (04:27):
Oh man, listen, I just want to say we're only
in the house for an hour today because you know,
I got to run off to the studio and stuff
like that, and you know we're like keeping time on
an album and whatnot.

Speaker 1 (04:41):
So so sorry for that. And I know it's short notice,
but so sorry.

Speaker 3 (04:49):
And we want to thank hey man, absolutely want to
thank day Las Soul for dropping in yesterday. That was
so big, man, it would have been dope if you
were here for that one out been awesome.

Speaker 1 (05:02):
Shit, I'm glad they made it.

Speaker 3 (05:06):
Yeah, it was Hey, listen, they sent me the link
to their album is a twenty album, twenty song album.
It doesn't feel like twenty songs because all the songs
are banging.

Speaker 1 (05:17):
It's like that.

Speaker 3 (05:19):
Daylight you love, but like take taken to another level,
you know what I'm saying. And they got a lot
of super Dave's vocals, you know what I'm saying, rest
in peace on tracks that he actually did, and they
built around those tracks like that type of thing.

Speaker 1 (05:36):
Wow, it was awesome or that. Yeah, they got so
many dope features. The shot when is this out?

Speaker 5 (05:49):
Three day, six hours, forty nine minutes.

Speaker 3 (05:51):
Right there, two days, six hours, vota nine minutes and
seconds are ticking down, son ticking down the seconds.

Speaker 1 (06:02):
Yeah, wow, Thursday night it I know, I know Masio
is probably on the mic more right, let me tell
you what.

Speaker 3 (06:12):
Yes, he's on the mic on this, but not as
much as you think because they got a lot of
dope features, one of them being with nas On running
back dope, h the ship with Tallet, I'm not taller,
black thought, dope, oh man, beast he is a beast
and and and like everybody they got sounded really great

(06:33):
with them, as I was telling them, because I got
a chance to listen to it the day before they
came and the day of and man, yeah, just everything
was just a beast beast beast didn't and he and
he sounds current, you know what I mean, Like this
is current day soul flip. It's that it's not like

(06:53):
something they pulled like from twenty years ago. You know
what I'm saying. It sounded current. It's very dope, man.
So for you hip hopheads to get down with it.
Two days, six alvels and some seconds, fifty nine minutes
and some seconds. Yeah, man, salute to myc bros. That

(07:16):
was big of them to come through. I know they
went and did some radio after that, but you know,
for to take to take time to drop by the
Doctor Green Thumb Show, I mean, we've known each other many,
many fucking years and have always supported each other's get down,
so it was great to have them here.

Speaker 6 (07:33):
You do have something musically in common, uh, that sample,
I believe it's in killer Man. It's something that you
guys shared, right, Like I think it's the hot the
high hats of something from drag plug tuning.

Speaker 3 (07:47):
I think, yeah, yeah, right, yeah, true. Yeah, word up
mid nine theme nine theme See A producer knows his samples,
that's for sure.

Speaker 1 (07:59):
I know all those old Rake beats like nothing.

Speaker 3 (08:02):
You know, hey, you know the the artist that played
the flute on but uh, there's a dope performance that
he does on I don't know if it's midnight hour
or some ship where it's like this old white guy.
You would take it to hear it. It's this old,
crusty ass white guy. Looks like an old George Carlin

(08:25):
type motherfucker. You know, but when George Carlin was old.
Hey fuck. But it's a whole jazz song and it's
got that piece as as one of the as the chorus,
but like he goes up and down that bitch.

Speaker 1 (08:37):
It's like Ron Burgundy style. But like pro the performance
is dope. You gotta see it, you gott you gotta.

Speaker 8 (08:44):
You gotta remember when that song came out, it was disco.
It was disco, yeah, disco time, so he was he
was young. He was his disco and jazz at the
same time. Kind of you know what I'm saying. But
it's dope, for sure, you gotta see it. I can't
remember what the artist, what's the artist's name. There's two
of them, Herbie Man, right, yeah, yeah, it's Herbie Man. Yeah,

(09:09):
the Enoch like, let me see the Enoch life.

Speaker 3 (09:11):
Yeah that guy. No, no, no, it's the other guy.
Go back, he performs it. Herbie Man. Enoch probably came
up with the original Enoch is the cover. That's the
one sample right right right? Oh yeah, man, you should
see the Herbie Man one. Like when you look at him,
you're like that shit came out of him. But you know, hey, listen,

(09:34):
this is what we were talking about a couple of
days or a while. Yeah, I think on Tuesday or
last week or something like that, we were talking about
how you know, video killed the radio star. That guy
didn't have to do no videos for his songs. Back
in that time. They didn't exist. It was just you know,
if you were dope, did you you know, it wasn't

(09:55):
that you had to have a look. It was cool
if you did. But if you got the songs, that
was it.

Speaker 5 (10:03):
Herbie Man had a hell open album cover.

Speaker 1 (10:06):
Let's see it. Yeah, come on, Herbie Man, Herbie Man.
Whoa we put the man in Herbie put the man
in Herbie right there, he was playing.

Speaker 3 (10:20):
A Yeah, we don't want to see you recreate that
bolted don't even give it a thought, son, You leave
Herbie man ship a load?

Speaker 5 (10:30):
So did they just not care? Back in the days,
they didn't care.

Speaker 1 (10:35):
They all thought they were sexy. Come on the title
of the record and every thing push push.

Speaker 3 (10:42):
I mean his his He got a Hella receding hairline,
and he still feels like he's sexy enough to fucking
rock that.

Speaker 1 (10:48):
You know, he got the hair to make up for
it on the chest.

Speaker 2 (10:52):
Hey, look, there's nothing about the hairstyle that doesn't make
him not sex.

Speaker 3 (10:57):
If that, if the song, if the song had exist
back then, I too sexy for my flute, too sexy
for my fluid, you know what, too sexy for my flute.

Speaker 8 (11:07):
Do you know what the flute? The flute makes them sexy,
you know, does it? The flute makes some sexy? You
know what I'm saying. Right, So that's it, that's all
he needs to try to give old Herbie some sex appel.
I mean, first he started with a name like Herbie.
You know what I'm saying, Damn Herbie Hancock.

Speaker 1 (11:26):
That's man with two INDs. He got two INDs for
a double dose of this man Herbie Man.

Speaker 8 (11:36):
You see later on in time, he's like funk that
I'm rocking clothes now, hey, but salute to Herbie Man.

Speaker 3 (11:43):
Yeah, mister sexy had some serious work, you know, catalog
back in his time, he put in the work.

Speaker 1 (11:53):
You know what I'm saying. By Herbie Bye, looks like
he had a full career from the flute. Yeah, the flute.
He he got hits, the flute, paying him money.

Speaker 2 (12:02):
Say what you want about that flute, but the flute
got him through the whole ride.

Speaker 3 (12:06):
It looks like, listen, if he was alive today and
you wanted to sample a flute player, you call fucking
Herbie man Man for real, for real, not Andre three
thousand Andre, you know three thousand you call Herbie real?

Speaker 1 (12:21):
What you call Andre? Now? No, you got to give
Andre some years before you call it. He's anything like
because he got you know, listen, you already know this.
How long you've been playing guitar? Hello, thirty years?

Speaker 3 (12:36):
Thirty years? How long you've been on the turntables? Same thing, right,
same thing, same same. Takes you that long to get
good at something or grade at something. He needs at
least ten years on that forty years. Yeah, yeah, almost
forty four all of us. Right, So like he needs
he needs at least five to ten years before he

(12:59):
starts get.

Speaker 8 (13:00):
Good, like like like Herbie Man, like he he doesn't
even know how to play a whack note. Like even
if he's fucking around, that shit will sound dope.

Speaker 3 (13:10):
You know, his shittiest note we would think is dope, Like,
oh that was dope, let me sample it. He'd be
he'd probably be like really, yah, wait, hold on, let
me play or something. You know what I'm saying, because
you know, like if you don't play that instrument and
you don't know shit about it, you might get blown
away on what they're just using.

Speaker 1 (13:27):
As a warm up. And the women crazy, you know.

Speaker 3 (13:29):
For instance, right pastin Paus was here talking about how
they were working with Shaka Khan one time. Shaka Khan
asked them to come through and they were geeked out
because it's Shaka Khan, you know what I mean. And
she came to the studio and she started doing the
bit and they were all blown away, like they're like,
oh shit, that's like fuck, what take? And the producer

(13:53):
or not the producer, but the engineer who works with
Shaka because she wanted to use her guy. He looked
at them. Then this is and this is them explaining
it as they looked at them, saying like, nah, you
could push her further than that. Go ahead, god try,
And they had to bring themselves to ask her to

(14:14):
do it again, you know what I mean. And as
she kept going and she's warming up, she got better
and better. But they were gonna accept the first take
because it's like it's Shaka Khan and it sounds good
to them or good enough to them. But you know,
you're in awe, so you're not hearing with with your
ears the way you normally would. If it was just

(14:35):
somebody you know that was coming up, you'd be like, wait,
I need one more take. We'll keep that, Let's go again,
you know what I mean. It's a different form of
thing because they're in awe of someone who is like inspiring,
you know, fucking Shaka Khan, but just saying, you know
what I mean, like it if let's just say they

(14:57):
got past the the mask of its Shaka Khan, right,
and like they're treating her like any other artists. They
would have pushed her to get a few other takes
to see if they got anything better as as as
she's warming up, you know what I mean. It's a
different type of thing, you know, because it's you know,

(15:17):
fanning out and you're not paying attention to that. But
let's just say they weren't fans, and they were new
to the game, and they were like producers that she
happened to like a track and she says, okay, I'll
come sing on it now. Only someone with experience and
an ear would say, hey, Shaka, could you do that again?

(15:39):
Can we get a couple of takes of that as
you're warming up? I think we could get and and
and that would be the way to communicate it. But
others would just settle for that first take because it's
Shaka Khan and it there. If they don't know shit,
they're gonna take that first one.

Speaker 6 (15:54):
Yeah, I mean, and you got to be respectful, right,
you're talking about like one of these classes of guard
Like what if you were working with.

Speaker 1 (15:58):
Like Stevie Wonder or something, you can't be like, well, what,
you know what? Sometimes you know what, sometimes that first
take is the one. Yeah.

Speaker 3 (16:07):
But what I'm saying is like you would know if
it's a first take or a warm up is all
I'm saying is like, so, like, let's just say someone
says to Steph, I want to sample some ship and
you're okay, and he's just doing.

Speaker 1 (16:20):
This warm up. Hey, oh let me sample that. He'd
probably be like, okay, But I mean that's just a
fucking I mean, he got to look at it as
job done.

Speaker 3 (16:30):
Not really that not really not not when you know
you want but not no, not when you know what
you're capable of as the as the artist, playing as
the musician. You're like, you want that, hold on, let
me give you something. Let me show you the idea.
I mean, like, how do you approach that stuff? Like
if it was like that in that scenario, do you

(16:52):
do you go with the warm up or do you
If the.

Speaker 2 (16:56):
Warm up was a sound that I know I'm never
gonna do ever again because it just it was random accident,
you know what I mean, then yeah, go ahead use that,
you know what I mean. But although if it's like
a perform an actual performance thing, then yeah, let me
try to let me get it to where it feels good,
you know, like where I'm like, yeah, no, that felt.

Speaker 1 (17:14):
Good to me. Do whatever you want with that. Yeah,
what why wouldn't you keep both, you know, but you
could keep both.

Speaker 2 (17:24):
As a producer, you want both exactly because you're trying, really,
you're just trying to collect options.

Speaker 1 (17:28):
Yeah, exactly.

Speaker 3 (17:30):
Just most producers are not just going to take the
first take. Only inexperienced ones are. And that's all I'm
saying that when you don't know, you don't know.

Speaker 2 (17:38):
It could be something great in a first take, and
a first take could be great, but you know, you
might as well get some more because maybe you're maybe
it wasn't.

Speaker 1 (17:47):
Man, my beats are mad ocd bro.

Speaker 6 (17:49):
I gotta hear like every version of the ship first
before I decide what I want to keep.

Speaker 1 (17:54):
I gotta try everything. I don't have to hear everybody
like I'm like that I'm weird. I gotta hear like
a ton of different types.

Speaker 2 (18:00):
Of I've grown to appreciate hearing other versions, but I'm good.
I'm one of the people that could take something right
away and be like.

Speaker 1 (18:09):
Oh, you know, that's cool, that's the yeah, same here.

Speaker 3 (18:11):
I try not to overthink it because the problem with
running it over and over and over you start looking
at shit that you should be looking at.

Speaker 1 (18:19):
Yeah, you know what I mean.

Speaker 3 (18:20):
And the meticulous nature of production, putting songs together from
every sound and then arranging all those sounds. You will
mind fuck yourself to death to where you won't put
nothing out there just because your second guess and everything
because you heard it too many times. So I try
to simplify, you know, And if I'm not producing it,

(18:42):
which I haven't in a while, but if I'm not
producing it, I totally take myself out of the fucking equation.
And I'm not in anybody's ear about how I think
it should go. It's how you as the producer. It's
how you think it should go. And if I hear
it at the end and say I don't know about
this part, then we can have a conversation. But most

(19:03):
of the time I'm letting go because realistically, let them
drive the car. Let them drive the fucking car, and
have trust in who you asked to produce this shit.
But like you know, and and if and if at
that point they're overthinking, and that's on them, you know,
like I got nothing to do with that part.

Speaker 2 (19:24):
You know that, I'll say this is where that part
is good? Is Yeah, it's good to have someone else
that's you know, let someone else do all that. That's cool,
go for it, you know what I mean. And if
you got a suggestion and it's makes sense to me,
then that's when I get excited. It makes sense then, yeah,
you know. I mean, if it's just a change of
things because you felt like just changing them, well, I

(19:45):
don't know, you know. Yeah, I'm not trying to hear
every option just because I just had to hear it,
you know, I mean because I hear what you're saying, Like,
I'm down to hear some options, you know what I mean, Right,
But I don't need to exhaust all of them to
know that well, we shouldn't have done.

Speaker 3 (19:58):
All of them, yeah, because you know, it is a
thing where you can overthink it and and burn out
on on what you started with because like you you
you know.

Speaker 2 (20:12):
And well, the only there's only one event for for
me personally, and that is always after a record is finished.
I mean I haven't finished a record yet where it
was already done or released where I hear the song
and I'm like, you know what I should have did this?

Speaker 3 (20:28):
Oh well that's every damn Why did I Just there's
one little part that's like everything you'll ever make.

Speaker 1 (20:35):
That's the only but.

Speaker 2 (20:36):
That's the only reason why I can understand that that
mentality of the dissecting it's so much every day. I mean,
because you might actually unturned, you know, turn over something
that you didn't actually expect or you know, get rid
of that like I.

Speaker 1 (20:52):
Wish I would have.

Speaker 3 (20:53):
I'll say this for as many songs as we've done here,
as as uh you know, in our individual deals, right
success or no success, we can all hear things from
first album to right now, albums that were like or
recent albums that we could say, you know what, I

(21:13):
would maybe change this, or that no album is ever
just perfect now, not to us, like to the to
the listeners out there. They don't know the little nuances
that we might hear and say, oh man, I could
have did this or that. They don't hear it the
same way we do. We're a little bit closer to
it where we could have like, oh man, if we
would have just shifted over here or dropped this here

(21:36):
or different.

Speaker 1 (21:37):
So yeah, you know what I mean.

Speaker 3 (21:38):
We always are self analyzing as artists, so no album
will ever be perfect for us.

Speaker 2 (21:43):
Well, it's ours to do what we want, you know too,
and with until we release it, you know, what I mean.
So if you intend to release it, well, don't wait forever,
because that'll.

Speaker 1 (21:54):
You know, you're gonna overquestion it for sure.

Speaker 3 (21:56):
Absolutely, it's great if you got a deadline so that
you cannot over fucking think it and fuck yourself.

Speaker 1 (22:03):
Yeah.

Speaker 6 (22:03):
Yeah, you can't get to a point where you will
ruin your ship by overdoing it. There's a point where
you have to stop. I heard Prince talk about that once.

Speaker 3 (22:10):
Too, Yeah, because I mean, you know, like yeah, sometimes
when you're that meticulous type of person that and with
the ocds like that, you have to fucking go through
everything and everything's everything, you know what I mean, And
sometimes that takes you down a rabbit hole that you
can't get out of.

Speaker 1 (22:29):
I think keep revisiting one song too many times.

Speaker 2 (22:34):
I really think if maybe not as an individual songwriter,
but as a group, as a collective of you know,
people contributing to a song. I think a song in
a day is a is a reasonable time frame. If
you need tomorrow because the idea came, that real killer

(22:57):
idea came late tonight. Okay, that's cool, we'll go at
it tomorrow. But outside of tomorrow, you know, I mean,
if you got a bunch of people contribute. I mean,
everybody's stay in there, laane, do their role.

Speaker 1 (23:07):
Well. Tomorrow we can wrap this thing up for sure,
and it's done, you know what I mean.

Speaker 2 (23:12):
But when you start going like, you know, way out there,
you know, it's like, Okay, we could have already been
been done with this thing long time ago, you know,
and moved on to a whole take those ideas actually
could have been something else.

Speaker 1 (23:25):
Mm hmm.

Speaker 3 (23:26):
That's real talk, man, all this music music talk, music talk.
I don't mind it. People need to hear it sometimes,
you know what I'm saying.

Speaker 2 (23:36):
Because but I'll be the first person be like, man,
what's the rushie.

Speaker 1 (23:43):
A hurry? You gotta learn you gotta learn to let
go of a song too, And that that's true. Just
let it go, let it go.

Speaker 3 (23:50):
That's probably the hardest part, you know what I'm saying,
Like for someone who is like to too like wrapped
in it like Funck, I could do this, I should
do that if I I mean that, it's it's hard
to like wrap that up and then just say all right,
here it goes.

Speaker 1 (24:05):
I mean, one one good thing that I learned from
from working with with uh what's his name? On the
album with us? Uh what I forgot his name? My son?
Huh rapper rapper on the on the this is what
we came to do? Uh Demrick too short? Wait, who's

(24:27):
on that up with us?

Speaker 4 (24:28):
Uh?

Speaker 8 (24:29):
Well, anyway, the bottom line is like he came into
the studio and did and did did like five or
five or six different versions of that rap, right, and
and then pick the best one.

Speaker 1 (24:44):
So I was like, I was like, that's crazy. That's
pretty crazy.

Speaker 8 (24:47):
I don't do ship like that, Like say that same
verse a whole bunch of times and you know, yeah,
that's me, but then pick the best one.

Speaker 3 (24:56):
Yeah, I mean, you know, it's cool to have options,
but I like to sort of tailor and make my
ship to the moment, you know what I mean, Like
I could predo it.

Speaker 1 (25:05):
You know, there's I've I've learned to hear the beat once.

Speaker 3 (25:09):
It's like having a photographic memory, but with music, right,
I've learned to hear the beat in my head that
you play me and write a fully fucking blown out
verse with flips and all that shit, just by hearing it,
not even having to have it. I didn't used to

(25:31):
have that, you know, before I needed the beat and
and sometimes I wrote flows without the beat and try
to find the beat that connect to it. But now,
just to pop an idea off, I could just be
listening to something and then turn that shit off and
write the flow as if I had.

Speaker 8 (25:50):
It on my my technique when I'm when I'm spitting rhymes,
I like to spit my rhyme a rough take boom,
and then do the doubles right, all the doubles ad libs,
and then I'll sit there and listen to the verse.
Then I'll go back to the engineer take the main
verse out. I'm gonna run right through that shit, but
leave the doubles. So I'm just the second time of

(26:14):
here from hearing it. So two times for me, I'm good.

Speaker 3 (26:18):
I told Flick the other day because we were talking
about some track or something like that, and it was
with DJ Flick that said, Hey, bro, I'm at the
point where if you programmed the click track at a bpm,
I will flip a verse to that fucking click track
and then you could throw any fucking beat you one

(26:39):
on it.

Speaker 1 (26:40):
Hell yeah, master of your craft exactly. I'm that good.

Speaker 3 (26:45):
I feel you, you know what I mean, And and
and and it took me a long time to get
there and believe that myself. But I'm that fucking good.
It's always fucking step tone, so it's fucking less and
I know on on that ship ed you are too.
It's a it's a little different get down in terms

(27:06):
of how I'm saying, you know, in terms of being
able to create something with just the metronome, right, like
in terms of like playing something or raping the verse.
But you could probably put a click track on like
a metronome and fucking scratch all on that and figure
out and figure out patterns on that click track with

(27:28):
scratches to like to like, you know, bridget with what
I'm saying in terms of him playing on a song
or me and or less rapping on something. The cuts
that can go if you just follow the click track, right,
I'm at the point I don't need the music.

Speaker 1 (27:46):
I could just use the fucking click track, but.

Speaker 3 (27:50):
I like having the music because then I hear where
a melody could go, or you know, in what key
the shit is it sort of right, write something towards
the mood vibe. I'm just saying that if I wanted
to experiment, to just go up and down the scale
of timing.

Speaker 1 (28:06):
I could do that.

Speaker 3 (28:08):
And and you know it would be a trip for
people to hear it, because what what the click track
or metronome is is to sound like this here, I'll
just give it to you.

Speaker 6 (28:24):
Well that's the fast version, right or hm, but keeps
the pace of the song beats per minute, right or
double time halftime.

Speaker 1 (28:46):
Yeah.

Speaker 8 (28:46):
You know, you know, any of those clicks, I could
wrap to them, son, any of them. You know what
what that click reminded me of when I was doing
this movie back in the days. Beat Nuts was in
in the in the club scene, we was performing on stage,
but there was actually no music playing.

Speaker 1 (29:04):
It was just a click and.

Speaker 8 (29:05):
They had people dancing like and you hear the you
hear the director dance just ship yeah, like it's the
hypest song in the world.

Speaker 1 (29:14):
Click click click. Yeah.

Speaker 3 (29:18):
That way they could add any fucking thing they want
on there that that matches that tempo.

Speaker 1 (29:23):
It was funny.

Speaker 3 (29:24):
Yeah, they were doing it to track. That's crazy. You know,
something to be said about that. I know a lot
of musicians use that ship on stage, you know what
I mean to like, you know, if they're gonna if
they're gonna like use pro tools. Let's say, right, Let's
just say because I know that for a time that
Lincoln Park used it, right, because they had a lot
of guitar parts, so they would put some of the

(29:47):
ship in pro tools so that dude could play, you
know what he was going to play, and all the
other ship is piled up in there too, and he's
playing his bit life. But all the other parts are
like on a click track with the drummer like, so
that it comes in and it doesn't it doesn't drift.

Speaker 1 (30:07):
It's all synced up. In a lot of groups do
that now, you know what I mean.

Speaker 2 (30:10):
So that's a digital clock, though you can actually record
audio of you tapping out your own time and have
it to where it's like, well it's time. It's not
it's not formal time as as the clock goes, but
it's actual time. And it's the feeling, right, because that's
what you're really trying to get it. That's just the feeling,

(30:32):
you know, And that's where everyone struggles with the click
with the click is trying to match that click up
to the feeling.

Speaker 1 (30:37):
They're trying to it, yes, because there is very little
feeling in the click. My little breathing room little.

Speaker 3 (30:43):
Yeah, people use it to start off, but if they
do need it for sync, yeah, they have to fucking
they have to run with this and with the follow it.

Speaker 2 (30:51):
Which which is why earlier when we were talking about sampling, right,
this is why sampling is is so huge and why
it's so great, because you're you're creating, creating grooves and
swings out of out of out of a recorded time.
It's not actual time, it's it's the recording. Now you're
like changing that into times the click. Yeah, yeah, so

(31:17):
it becomes what I'm talking about where you're like, yeah,
you got it. You're you're tapping a click, you're recording
the tap, you know what I mean. But it's not
you're not hearing it or there's no there is no click,
but you.

Speaker 1 (31:28):
Gotta click, you know. Yeah.

Speaker 3 (31:30):
I mean when you're using a sampler, it's a metronome
that that access the click.

Speaker 1 (31:36):
You know.

Speaker 3 (31:36):
So if you're going off one of those you know,
like a like a PC, MPC or or or some
sort of ship with programming, yeah you're gonna go with that.
That's going to be the click track. Is there's the
metronome that's keeping the timing and it's the conductor. It's
the conductor.

Speaker 8 (31:55):
Yes, I mean back in the days when they didn't
have that, the drummer was basically the Yeah, everyone would
just stay following you.

Speaker 3 (32:03):
Well, you know what's crazy is that, Like if you
listen to sample, well, samples from the sixties and seventies,
they didn't go off of any of that type of shit.
It was all feel like you said, as long as
the drummer could keep time somewhat and like and feel
it out, that was it. But like you try to
mix those or remix those samples, they drift like a motherfucker.

(32:24):
But if you get to the eighties and up, most
motherfuckers tried to stay on a grid. Like those are
probably the easiest songs to remix and mix with because
they don't drift as much. Because the technology with programming
beats became prevalent in the eighties because it was based
on a lot of electronic music with keyboard synse and

(32:45):
drum program So that's why a lot of shit you
could lock in with the eighties. Now we didn't even
realize it, but that was like the time where shit
starts locking in and they're not drum machines. Yeah, they're
not necessarily going on feel in certain fields of music.

Speaker 2 (33:00):
Yeah, the drummer is going to fluctuate, right, Well, that's
what I'm saying. So modern music is all on the grid,
you know. I mean, that's all on an actual clock
that's going to the tempo, the click, the click track,
whereas the click track of the past was somebody doing.

Speaker 1 (33:16):
It doing it. Yeah, was like what two three?

Speaker 2 (33:19):
Yeah, that guy had a he was a natural time piece. Yeah,
he he was a click track. But you know there
was that human variation.

Speaker 6 (33:28):
You know. That's why when you when you try to DJ,
like funk and disco any of the seventies, ship like
you're struggling with the fit with the speeds, you know
what I mean, trying to catch it up and keep
it on beat. Live drummers, a live drummers, a human
being and feeling perfect.

Speaker 1 (33:44):
Yeah, it's a feeling.

Speaker 3 (33:45):
Yeah. I wonder if there was ever, you know, like
a competition where they hit the fucking metronome or click
track and see which drummer could keep time the best.

Speaker 1 (33:56):
But with feeling, that's the wrecking crew, you know what
that is, the record crew I mean.

Speaker 3 (34:03):
But you know what, all over the country there were
different groups of studio musicians that had badass motherfuckers. The
record crew was one of them.

Speaker 2 (34:10):
And they didn't just have like, you know, music theory
dial they had music theory and tempo they could they
could settle in at whatever the clock was requiring.

Speaker 3 (34:20):
And experience like their experience in sessions because they were
actually they were actually trained musicians. I mean they were.
The record crew were the group under the older guys
that were like they were all working in the you know,
how can I say they they were like in they

(34:45):
worked on music. They were like studio session guys coming
up under the old guys. When rock and roll came,
the older guys, the mentors, they didn't want to play
on that shit. So the younger guys was like, oh yeah,
we could play. Or the younger men and women that
were playing instruments, they were like, oh yeah, we could
play that shit.

Speaker 1 (35:04):
Hold up.

Speaker 3 (35:06):
You know, they end up becoming the go to people,
and the old school guys they just kind of washed
out because they weren't taking none of these sessions. So
you know, there was cats from the record crew, people
from the record crew that were taking some sessions and
creating the rock sound and taking it to another level
because they could actually play, you know what I mean.

(35:30):
They weren't guys like some of the guys that were
creating some of the music that like didn't know how
to read or write music. They just could play. But
in recording it in the studio, some of the producers
were like, fuck that, this is great, but we're gonna
get some of the best players to come actually play
this tight and maybe add some shit to it, you

(35:51):
know what I mean?

Speaker 1 (35:53):
Record crew? Yes, indeed, it's I don't even know if
you need to say this, but did you know.

Speaker 3 (36:03):
It is the birthday of Cindy Blackman of Santana, born
on this day in nineteen fifty nine. She used to
play with Lenny Kravitz. I think she still does.

Speaker 1 (36:13):
Oh that check. Yeah, she's a badassy. She is badass,
isn't that? Are you gonna go my wave? Yeah?

Speaker 3 (36:20):
She's married to Carlos Santana. Carl Los Santana. Pretty deep, yep, Saluta,
Cindy Blackman, Santa Saluta, Cindy Santana. That just has a
ring to it, you know what I mean?

Speaker 6 (36:37):
Mm hm?

Speaker 1 (36:39):
Did you know?

Speaker 3 (36:40):
In nineteen sixty two, Kirk Hammett was born born on
this day.

Speaker 1 (36:44):
Shit, it's Kirk. Happy birthday, Kirk.

Speaker 3 (36:47):
Salute Kirk. Another badass dude. Right there looks like Bigfoot
right there, right Bigfoot's grandfa for Did you know in
nineteen seventy seven Fabulous was born Heavy birthday?

Speaker 2 (37:06):
Fabulous? Hey, Google likes Fabulous, Google likes Kirk Hamon. Those
are some good pictures. Those are some great pictures of them.

Speaker 3 (37:14):
Huh, even though I think the yeah, no, the Did
you know it is the birthday of Mike Jones?

Speaker 1 (37:23):
I said, it's the birthday of Mike Jones. I like
Mike Jones too.

Speaker 3 (37:31):
That's right, Born on this day in nineteen eighty one,
I said, born on this day in nineteen eighty one
eighty one. Back then day dead. Whop me Now, I'm hot,
holds all of me. Back then they did whop me.
Damn hot holds all of them? I said, Oh man

(37:51):
s lut Mike Jones.

Speaker 1 (37:53):
Uh.

Speaker 3 (37:54):
Did you know in nineteen eighty five ll Cool Jay
dropped radio.

Speaker 1 (38:00):
Can't live with that my radio?

Speaker 8 (38:05):
Hard Yes, that was the jam radio. You know, I
can't live without my radio. Everybody in New York had
a radio walking on Big Old Box. Big Old Box
always was that were they.

Speaker 1 (38:23):
Playing those songs. Actually, they had to be on the radio,
because I don't know how the hell I would have
even heard it.

Speaker 3 (38:28):
They were all ka out here, you know, like all
the hell anything LL cool J put out, KD was rocket.

Speaker 1 (38:35):
Yeah, it had to be on the radio. Yeah, fuck yeah,
it was on the radio with a title like radio.

Speaker 3 (38:40):
I mean, but uh, but but where you guys were at,
you probably you might have gotten it on the different
station stuff.

Speaker 1 (38:46):
Oh yeah, No, we had different stations for sure, dangerous,
but it was an AM station for us. It was KD.
We were hearing all of LL shit he am yep, yep.

Speaker 3 (38:59):
And then and then eventually in ninety something, I think
maybe ninety two, ninety three, some shit like this.

Speaker 1 (39:11):
I don't know. I'm not sure.

Speaker 3 (39:12):
Baker Boys get the show on FM radio, hard to
believe on Power one oh six. And when they got
the show on FM radio, that's when they started rocking
hip hop on FM radio down here, because before it
was AM.

Speaker 1 (39:28):
That's hard to believe, because that's.

Speaker 2 (39:30):
Like the when you think of the nineties, you don't
think of the nineties being outdated like that.

Speaker 1 (39:34):
Well, look, no, I believe that Power one oh six
came that it was.

Speaker 3 (39:40):
It was already in existence, but they flipped format in
ninety one ninety two because they were like a kiss
FM station, like we're all. It was like Top forty
type of shit. They didn't play no R and B,
they didn't play no hip hop. The hip hop didn't
really matter to them. And then when the Baker Boys
came and started doing their shit down there, they flipped

(40:01):
formats to R and B and hip hop because they
started having more.

Speaker 1 (40:05):
Success with that.

Speaker 3 (40:07):
I can't I believe it's ninety one ninety two, because,
like you know, by by ninety one, the AM station
was gone. I think they dropped off in eighty eight
or eighty nine, maybe ninety. It was just before we
came out. We didn't get the luxury of not luxury,
but we didn't get the privilege of being played on
KD because they were gone before we came out.

Speaker 6 (40:29):
I was gonna say I was on the radio in
nineteen ninety and I was playing the Cypress Hill Demo
on KJLAH. So there were mixed shows, but there wasn't
a hip hop radio thing.

Speaker 3 (40:37):
We our shit didn't even get put on the mix
show at KD because it was again, it was gone
before we came out.

Speaker 1 (40:44):
The eighties, we were in our teens, the nineties, we
were in our twenties.

Speaker 2 (40:48):
Yeah, so like those are like your two most impactful
decades of your life.

Speaker 1 (40:55):
True that those were where we all got our everything.
True that I know.

Speaker 3 (41:01):
We got fifteen minutes on this clock here, so we
might as well just dig into the insane asylum. If
there are any comic questions, shout out suggestions, we will
take them now.

Speaker 1 (41:17):
Welcome to the insane.

Speaker 4 (41:20):
Si Sick is saying, Yo, Dala Soul needs to be
in the Rock and Roll Hall of Fame.

Speaker 3 (41:26):
Absolutely. That is absolutely, positively correct. The legends, legends and
well deserved. They inspired so many goddamn groups out there.

Speaker 1 (41:37):
Man, I agree.

Speaker 4 (41:40):
Show out to stupid Almanac. Thank you so much for
the supercheck. Karina saying, yo, b thanks for Dala Soul love.
How many of my og faves are still active and
more so love to see you bring them on much
love and RESPECTSLU to you all.

Speaker 3 (41:52):
It's great having them on. You know, hopefully we can
get them again soon and you know, more to come.

Speaker 4 (41:59):
As always, you guys were kind of talking about like
working with other artists as an artist, is it awkward?
Working with other artists and trying to tell them like
how you want something done, Like you don't want to
like offend their creativity.

Speaker 3 (42:11):
Not really, But if you know them, it's easier. If
you don't know them, then it becomes a little bit awkward.
I've seen it happen, and it's it is pretty fucked
up because some guys are two in their ego to
hear what you're actually telling them. And then you know,

(42:33):
on the other end, sometimes the motherfucker is just a
hater and they're trying to throw you off by telling
you some shit that you know you don't like, to
make you overthink it. So there's both sides, and you've
got to know who to have around that's going to
be honest with you and not be a hater. And
and like you know, correct you when you gotta when
you got to fix your lines, for instance, right, like

(42:54):
I've been writing a bunch of Spanish ship for the
Spanish album that we've been doing, but I got the
aino the los process present, right, it's two motherfuckers that
you know when they see a bad phrase or or
a misspelling or the wrong word, you know what I'm saying,

(43:15):
and they make sure that I say the ship right,
that the phrase is right and I'm pronounced. It's frustrating
as it might be to me sometimes, but I go
by what they say because I know they're like trying
to make it, help me make it right, you know

(43:35):
what I mean. So like, you can't be afraid to
tell someone if if the ship is wrong, you know
what I mean? And if and if if, you can't
because they make it awkward. It's because of their ego.
Obviously you know what I'm saying, and they can't. They
can't hear you. And I've seen it happen. You know,
a motherfucker mispronounce a word and someone's trying to tell

(43:56):
may no, that's not the word not But.

Speaker 1 (44:00):
I did that once. We was working with a tragedy.
He was he was doing recording something and then he
mispronounced something like he was like troopo and listen.

Speaker 8 (44:12):
I was like, after he finished the whole verse, it
was dope and I was like, yo, but it's not
a Troopo's chapel, oh right, right right, and say chopel
for so he went in fixed it and you know
and boomah, now it's perfect.

Speaker 1 (44:27):
If you want the best result, you got to put
your ego aside.

Speaker 8 (44:30):
Dang, that's it, Like I could have left it troopo,
But that's gonna make him sound stupid.

Speaker 1 (44:35):
And I'm here and I understand, so why not fix it?
Let me tell you, like not you said that ship wrong?

Speaker 6 (44:40):
And if you know your people care about you, you're
not gonna let you look stupid. Right, you're working with
somebody that doesn't want to look.

Speaker 2 (44:48):
Right.

Speaker 3 (44:48):
You gotta trust, you gotta be Yeah, you got to
be able to, like, you know, if you're working with someone,
you should be able to say, hey, look.

Speaker 1 (44:56):
I trust their judgment, right, you should. Maybe you know
what I'm saying, But.

Speaker 3 (45:02):
I mean, like, you know, I've had to put my
ego aside plenty of times and motherfucker's like, let's just say,
for instance, when I've worked with Dre, he'll direct me,
you know what I mean, And I'll fucking listen to that,
cause that's doctor Dray.

Speaker 1 (45:18):
You know what I'm saying.

Speaker 3 (45:19):
If a motherfucker is willing to produce me, I am
willing to receive the suggestions. That's how I work. If
they're like letting me do the thing with no interaction
or input, then I have to produce myself, and I
know how to do that. And I don't first take
nothing because I know that when I get warmed up,

(45:39):
I do better shit than just rolling off the first take.
I might nail it to someone else. They might hear
it and be like, oh man, you got that. I
might say, hey, keep that and let's do it again.

Speaker 1 (45:53):
You know what I mean.

Speaker 3 (45:53):
Because if someone's not giving you that, like oh no,
you could do it better right here, or you like it,
you missed this pocket right here, or blah blah blah.

Speaker 1 (46:04):
If they're not doing that, you have to do that
for yourself. And if you're not doing that, you're crazy.
Learn to do it. He's not lying either. He called
us in today as a matter of fact.

Speaker 3 (46:14):
To hear some it kind of you know, I bring
on the gallery, bro, because like all my bars got
to get approved by the board, the board of bars.
You know what are the board of bars? It must
come through here. If I could get this damp, I mean,
that's the best way to test music out with your boys.

(46:35):
You know, we used to do the same thing, go
in the hood, playing for our yo. Let me know
what you're thinking, They'll tell you. Yeah, it is fire
or nine. That's all right, you know, I put my
shit on the line, you know what I'm saying. I
stand behind him, all right?

Speaker 1 (46:49):
What else you got?

Speaker 4 (46:50):
Rich is asking him in your biggest boombox, how many
D batteries is he's asking?

Speaker 5 (46:55):
Sixteen?

Speaker 1 (46:55):
Sixteen? I had one about that size right there, damn
not long ago.

Speaker 3 (47:03):
Made the heavy Yeah, I gotta tell you, mugs had
one of these, And and some of our first very
first demos were made on that fucking cassette ship right there, dogg.
You know they had to plug in for auxiliary. Yeah,
and we'd record ship on that boom box.

Speaker 1 (47:22):
We'd use it. I got a big giant bump box,
like one of those. I think it's bigger than you know.

Speaker 3 (47:27):
My thing, though, is if you're with a crew, you
only need one bump box, because if you got like
guys with three and four and they're all bumping some ship,
you ain't here on what anyone's bumping.

Speaker 1 (47:36):
You're just hearing a bunch I fucking nooying. Yeah, it
ain't bluetooth. You ain't SYNCD up with every Yeah, that
would be some ship, right, Yeah, I know.

Speaker 8 (47:44):
I know DJs that had the turntables and then connect
to a book box in their little room back in
the days.

Speaker 3 (47:50):
That was the other dope ship is that you could
connect those sticks to turntables and it'd be like your
fucking speaker.

Speaker 2 (47:55):
That was the only reason why you needed some a
few homies with some with some speakers though, because when
one told me his batteries died out, you had more.

Speaker 1 (48:03):
Yeah. Otherwise there was no reason for three. Yeah, yeah, true.
That that's right back up. I had that backup, all right.

Speaker 4 (48:14):
Oh, the glitch is asking quick questions, be it? Do
you know why Lebron got put back in the G League?
I'm not trolling. I actually want to know what happened.

Speaker 7 (48:22):
You know.

Speaker 3 (48:23):
I think he's rehabbing, you know what I mean. I
think he's rehabbing. And I think it's it's like for
publicity just to fuck around. Because they were talking about
how like his son started his first game, and someone
said that's fucking I think it was Austin Reeves who said,
isn't isn't it crazy that Lebron's Lebron's or bronni is

(48:48):
is starting tonight's game and Lebron's playing a G League
game like he alluded to it, And I thought it
was just them fucking around, but like, I guess they
actually did it, and I think it's probably a publicity stunt.
And then you know him coming back slowly because he
don't really need to do that. I mean, he's the

(49:10):
fucking superstar that they've built a lot of this ship
around up until Luca came here. So you know, I
think it's maybe for publicity because his son got a
fucking start, and they probably thought it would be funny
for him to play a fucking G League game because
that's never happened, right, that's some new ship. Yeah, I

(49:35):
don't know either.

Speaker 1 (49:36):
He's like the oldest dude there.

Speaker 3 (49:38):
Yeah, he's the oldest guy could coach that team that
he's on right there as he's playing. I mean, he
coached while he's on the floor because they're all they're
all his sons. When you think about it, like his
son is like, you know, as old as any of
those guys on that fucking G League floor.

Speaker 1 (49:55):
Yeah, he's like the oldest dude there. He's playing with
five four of his you know what I'm saying.

Speaker 4 (50:01):
All right, Ray was telling me this about We were
talking about sports right now, but Ray was telling me
this the other day, Eli Manning and what's the other Manning?

Speaker 5 (50:09):
Peyton Manning.

Speaker 4 (50:10):
They have a nephew, Arch Manning, who plays for the
Longhorns and he's their quarterback and he kills it, so
expect him to probably go pro some day.

Speaker 1 (50:17):
He's the next manning side.

Speaker 5 (50:19):
That's crazy, are you man?

Speaker 1 (50:21):
Are you manning up? Yeah?

Speaker 5 (50:24):
He's twenty one.

Speaker 1 (50:26):
Yeah, there you go.

Speaker 5 (50:27):
Man, what's he here with?

Speaker 1 (50:29):
Dad?

Speaker 4 (50:29):
Broskis saying, Yo, how come doctor Dray never got cubed
to correct cholesterol?

Speaker 1 (50:35):
Ain't nothing wrong with that? You know, Hey, maybe he
liked it. We say that all the time over here,
cholestero all. So it works.

Speaker 3 (50:45):
It's one of those things where it just you know,
we all know it was wrong, but somehow it works
and it's iconic.

Speaker 1 (50:52):
Right.

Speaker 6 (50:54):
Sometimes you gotta leave him, sometimes you got to leave it.
I remember Rizza said bevelament instead of.

Speaker 1 (51:00):
Van elephant, ben elephant, been elephant an elephant.

Speaker 3 (51:07):
Yeah, I was like, man, nobody corrected him. Okay, but
skeaty an elephant. I wonder if he was trying to
make a word there. Yeah, it was probably that he
was trying to say benevolent's a development. But he said
Benelephanta and then he didn't and they didn't correct it.

Speaker 1 (51:25):
It could have been on some dust. You know what
I'm saying. It's not in common.

Speaker 3 (51:29):
It's not uncommon that those guys were like, you know, yeah, exactly, yeah,
that Bobby Digital album.

Speaker 1 (51:38):
It seemed like they were dusted on that on a
couple of those Bobby d Bobby dig all right.

Speaker 4 (51:48):
Uh Kayla and Lindad Broski saying the conversation is a
science class that I'm actually paying attention to you. It
is a really a music history class as well. Curriculum
five days a week.

Speaker 1 (51:58):
Right, we take that. We shall take that. Thank you
so much.

Speaker 5 (52:04):
All right, that seems to be it so far.

Speaker 3 (52:06):
Well, thank you so much, and this brings us to
the conclusion of today's show.

Speaker 1 (52:11):
Early.

Speaker 3 (52:12):
I know, I'm so sorry, but you know we're working,
you know what I mean. Just know that we love y'all,
have patience with us. We'll be back for the full
show tomorrow. And much love to all y'all. Spread that
positivity around, keep it in your hearts, keep it around you.
Let it be a bubble that protects you from the bullshit,

(52:35):
all right, and salute to all y'all.

Speaker 1 (52:39):
Bolton shout outs.

Speaker 5 (52:41):
Yo Yo, show at the Insane Asylum.

Speaker 4 (52:43):
Show to Ray, Morning Shot Film Show, to the Dominator
and the tune in tomorrow morning for the Morning Show
the Doctor Drink. The Morning Show will replay this what's up?
A step tone?

Speaker 1 (52:51):
Oh yeah, threw you all off? Boom Yeah. Shout out
Mark Sargeant, Karen B.

Speaker 2 (52:56):
David Wise, FMB, socolez SLC, Bolton, Ray, Red Morning Shot Films,
Tearing a Velvet Hammer, Dominator A Tom.

Speaker 1 (53:05):
Pedro, I'll be Lopez. He's on Caliblades. All y'all in
the Asylum. Y'all have a great week. Catch y'all on Friday.
FN Yeah.

Speaker 6 (53:14):
Man, shout out to my brothers here at the table,
everybody in the treehouse, everybody that watches us and tunes in. Man,
shout out to y'all. Check out the mix. Don't forget
there's always one today tomorrow. I'll be tomorrow after the pod.
You can catch me in the mix right here and
all the you know, uh twitt twitches and all that.

(53:34):
If not either way, check me out DJFM Underscore La on.

Speaker 8 (53:38):
I G No Doll salute everybody on the chat just
hanging out with us. The whole crew up here. Doctor
green Thumb also follow me at psycho Less Official on
the IG. Hit me up Hoilight the Kid, go to
the website, the cycle Less Shop dot com, and we'll
be back later this week.

Speaker 3 (53:58):
Squeeze talk about this music so much because it means
everything to us. We hope it means everything to you.
Swallow that

Speaker 4 (54:14):
Real TV