Ice T, Music Studios, Making Songs, +More | The Dr. Greenthumb Show

Episode Transcript

Speaker 1 (00:05):
This video, like all videos seatured on the channel, is
definitely intended for ature adience. This videos, like leasik' Samprolan
language content, is appropriate for video, It's not for kids.

Speaker 2 (00:15):
Welcome the.

Speaker 3 (00:21):
Luck, Yes, Welcome to the Doctor Green Thumb show Lord

(01:20):
on Twitch discord you too, the home sort.

Speaker 4 (01:27):
Be real dot TV? What did it do? Uh?

Speaker 2 (01:29):
And kick and X. To my right the legendary everlast
a Ka Whitey fr User in the building, and to
his right the legendary Psycho.

Speaker 5 (01:43):
Lest Happy holidays, all that Thanksgiving?

Speaker 2 (01:48):
That's right. We got the legendary Sideline crew in the build.
In they're legendary bulking Blonde boat bro Bron the Dominator.

Speaker 6 (01:57):
Future legendary Sideline crew right here, you.

Speaker 4 (02:00):
Guys seping around your Legenday.

Speaker 6 (02:01):
Yeah, give us, give us ten twenty more years. People
will be like, damn remember the Treehouse crew. Those guys
were legends.

Speaker 2 (02:07):
Yeah, make up your mind. It'll be fifty five by
that time. We got the legendary strong what Steph Toad
and the Bell Dead?

Speaker 4 (02:17):
What up?

Speaker 1 (02:18):
Everybody?

Speaker 2 (02:20):
And the mask legend FB and the fucking Bill Dead?

Speaker 5 (02:24):
What of y'all?

Speaker 2 (02:24):
Happy Turkey bing bang? Let me ask you this Thanksgiving Thanksgiving.
Is it like a holiday you embrace or is it
just another day averack? I basically I don't really fuck
with it at all, right, you know what I mean?
I figured that.

Speaker 7 (02:45):
When I was married, you know, like we'd go to
like the in law family day, a bigger family thing,
excuse to have a big dinner type thing. But like
as a personal on a personal level, it's not any
kind of holiday to me whatsoever.

Speaker 2 (02:56):
Yeah, right, I agree with you there. It's it's excuse
to get with your family and have that other ball
games and you know, drink a few drinks. But other
than that in the name of the holidays kind of
whack lazy about you.

Speaker 5 (03:11):
It just means we're gonna eat goodness. Thanksgivings. We're gonna
eat like like we don't eat, you know, gonna have
amn turkey? What else we have? What other means we do.

Speaker 2 (03:23):
All kinds of like the pork, uh, the turkey. Some
people now.

Speaker 5 (03:28):
Do brisket shoulders the turkeys. Enough.

Speaker 2 (03:34):
Yeah, people like variety, though, how about you strong one?

Speaker 1 (03:38):
Yeah? Now, for me, I enjoy I don't decorate for
it or anything like that, but I enjoy that big
meal with friends and family.

Speaker 4 (03:46):
Does one need to decorate for Thanksgiving?

Speaker 1 (03:48):
People do? Right?

Speaker 5 (03:50):
Yeah?

Speaker 4 (03:50):
Do you feel like you need to?

Speaker 5 (03:53):
Is the is the correct word?

Speaker 2 (03:55):
You know?

Speaker 1 (03:55):
Some people have to?

Speaker 5 (03:56):
Yeah?

Speaker 4 (03:57):
Yeah, like it's part of I get behind cones and
ship like.

Speaker 1 (03:59):
That, that thing where every one of us is on
the spectrum though.

Speaker 2 (04:02):
You know, I guess so probably how about you, FM,
I'm not on the spectrum?

Speaker 8 (04:06):
What do you mean?

Speaker 4 (04:07):
Yeah, you're on many spectrums.

Speaker 5 (04:09):
You're wearing a mask.

Speaker 8 (04:10):
Right, yea.

Speaker 9 (04:14):
I like the food part and obviously the gathering, having
friends around and shit like that, and and I like to.

Speaker 1 (04:18):
Cook, so I get off.

Speaker 9 (04:20):
I make a like a Cuban style turkey with the
Mohrn shit juicling nice, you know what I mean?

Speaker 2 (04:25):
But I get what it could, you know, like prama
my only thing about it that it can do right, Like, okay,
fuck what it was based off of, because we know
that was bullshit, right, But in terms of the Thanksgiving,
you know, being thankful for your good friends and family

(04:46):
that you give a fuck about and they care about you,
and you're getting together and celebrating that rather than what this,
you know, the falseness of this holiday is.

Speaker 4 (04:58):
I think that's the positive spin on it.

Speaker 2 (05:01):
Is that you get to be with people you really
care about and celebrate and it's you know, the thing
I find hard about it is getting with with family
or friends or whatever, you know what I mean, and
there's some weirdness there and like yeah, like and and
to not have that resolved before or after that ship,

(05:23):
you know, that would that's the crazy part because you
always hear about that, right, like people go, oh, yeah,
my family's dysfunctional every time we get together and there's
a fucking fight, and that happens on a Thanksgiving.

Speaker 5 (05:36):
Like, well, it's Thanksgiving, that's the good time to cut
all the bullshit.

Speaker 1 (05:42):
Yeah exactly.

Speaker 2 (05:44):
You know, you put those people that have those even
small problems that they've psychologically made into bigger problems that
won't be around each other in a closed space for
a short period of time for the first time in
a long time, and liquor to the fire most of
the time.

Speaker 5 (06:02):
That's that's where it's all going to go wrong.

Speaker 2 (06:05):
Liquor For me, I would have to leave a room
as soon as like it got like political or anything,
because it's like, look, I'm either going.

Speaker 5 (06:11):
Hard all the way or like with it, or you know,
I gotta leave the room.

Speaker 1 (06:16):
Yeah, but you've gotta be with.

Speaker 5 (06:18):
The right people on a holiday. I'll be gonna let
you go into some of the ship. You know, sometimes
you gotta be.

Speaker 1 (06:23):
See that's the thing.

Speaker 2 (06:24):
Holidays, there shouldn't be conversations like that. I mean, you're
free to have it, but it's just not it's not
it's not suggested in your diet for the night, you
know what I'm saying.

Speaker 7 (06:35):
No, but we were talking about awkwardness. Yeah, no, I
know that I wouldn't come there with the intention to
like start like you know, yeah.

Speaker 2 (06:42):
No, but I'm saying that's you know, if there's already tension,
Religion and politics are the last two things that people
should talk about at a fucking at a at a
Thanksgiving or Christmas dinner.

Speaker 7 (06:53):
Of imaginant like some family members thing and somebody's talking
about like, yeah, I really love what Ice is doing.

Speaker 5 (06:59):
Right now, I'm gonna have to be like, well, I
gotta go or we gotta do this.

Speaker 2 (07:05):
Yeah, there's a fight breakout amongst family members, and that's
the crazy.

Speaker 9 (07:10):
But we got to hope that it's the opposite, right
that we use that data make up for bullshit that.

Speaker 1 (07:13):
We've had, whatever difference is put all that ship behind.

Speaker 5 (07:16):
It should be.

Speaker 8 (07:17):
Enjoy your day with your family and your friends.

Speaker 5 (07:19):
You got doing the opposite. If your your reaction was yo,
Ice like you, you should have been like I love
Ice too, you know.

Speaker 4 (07:29):
Go to my drink.

Speaker 1 (07:31):
To drink.

Speaker 4 (07:33):
I paid for my prom. Remember I told the story
here first.

Speaker 5 (07:35):
Bro.

Speaker 4 (07:36):
Yeah, Ice Tea, yell.

Speaker 2 (07:40):
Your prom Christmas a Yell, this is Iced Tea, and
I'm paying for your prom. B that's pretty good, Hey,
less got I put that money down. Hey, salute to
fucking Ice Tea. I gotta say the O, g our godfather.
Are you know our guy? He is the fucking man.

(08:04):
Just the other day, you know, I wasn't even like
paying attention Slim, you know, I wasn't paying attention closely.
But then I seen a repost of the Yodi song
slang and he tagged me in it and and he
was like, Yo, that's my ship. He gave props to
it and reposted it and and gave us love man

(08:26):
and and ship like that from Ice team means a
lot because Eric and I grew up to that guy
him more closely than I did. But must but but
but I'm saying, that's like our og so to get
acknowledgment from our og is everything man came about. Yeah, man,

(08:47):
he pays attention. Yeah he does. Man know he made
the whole art wrap thing, you know what I mean.
That's what a great great little film and tour and
all that stuff. That's what a great big brother the culture. Man,
that's what a great big brother does. He's looking out,
always a checking in, you know what I'm saying. That's
what I love about that dude. Salute to to iced Ty.

(09:10):
We gotta get up in here. We gotta get him
here on a Tuesday. Absolutely, we gotta. We gotta work
the three of us. I think we could get it.
You guys know what to do with this clip this
up tag him off. Yeah, you guys know what.

Speaker 5 (09:25):
On a Tuesday him, I came here. I'll fly the
funk back for that. Ye tell me, hey, yo, so
tell me you know when you was older.

Speaker 2 (09:36):
That'd be fun if we all talked to him like
yea yo yo ice Yoh what was the first book
you read?

Speaker 5 (09:44):
Yeah? The whole interview. I love that.

Speaker 7 (09:48):
He's like, I'm a huge Rick and Morty fan. Yeah,
he did that whole like a voice on there.

Speaker 5 (09:57):
Hey yo, Yeah, Hey, yeah, this is nice tea.

Speaker 4 (10:02):
Oh man, Yeah, it would be great to have him here.

Speaker 2 (10:04):
Manh yeah, I come shot. He's never he's never done
a show. Well, you know, he was based in New
York for a minute, you know, doing the TV show
and stuff like that. He might be back here enough,
we can get we can make this happen. Yeah, he
might be back here. Call you ain't got to smoke
all the weed ice, No, we ain't smoke. No, No,
I'm glad you bring that up, because that is hold on.
That is the misconception about this show. It's not it's

(10:25):
not like the smoke box. You don't got to smoke here.
You got smoke in the smoke box. We smoke if
we choose to. You don't have to. When you say
in one of these we know we got the air filters.

Speaker 5 (10:38):
Because we like smoking.

Speaker 1 (10:40):
I mean we would be smoking.

Speaker 2 (10:41):
Yeah, the smoke, the smoke goes up, it doesn't stay
around and linger.

Speaker 1 (10:44):
We're smoking here, we're smoking there, We're smoking wherever we're at.
That's what we're doing.

Speaker 2 (10:50):
Yo, stop froming our guests. Do you feel like that's
hindering some guests some activities. I think some guests are afraid. Well,
that's that's absolutely made that clear. You do not not
a requirement to smoke weed to be on the show.
It is not a record. I mean, so doesn't smoke
with or without you. It's the highest show on the planet.
We give no fox.

Speaker 4 (11:10):
Hey, that is the truth right there, he said it.

Speaker 9 (11:13):
I got I gotta say, man, I've seen nice tea.
I did a I opened for him a couple of
years ago at the Grand Amp, and the dude is
still mega on point.

Speaker 1 (11:22):
Man.

Speaker 9 (11:22):
He comes out with six in the morning for I
was like, oh fucking place, with so much energy, such
a dope show. I mean, he's still the man. Dude
on stage, he's killing the show, is incredible fucking energy.
When he signed me like he was doing the Collers
like stuff. That's him evil, yo. They and his partners

(11:47):
they put a nice show together. Well we'll think about it.

Speaker 2 (11:51):
He's been doing it forty some odd years, longer than
any of us have.

Speaker 4 (11:55):
So he's he's got he got his ship locked it.

Speaker 2 (11:59):
And you know the thing about Ice is that people
have so much respect for him. He can get the
best players around to come play for him, but he
sticks with his squad who he knows that like is
playing on the money. You know what I'm saying. Gotta
love that guy, Gotta love him. He's a fucking jewel

(12:19):
out here, you know what I'm saying. He's a gem ice.
Come on the s let's go. He's He's part of
the West Coast Crown Jewels. Think about that. It's not
just Dre. It's not just Dre and Cube and and
and it's it's King T. It's fucking iced tea.

Speaker 5 (12:38):
Well, I think the.

Speaker 7 (12:38):
Great debate is is basically between is it was it
iceer or schoolly D?

Speaker 2 (12:44):
Well No, I'm saying, well, gangster rap, that's that's schoolly D.

Speaker 4 (12:48):
We know this.

Speaker 2 (12:48):
But but what I'm saying for what But I'm saying
for West no in hip hop? Two original kind of
questions of it were in hip hop, yes, yes, schooly D.
But out here on the West Coast it was definitely
iced tea for for us that grew up over here,
you know what I'm saying. And uh, I mean we

(13:09):
that's something we know. And he gives it up to
Schoolly D. No, I'm not giving it no, no, no either.
I'm saying that was the original and original yeah, yeah, no, no,
I'm agreeing.

Speaker 7 (13:19):
And then when we all realized PSK and when it
came out, of course, that was the.

Speaker 5 (13:22):
First that's that's dope that Ice Tea could actually say. Yo,
when I first heard that schooly D style flipped it,
I took it to the west. Well yeah, because his
own out of it. And that's really Ice Tea. It's
not the other cat. They talk about different ship. They
talk about it, especially with sticks in the Morning. It's
kind of an ode to it, you know what I mean.
Six Yeah, but it sounds like a schooly song.

Speaker 2 (13:45):
So like he was definitely inspired by the schooly D
song because before the music he was doing was more
like sulsonic Force, you know, if you listen to the
prior iced t joints. Yeah, it was more electronic based,
That's what I mean. It was more electronic hip hop,
planet rock and yeah. But but but I'm saying he

(14:05):
was he was first, you know, like riding that wave,
like the soul soonic force type of wave, but when
he hurts.

Speaker 4 (14:12):
Army function lover type stuff too.

Speaker 2 (14:15):
But when he heard schoolly D, that's when he flipped
his style absolutely, and that was a thank you Schoolly
D for for introducing ice Ta to that style, because
that let's.

Speaker 4 (14:27):
Go he he killed.

Speaker 5 (14:29):
I mean he's like a like an iced team, like
a pimp too, like that pimp style, you know.

Speaker 2 (14:35):
Like Colors is an amazing like in context of the
movie too.

Speaker 1 (14:43):
Banging looking at my Gucci about that time.

Speaker 2 (14:45):
Yeah, Schoolly D had this gangster joint. I mean you
cannot get away from them.

Speaker 1 (14:51):
So I still play that ship.

Speaker 2 (14:53):
It's dope, you know when you work with him, right,
like if you do if you funk with SCHOOLI in
any way for a while. I don't know if he
still does this, but for many years, like if you
wanted him to do something like art, because he was
doing art as well as doing music, if you wanted
him to do something, you had to give him a cake.

Speaker 1 (15:11):
What that was his take?

Speaker 2 (15:13):
You had to give him a fucking cake of any kind,
but it had to be a cake.

Speaker 4 (15:18):
It was a thing.

Speaker 2 (15:18):
I don't know if it's still his thing, but it
was a fucking thing that Like if you did something
with Schooly.

Speaker 4 (15:23):
You had to bring him a cake. That's cool, Yeah,
fucking crazy, right.

Speaker 8 (15:28):
What would be your thing if you had a thing.

Speaker 2 (15:30):
If I had a thing. People bring weed. I don't
even need it, but they bring it. Right, I would
have to think of a thing that I want.

Speaker 8 (15:38):
Right, That's like asking what do you want?

Speaker 1 (15:41):
What do I want?

Speaker 4 (15:43):
I don't know?

Speaker 1 (15:44):
What would you bring him?

Speaker 4 (15:45):
That is the question of life. Everybody must ask themselves
what do you want?

Speaker 5 (15:49):
Strapers serving me drink?

Speaker 4 (15:51):
There you go?

Speaker 1 (15:52):
See he that was quick for him, he knows exactly.

Speaker 2 (15:54):
With a fucking leaf fan, you know, the big old
fucking banana leaf fan or whatever, elephant elephant ear.

Speaker 10 (16:03):
The royal penis is washed, oh ship, oh mad, motor
boat and some of a bit.

Speaker 4 (16:19):
Oh mad? Have Have any of you recorded in Conway's studio.

Speaker 8 (16:26):
Familiar?

Speaker 4 (16:27):
It's in Hollywood? How about you Steph if you guys ever.

Speaker 1 (16:31):
I saw maybe I remember it?

Speaker 5 (16:33):
Also?

Speaker 2 (16:33):
Where didn't I come there and do something with you?
And with yes? Yeah, but I've also recorded there before that.

Speaker 4 (16:38):
How about you?

Speaker 1 (16:39):
Lizzy?

Speaker 2 (16:40):
I don't think so let me ask you all this.
Do you feel there's certain? I mean, because I know
everybody here has been in a lot of studios. I
mean everybody at this table who has been in many studios,
in studios in New York, you know, Yeah, So my
question to you all of y'all, and let's do it
one at a time. And do you feel like certain

(17:01):
energies have a studio that are that are conducive to
the creative energy flow? Like, do you like feel better
in certain studios where ship just comes to you quicker
than others?

Speaker 1 (17:15):
Where?

Speaker 4 (17:15):
Where? What studio have you felt that at, Steph?

Speaker 1 (17:19):
I really like American?

Speaker 4 (17:20):
American? Yeah, we were there for for a few years. America.
We did a lot, like three albums there.

Speaker 5 (17:27):
I worked in the studio in Germany.

Speaker 2 (17:33):
There's only one. It's It's it's the one. It's what's
his name? Yeah, yeah, yeah, Ray Ray Parker Jr. Yet
a lot of Tupac records and death Row records came
out of there too. You know you've been there, you
recorded at the same place. But how about you less?

Speaker 5 (17:51):
But like I was saying, I worked in Germany, a
nice studio, you know, some good German ship just you know,
and the and the vibe was, you know, it's different.
But then you start doing almost you start doing what's
going on over there a little bit. Yeah, you know,
I noticed that ship. So that keyed you up. I mean,
it makes me try new ship.

Speaker 4 (18:12):
All right, how about you.

Speaker 2 (18:14):
I'd have to say the most recent studio I worked
out about there in Nashville place called East Iris.

Speaker 5 (18:23):
It's in a little part of town.

Speaker 2 (18:26):
It sounds like a place where legend mother legendary motherfuckers
have recorded.

Speaker 7 (18:30):
Yeah, the name of the part of town is escaping
me at this point, but it's Oh, it's Berry Hill.
And it's like, apparently if I'm getting the story right,
pardon me if I'm not. Like early days in Nashville,
everybody started building studios within their houses. So Nastville at
that time said we're not gonna let that happen anymore.
I say, that's you know, they somehow made it over

(18:52):
the cats on it. Yeah, but Nashville city limits, I believe,
were smaller than they are now back then, so like
this place, Berry Hill was just outside the city. It's
a all of these artists built a ship ton of
studios in these houses and they're all old school, a
lot of analog gear.

Speaker 5 (19:07):
Yeah, just a super dope vie party.

Speaker 7 (19:11):
But it brought me back to all the good studios
we've ever been at and that vibe of how it's
just comfortable and you feel like music is supposed to be.

Speaker 2 (19:20):
Getting made right right there that part, like there's something
it's almost it's akin to me to hearing a tattoo
gun going off, like if you're in the tattoos for
after a certain amount of time, I'm just I'm starting
to be.

Speaker 4 (19:35):
Like, all right, what I gotta You're in the place
where it happens. I gotta get a tattoo. How about you?

Speaker 9 (19:39):
Fl in Miami at the Marin I believe the hotel
is named Island Record Studios.

Speaker 8 (19:46):
It was sick It's Virgin Records or whatever now.

Speaker 2 (19:48):
But.

Speaker 9 (19:50):
It was obviously where you two and all those groups,
Shaddy fucking all the Marley's, all those people recorded there.

Speaker 8 (19:56):
You can just feel the energy.

Speaker 9 (19:58):
Man, Yeah, so much talent, such a beautiful fucking studio.

Speaker 2 (20:01):
For me, it's yeah, for me, it's it's Conway. Actually,
you know, I like doing shit there. I get more
creative there, like shit just comes to me, like the
energy just out of know what, you know, Like from
the Burner Records. We've done several in there in the
different studios, but my first experience was going to visit
the Black Crows at this studio.

Speaker 4 (20:23):
Bobo was playing percussion on.

Speaker 2 (20:25):
I think the second album that they were making because
they scrapped the first one and so he was playing.
They invited me down to come hang out, and I
felt like a good vibe there. I'm like, fuck, one
day I'm gonna come back and record here for something.
Cyprus never ended up recording shit there, but until now
we're recording our Spanish album around there, you know, or

(20:49):
we're planning to you know, you.

Speaker 5 (20:51):
Know what's important in studios for me to like Also
the couches. Some of these studios got fat ass cow
is like when we used to be in Chunk King
had the stupid because you just come and lay out,
just hear the ship banging bon bond and you start
writing or thinking, you know whatever, vibe out. Yeah, it's

(21:12):
so good and you're so good, feel good.

Speaker 1 (21:15):
You're like you said, the best the studios that are
great for for that creativity is where you feel most comfortable. Yeah,
I mean where you feel whatever, that that vibe that
you're seeking and comfort.

Speaker 5 (21:30):
You know, if you had the code of that studio
and sit on the crate, you wouldn't be happy be
you know, you got you got the fact couches you
feel good.

Speaker 4 (21:39):
Well, look, you know, like you could modern looking studios.

Speaker 2 (21:43):
Let me just say, I'll give you one quick example
of the opposite of what you're saying, though, as I
loved making Whitey Ford sings the Blues in New York
in a in a studio with Dante Ross and a
guy named John Gamble in a building called West Bath
in the in.

Speaker 7 (21:59):
The in the in the like kind of murky basement studio.
It was not comfortable at all. But again, when I
was in that room, it was like music is calling me.

Speaker 5 (22:14):
We're not comfortable.

Speaker 7 (22:15):
It wasn't always fun, check this out, but it was
like work got fucking done.

Speaker 4 (22:20):
Check this out. That was a bar.

Speaker 2 (22:23):
Jack Jack White in his acceptance speech saying special things
happen in small rooms, and before we have money enough
to get to a big studio, we're all pretty much
in a small room trying to be creative. That so
great art happens anywhere. But my thing is that some

(22:46):
places have this energy that it carries because so much
great energy has been created in this specific place that
you could come to with and create something special there
because of that energy that you create within this special place.

(23:08):
And that's why I think some of these places are
special in that sense, because great things have been done there,
and it's the energy is resonating and staying there and
now you are now a part of it.

Speaker 4 (23:20):
You absorb it and then amplify.

Speaker 5 (23:22):
Not only that, if you like the sound that's coming
out of there, you already went home with that sound.
You heard it, and you like the sound. You know
that's important too. Man, The studio gotta have a good sound.

Speaker 2 (23:32):
Yeah, yeah, absolutely, if you like the way it sounds,
and if you got to be good, and if you
just like the engineer, oh yeah, shout out my dude
in Brooklyn on Jake Palomo.

Speaker 5 (23:42):
You know, he makes the real cycle project. He does
all my projects. And it's a small room like you
were saying.

Speaker 11 (23:49):
And engineers matters and engineers engineer me and the engineer
and maybe one more dude, and I'll bring a guest
by to come spit some fire on the mic.

Speaker 2 (23:59):
And engineers might be the most important like person in
the whole process of making an album.

Speaker 9 (24:04):
Man.

Speaker 4 (24:05):
Honestly, yes, allude to the dumbinant.

Speaker 5 (24:08):
Dude who whatever.

Speaker 2 (24:09):
You know. They may have cats running around the studio
doing the little work for him, but you got the
guy with the ear that's doing what the producer wants,
you know what I mean, Like our guy in Nashville,
I'm shout out to Jason Mott amazing I works.

Speaker 4 (24:23):
I've had a chance to work with some really good engineers. Man.

Speaker 2 (24:26):
They are the backbone of the ship. Because if you
got the right one, man, the tracks sound incredible. If
you got one that's inexperienced, man, that ship is like
it's work.

Speaker 5 (24:40):
It was like.

Speaker 4 (24:43):
Yeah, yeah, yeah, and I've been there.

Speaker 2 (24:45):
I've been there, and because you know, like I here's
the thing right for a time before we got this
studio down here, when that when I had my studio
and chat's work, I was hands on with everything, right.
I could work the pro tools, I would track my
own shit, I would do all that stuff I didn't.

(25:06):
You know, no one had to do anything for me.

Speaker 4 (25:09):
It's just time consuming. But it's time consuming, you know
what I mean.

Speaker 2 (25:12):
And like, so my point is is that I knew
too much about the thing of it, right, so when
I got with fucking engineers that were inexperience that I
could work faster than them, it would be frustrating, you
know what I mean. So like when you find the
right ones, man, that's like that's a blessing. Because like,

(25:35):
really good engineers are hard to fucking find, and.

Speaker 5 (25:38):
A good engineer will will know your sound already, yeah
you know how his drums or his music like, And.

Speaker 2 (25:46):
I'll tell you the truth, I can't run none of
that ship now because like I haven't been up to
date with none of the new technology and how pro
tools has changed or whatever, you know what I mean,
and all the new plug ins. So like I'm I
could have fucking jumped back into that pool, you know,
because I know I'm not running no second.

Speaker 7 (26:04):
Plus to me, it's like this, It's like I can
I can play several instruments shittily, yeah you know what
I mean. But I can get a song hashed out
on there. But at the end of the day, I'm
gonna want a keyboard player to come in and play
the keyboard parts that I'm just kind of taking same
kind of thing with an engineer, like I'm sure be
real or myself. We can get in there and we

(26:25):
can record our demo or whatever. So but at the
end of the day, we're gonna want a guy to
come in and really fucking knock that shit out the park, right, yes,
and make sure it's done right.

Speaker 4 (26:33):
That part that's all I want.

Speaker 7 (26:35):
I want to get the job done to a certain point,
to a certain but when it's the difference between making
a song and making a record, boom.

Speaker 5 (26:42):
I want to also shout out my dude, Chris Conway.
He's the one that makes them watch out now for us.
So it's like, like I was saying, you know, it
could make a big difference. You got the right engineer,
you you can have a h a banger. You know.
True that I mixes whack. Guess what if the mix
is whack? Take it back work.

Speaker 1 (27:05):
I've done that.

Speaker 9 (27:06):
I've had engineers, you know, mix my ship and then
I'm like, what the happened to this sound?

Speaker 1 (27:10):
I had? Hero?

Speaker 9 (27:11):
What happened to such? I don't hear it anymore. It's
like they think their producer.

Speaker 8 (27:15):
Yes, dude, I don't like that either.

Speaker 1 (27:17):
Well some are.

Speaker 4 (27:18):
But if you're not brought in as the producer.

Speaker 2 (27:21):
If you've produced track and they removed or added something
without saying something.

Speaker 5 (27:28):
It's time to smack them.

Speaker 2 (27:29):
That's yeah, I don't know if it's time to smack them.
I think it's time to find another. If you or
you have a or you have a conversation and say
Hey man, you know, like this is the way I
wanted it.

Speaker 4 (27:40):
I don't you know, you don't need to change it.

Speaker 5 (27:42):
You come back and got horns on it, and.

Speaker 2 (27:46):
That that that could cause a fight with motherfuckers with
the big ego. I mean, I know I've seen it
happen close. I'm not gonna say you know like what
group and how it happened, but like, yeah, you know,
do you change an instrument that someone else is playing?
Like if you're the producer and you could play all

(28:07):
the instruments and you're in the like you're producing for
a band, and let's just say that producer decides no,
and I'm gonna go change the baseline real quick. That
bass player to that band is gonna.

Speaker 4 (28:18):
Be like that, that's a violation. What the fuck you
change my base for?

Speaker 2 (28:23):
You did tell me you were gonna do that, but
that's you know, you asked this guy to produce, So like,
you know, if you're going to ask someone to produce it,
they hear something different.

Speaker 4 (28:33):
Should you not be open enough to like hear it
before the ego?

Speaker 5 (28:38):
Super dope?

Speaker 4 (28:39):
Right?

Speaker 2 (28:39):
If I'm like that shit sounds crazy, like if it
sounding yes, okay, if it sounds exceptionally doper. You have
to acknowledge that, right, I mean, like, if it sounds
less than then it's like, hey, what the fuck are
you doing?

Speaker 5 (28:54):
Right? Also, the arrangement of what that situation is.

Speaker 2 (28:59):
You know, if you got a oasis on your hands
where one guy writes and does all the songs.

Speaker 5 (29:03):
Really and then just kind of hands it off.

Speaker 7 (29:05):
For a Smashing Pumpkins type situation where the guy writes
it all and plays it all, but then makes the
other guys play it again, right, then they don't got
much to say. You don't much to say about changing
the baseline. But if they wrote.

Speaker 4 (29:18):
Song to get that song to get well, yeah, that's yes,
you have.

Speaker 7 (29:21):
Every right to be like you at least God should
talk to me about it. And at the end of
the day, this is the one thing I learned on
this last record is like writing with a couple other
people for the first time, sometimes you got to acknowledge like, yeah,
your idea is better than.

Speaker 4 (29:36):
Mine, right that part?

Speaker 1 (29:38):
Yeah, yeah, if it is.

Speaker 7 (29:39):
Yeah, you know, it's tough for me to say sometimes,
but yeah fuck yeah. And the first after the first
time you do it, it gets a lot easier.

Speaker 4 (29:46):
Yeah, because you hear it with different years.

Speaker 7 (29:49):
I think, well, and then you start serving the song
and not yourself, and it's less work for me to
to do somebody you.

Speaker 5 (29:57):
Just sound.

Speaker 2 (29:58):
You realize you got four guys in a room or
four you know, people in a room, all with one
goal making the best song possible, and you can start
stepping back.

Speaker 5 (30:09):
Your if it ain't my idea, it ain't the one
that part.

Speaker 2 (30:13):
You can fall back everybody trying to make the best
song possible, because that's that's the goal. It's not really
like you know yet, because sometimes in hip hop we
get competitive and we're like trying to chop each other's
head off.

Speaker 7 (30:25):
The mentality I'm talking about. That's why up until this
album of my life, I've never written lyrics with another human.

Speaker 2 (30:32):
I don't.

Speaker 5 (30:32):
I don't. I don't believe in that. Ship to me
is we're making a good song. B That's how it's
supposed to be. Talking with the banger. That's we's going
to be this song.

Speaker 1 (30:42):
You know, it's back from the dead, you know what
I mean.

Speaker 7 (30:46):
That's the only other time I ever had and so
but I was locked into that MC mentality of like, well,
if it ain't my words, it ain't authentic.

Speaker 1 (30:54):
Yeah, I'm just trying to determine what the best is though,
I mean that's impossible. No one can really like if
there's if there's no But I'm saying, if there's a
single songwriter, well, that person's opinions the opinion that matters.
But when you got like a group of opinions, that's
that's a challenge because everyone's opinion is pretty much the same.

(31:16):
So you know, this guy is talking about this part
being this way and this guy wants to part that way.
You know, it's like, but it doesn't tell you which
parts better because I like both parts.

Speaker 2 (31:26):
That's why the producer is always I don't find it
comes to that a lot either. I think once you
if you get in the room with the right guys
that all have the same mentality of just serving this
song and they see everything everyone in that.

Speaker 1 (31:38):
Room is doing that. Yeah yeah, but I'm just everybody.

Speaker 7 (31:41):
Kind of just falls into the same kind of like, yeah,
that's what we said. That that works, of course.

Speaker 1 (31:45):
But again that's that's having that philosophy and mentality. I mean,
if you don't have that perspective.

Speaker 5 (31:51):
Even disagreements seem to resolve quickly. In the rating of
a song.

Speaker 4 (31:55):
You know what I mean.

Speaker 7 (31:56):
I mean, you guys are out there right like fucking
forty songs a fucking week.

Speaker 5 (31:59):
Bro, It's crazy.

Speaker 2 (32:00):
Yeah, that's that's when you got a group of people
that have chemistry with working together and they love working together,
and it's not work. It's like they enjoy doing it
and they get paid from it, but it's like they
they love being creative together. That's like why movies like
The Wrecking Crew and and what's that other one something
it's based in Memphis, I think. Fuck, it's a dope

(32:25):
documentary about another crew in Memphis. Memphis shows something shoals
or some shit like this.

Speaker 5 (32:31):
Oh, that's in Alabama.

Speaker 2 (32:32):
Alabama muscle shows, muscle shows there you go, and and
it's like two different music scenes. It's California here and
it's the South. And it was meant to show you
that outside of Motown there was these different places of
different studio musicians creating, creating different sounds, but that were
top fucking lavel. They were all competing and they were

(32:55):
all competing to have like the best sound, and that
little competition made them better. Yeah, of course, because you know,
like there was great music coming out in that time, and.

Speaker 1 (33:04):
You wanted to be able to say, like, no, we
the best.

Speaker 2 (33:08):
Hip hop you know what, I was regional. I know
this went until it went national. Was regional. Yes, New
York's had a scene on the East Coast scene and
the South had a scene, in the West Coast had
a scene like that. There's a scene everywhere but corporate
and you know than it was at that time. Yeah,
what were we gonna say? Let's I was.

Speaker 5 (33:27):
Just going to say, like you know, like for me,
when I make records, I'm just trying to make a
hit record with other artists. I'm not in the competition
or when I'm not trying to compete, let's just all
make this fucking record. Stupid.

Speaker 2 (33:42):
You know what's crazy less is that it took me
years to snap out of the mentality of I'm cutting
the motherfucker's heads off on records and as opposed.

Speaker 4 (33:49):
To you're supposed to no, no, no, But yet no,
I get that.

Speaker 5 (33:53):
You want to be able to say, y'all be real,
cut everybody's head off on my ship, this is my
hit record.

Speaker 2 (33:59):
No get that right, No, I get that because I
still have that, But but I learned to like harness
it into as opposed to let me cut the motherfucker's
head off, let me help make the song better, because
it's like what you said, it's about the song, and
it's about making the song better, not making not making
me look like I'm fucking levels above this motherfucker or

(34:22):
that motherfucker or whatever.

Speaker 4 (34:24):
You know what I mean, Like that's petty. It's about
the song.

Speaker 5 (34:27):
When I when I, when I did the song with
Big Pun, like Big pun ate everybody up on that
fucking beat. But guess what we was trying to compete.
We was just making it, making a dope song. Yeah,
it just we all can't like.

Speaker 2 (34:45):
Guess what everybody and guess what motherfuckers talk about Big
Puns versus Yes, but in all they say, that's a
great song.

Speaker 4 (34:56):
No one just no one just fast forwards to his verse.

Speaker 2 (35:00):
They listened to everybody's verse, because that song is a
fucking jewel.

Speaker 5 (35:03):
Even though even though Big Pun he will tell you
I'm trying to eat everybody's head off before we even
do the song. He'll tell you I'm fucking you.

Speaker 2 (35:15):
Know what I did one song with Pun, which is
called wishful thinking. Right, I didn't get to hear his
or Joe's verse, I had to lay mine first. I
was the first to drop on this song because they
came to the studio very late. They told me six
o'clock and me and Bobo showed up there at six o'clock.
They didn't get their look till fucking nine pm, ten pm.

(35:39):
So I wrote my verse first. Had I listened to
like Pun and Joe's verse, I would okay with something
totally different and more dynamic. But getting to watch Pun
drop his shit, because I did get to watch him
drop it, that shit was dope, because you know, like
I was wondering, like, okay, how does he get this

(36:01):
ship off? And I learned a whole different technique drop
that day. I rarely use it unless I'm doing a
very wordy, phrasy, compacted type of verse whatever. But even
then I rarely use it because I go with my techniques.
But I learned that like when it's if it's a
compacted phrase right and it has to overlap. Just the

(36:26):
way he patterned his rhymes rhyme scheme on like how
he got it done was fucking awesome. It's a dope
technique and people, I'm good. I'm still I'm still on
this one. I gotta work later. I can't get too
fucking crazy. But he had he had a technique, and
I thought it was I thought it was so dope

(36:47):
because then I understood how he got his phrasing off. Man.

Speaker 4 (36:50):
It was the dopest shit I tell you.

Speaker 5 (36:52):
Definitely. His mentality was to I'm fucking everybody up on
this song. So yeah, and guess what. What's what he
planned to do? And he did and that's what he did.
He was He's on records with Jada kiss Nas and
and and he's and d m X and he fucks
up everybody.

Speaker 2 (37:10):
I would have loved to have gotten on the track
with him right now, like rest in peace. If he
was alive today, I know his style would be massive.

Speaker 5 (37:18):
Let me tell you something. The closest thing you're gonna
get to Big Pun is Cuban Lynx and Triple says,
those are my brothers, and and that was puns brothers,
and their flow is identical. They're thinking everything is like
little puns. So I could show you about takes Poppy.
I could show you some little puns, little puns we got.

(37:39):
We gotta run with the little pun.

Speaker 2 (37:41):
When you hear this ship that spanished you could be
like I, let's cool because you know Pun, I gotta
tell you it was important to me. Like I've been
influenced by a bunch of different motherfuckers throughout my career,
right like Pun was one of them. He like helped
me unlock something that I didn't have before, which was

(38:04):
the more fluent style. A lot of my earlier styles
were with pause and like singing phrases and like, you know,
more stretched out instead of compacted syllable phrase, like a
lot of shit within one sentence into the next, and
just the fluidity of that. Right, I learned that shit
from listening to guys like Kougi Rap, but mostly Pun.

(38:28):
And you know, he was important to a lot of
motherfuckers because a lot of motherfuckers ain't got their style
without that guy, straight up.

Speaker 4 (38:36):
And that's one thousand yo.

Speaker 5 (38:38):
But let me tell you, man, what's so incredible to me,
Like the different styles of mcs, Like Pun is a
crazy technical rhyme and he's he's ill at that. But
I also like simple rhymes like Greg Nice when ooh
la la we said, Muhammad Ali say cash, just play,
I say butter, you say Paul k. It's all right,

(39:00):
if you want to make a slave, I'm gonna stay uptown.
Took the deuce to the trade. I lived to nate.
They duplicate. I praised the Lord faith he's ninety two.
One year later, pete south from me and take me
out with the fade up. You know what I'm saying, like,
and it's just the way you deliver, and it's like.

Speaker 2 (39:20):
Hey, that was Hey, that was one of the most dynamic,
simple flows they came. He was like this gangster that
that that verse made him a star, right because everybody
liked they already fucked with him, right, but when he
popped that flow off, that was like one of the
most unorthodox flows at the time. Let me, mister nice

(39:42):
was nice with that ship and his voice cut through
like knife, hot knife through ice creams. Yeah, Nice and wood,
they don't get enough flowers. My problems to it, problems
just like ship. We have smooth Be up in here,
not long ago. Man's slud to my man, smooth Bee.

Speaker 5 (40:04):
I just seen him and then why yeah, yeah he's
doing good, both.

Speaker 4 (40:08):
Of them, Nice and smooth. It's funky.

Speaker 1 (40:12):
Are they hispanic? Either one of them dos?

Speaker 8 (40:13):
Because they wrapped the Spanish now it's just.

Speaker 5 (40:15):
That they're from the Bronx and you from the Bronx.
Everybody speaks Spanish.

Speaker 4 (40:19):
Broken, broken Spanish.

Speaker 5 (40:21):
You understand. You start talking words just like you know words.
I feel you word.

Speaker 2 (40:29):
It's national parfe day. I don't know how that matters
to us, but yeah, right, I like tight normally berry.
Oh there we go, par fay.

Speaker 4 (40:40):
I can't.

Speaker 2 (40:41):
I can't funk with the parfet. I don't even what
technically is it? Ice cream is a yogurt? I believe
it's like a yogurt, right, yoga yogurt?

Speaker 5 (40:48):
Okay.

Speaker 2 (40:49):
I used to fuck with yogurt as a kid, but
like I don't. I can't get down with it right now.
I don't know why. The mix of berries and granola,
it looks nice.

Speaker 8 (40:58):
That's a parfay, the mix of them through elements.

Speaker 4 (41:01):
Listen, I feel like I got to be home many
too many yogurts.

Speaker 5 (41:04):
You think in a year you eat none?

Speaker 4 (41:09):
Even I don't nut.

Speaker 2 (41:15):
I would only say a few because I occasionally make
a smoothie with some fruit and that's what I'll throw
yogurt in there and like.

Speaker 5 (41:22):
A little fruit store, I mean one of them juice stores,
and be like yeah, let me get you know, what's
yogurt in there?

Speaker 2 (41:29):
Because when I was a kid, little fruits. Hey, when
I was a kid, I used to fuck with yogurt,
you know what I'm saying. But that's like yogurt. But
as a grown up, like, for some reason, I could
not funk with it. I'm gonna try it. Don't for
your guts it is. I hear that probiop. I fox
with it, but I just don't funk with it, right,
I swear to god, I haven't had a yogurt. It
probably like fifteen yoga probably come on Greek yogurt. That's yes,

(41:56):
that's rat poison. Yeah, for some reason, I can't funk
with it. I don't know.

Speaker 7 (42:00):
Tricks used to tricks literally putting the word tricks, tricks, tricks.

Speaker 5 (42:07):
Kids, got you some good.

Speaker 4 (42:13):
Ship, all right.

Speaker 2 (42:19):
It's also National shopping Reminder deck because black Friday.

Speaker 5 (42:24):
Is coming or black out the system? How about that?

Speaker 7 (42:28):
But everybody, don't spend no money for this and show
you motherfuckers what is about?

Speaker 4 (42:32):
Save your god, save your money.

Speaker 2 (42:35):
If you're gonna go shopping, go to the mom and
pop somewhere, but don't give target. Don't give none of
these motherfucking corporations. Your money, Hey, Target, don't sponsor this place.
Target all of them, don't. We don't got those Target.
There's a whole list going on.

Speaker 7 (42:49):
You can find these nuts anything corporate, basically one of
these motherfuckers.

Speaker 5 (42:54):
Boycott it all.

Speaker 1 (42:55):
Don't buy yourself a brick of gold. They go.

Speaker 2 (42:59):
Do your kids some gold. Yeah, buy your kids some gold.
I ain't mad at that. Buy your kids some fuck.
It's a little expensive right now, but I'm saying it's
not gonna get cheaper. It's not gonna get you. No,
it's not gonna get cheaper gold Land Trust funds. Let's
go do something Target for Christmas. Yeah, cancel all that
ship and keep your money, because all you're doing is
giving it to like six motherfuckers on this planet.

Speaker 5 (43:21):
Big bang, And I'm done Holidays. And with that, take
care of the kids. Take care of the kids out there,
you know.

Speaker 2 (43:27):
Yes, hey, hey, you could take care of the kids
and do nice things and have a fun ass fucking
holiday without fucking you know, sponsoring this bullshit.

Speaker 4 (43:36):
How about this, donate to people that don't have shiity.

Speaker 1 (43:38):
How about that?

Speaker 7 (43:39):
How about take your kids out and give another family
a Christmas? You got it that good. Look at that
disgusting ship like less some good and that's probably like
ten years old. All right, onto the decks. It's National
Blase Day, Blase Blase, Blase Blase.

Speaker 5 (43:57):
And the East is in the house. Oh my god, danger.
What is what is the definition of National Day? Does it?
Do we have one?

Speaker 4 (44:05):
Is it? Not?

Speaker 5 (44:06):
Like?

Speaker 4 (44:06):
Taking it serious?

Speaker 5 (44:07):
Right?

Speaker 6 (44:07):
The French meaning of a to be indifferent or it.

Speaker 5 (44:11):
Is an actual word?

Speaker 2 (44:12):
I was thinking like slang to be indifferent. But just
like whatever, it's national. I don't give a fuck about
this day pretty much. I could deal I could deal
with that. I like that because guess what I don't
give a fuck about this day?

Speaker 8 (44:27):
Yeah?

Speaker 2 (44:29):
And did you tell it is the birthday of one
Tim Armstrong of Transplants, born on this day in nineteen
sixty five. Happy birthday, Tim, I'm not gonna tell it.

Speaker 4 (44:42):
Yeah slute.

Speaker 2 (44:43):
So yeah, Tim Armstrong of rad Sid and the transplant.

Speaker 1 (44:47):
Like didn't cartoon design that logo for them?

Speaker 5 (44:51):
Yeah?

Speaker 1 (44:51):
Yeah?

Speaker 2 (44:53):
He also played, Uh you know what's crazy about him
is that he inherited the the music of what's the
name Strummer right of the class show. Yeah, Like he
had like say over the music like where it could go.
Like for some reason, he you know, he had it

(45:13):
and he allowed us to do Guns of Brixton and
then played on it. In terms of the song What's
your Dame? What's your Number? He's in the video all
that shit to Tim Him and Mugs were working together
for a minute on a lot of shit. Yeah it's
not bad, Okay, it's just funny, all right.

Speaker 4 (45:32):
I love that song. You like that song?

Speaker 1 (45:34):
Oh? That song is great?

Speaker 4 (45:35):
Thank you fucking strong one.

Speaker 1 (45:37):
When we did that Colisene performance, I thought for sure
that was a song I was one I practiced. I
was like, I'm ready for this one.

Speaker 4 (45:43):
Oh, we are going to play and do it whatever.

Speaker 2 (45:46):
No, we're going to play that song this year somewhere,
all right, So you stay ready, steph tone right?

Speaker 4 (45:53):
Did you know it is the birthday.

Speaker 2 (45:57):
Of the hip hop legend Eric Sermon born on this
day in nineteen sixty eight, Green Eye.

Speaker 5 (46:05):
Bandy Eric Sermon. Let me tell you one of the
illis rappers and producers. Yes, yep, don't sleep.

Speaker 2 (46:13):
He don't get enough flowers on the production production lights
like crazy for real, like the whole first Red Man Out.
He's done a lot of songs all that EPMD shit.
He did R and B shit too.

Speaker 5 (46:24):
Yeah, just think about that.

Speaker 2 (46:25):
He did a lot of R and B shit like that,
Like we're hits. Salude to the Green Eyes Bandit goddamn
it band. Did you know it is the birthday of
Fernando sayabti oh g member of Manudo no way in
nineteen sixty five.

Speaker 4 (46:43):
He was poor.

Speaker 1 (46:44):
Noo way Fernando Fernando.

Speaker 5 (46:48):
Hello, guysity original original Menulo's right.

Speaker 1 (46:52):
Yet dah yeah, that says o G member, that's not
I've hit your hearing in the pink shirt.

Speaker 2 (46:58):
Though, I don't think like two. Look at that fucking hair, dude.
Look he had it before Bieber. Look at it. Look
at it. That's not Eric, that's pre Beaber.

Speaker 5 (47:12):
Bro Yo. Let me tell you something for the for
the people that don't know who Manoro is. Like they
were like the Latino Beatles, almost.

Speaker 4 (47:22):
About the Beatles.

Speaker 5 (47:23):
No so who like a like a boy band mate
Jackson's Beatles was a boy Jackson? Weren't they interchangeable?

Speaker 1 (47:30):
Didn't? Yes?

Speaker 2 (47:30):
They did? Yes, Once you turned out, once you turned on, listen,
hold on, let's not talk over each other all right. Look,
once you turned sixteen, you was out you were out, yeah,
or after maybe it was seventeen something like that.

Speaker 8 (47:45):
Ricky Martin was in there too.

Speaker 2 (47:46):
Right, Yeah, Ricky Martinez, he came from there and a
few others. But he's the biggest one, Ricky Martin. Ricky
Martin means the biggest, thinking Rico same was one.

Speaker 4 (47:57):
No, no, no, he wasn't.

Speaker 5 (47:59):
Yo, let me, he couldn't.

Speaker 4 (48:00):
He could have looked like it could have been.

Speaker 5 (48:02):
If you ever seen them Manula concert, you're going to
see girls passing out, screaming, fucking ass off.

Speaker 4 (48:10):
Yeah, they had hits for years.

Speaker 5 (48:12):
They were like, I don't know what it was.

Speaker 7 (48:13):
They were like the Backstreet Boys if they were hockey,
they could keep them right.

Speaker 2 (48:19):
They were like they were like Backstreet. But the only
thing Backstreet did do was keep replacing the members after
they they stood the aged down.

Speaker 4 (48:28):
Concept, and they were doing that in the seventies.

Speaker 5 (48:30):
I fucked it up because we used to like the
old Cats and then they changed them into some new Cats.
It's like, nah, that said.

Speaker 2 (48:38):
That was the contract though, because they were a put
together band, because a lot of a lot there was
a lot of put together groups, and that in this
time when they came about, you know what I mean ship.
They just came up with the concept that like, well,
we need to keep this idea fresh, so we can't

(48:59):
have these motherfucker's getting too old, so we got to
age them out at seventeen.

Speaker 1 (49:03):
That was the Latin Mickey mouse Club. Yeah, pretty much. Yeah,
that's exactly what it was.

Speaker 5 (49:09):
They had hits.

Speaker 4 (49:10):
You could age out of the Mickey Mouse Club.

Speaker 2 (49:12):
Then they eventually put you into the Disney movies and
then maybe you got a contract somewhere else.

Speaker 5 (49:18):
Either you made the transition or you didn't became stars.
Some became moms.

Speaker 2 (49:22):
Manda was an idea that turned Manudo was an idea
that turned to a farm club for motherfuckers if they
could get out of Manuda and have some success, like
Ricky Martin.

Speaker 5 (49:36):
Yo B. But what would you say Manulo's albums was
doing back then? Platinum? They might have been doing golden, plain,
gold and platinum. Least it seems at least gold at
least at least I would imagine.

Speaker 1 (49:49):
This is a question.

Speaker 2 (49:51):
This is a question we could ask Berry how many
records his Manudo sold in total? Guarantee, Hold on hell
before you give us the answer, Bery, Oh, it says
twenty million.

Speaker 4 (50:01):
Records I see right there.

Speaker 5 (50:05):
But how many albums is that?

Speaker 7 (50:06):
Of the course of how many like you know what
I mean, like and years and and how many incarnations
of the band is it's twenty probably five incarnations?

Speaker 1 (50:13):
Maybe?

Speaker 5 (50:14):
What about the first albums? Yeah, the first o G.

Speaker 2 (50:18):
Well, that's what I'm saying. It all totals up twenty
million records. But I'm saying, who knows what did what?
That's not cool? But how many albums were there?

Speaker 5 (50:29):
Yeah?

Speaker 4 (50:30):
How many albums did Manula release? Bary and who many?

Speaker 5 (50:36):
Yeah?

Speaker 1 (50:36):
Who got paid off? Who?

Speaker 6 (50:40):
I was going to say too, that personally showed earlier.
That was actually the that was the dude you guys
are talking about. He actually has a muscular disease right now.
That's not curable.

Speaker 2 (50:49):
Also, it was him, that was him, man, that was
to him. Many fisted up? How many records.

Speaker 6 (50:56):
Did they released? Thirty one studio albums?

Speaker 4 (51:00):
Thirty what?

Speaker 2 (51:01):
And that's a twenty million record in those thirty one
studio so they came up short nine million, right, ten
million milk.

Speaker 1 (51:09):
And that shit had six platinum.

Speaker 5 (51:12):
These guys were sixteen seventeen.

Speaker 6 (51:15):
All it says is estimated to have sold twenty million
albums worldwide.

Speaker 2 (51:19):
You a well, time out, time out, tideout, just million
or seven hundred thousand record. Maybe the idea of the
group sold that because none of those kids wrote any
of the music, that's right, So just the brand, the brand,
the brand, the brand put together, and those kids were
allowed a platform so that once they were out of
that contract, they were probably going to go work for

(51:42):
that same label higher they were, or they were going
to work for that same label that Menudo was popping
off on, you.

Speaker 8 (51:49):
Know, Koreas following that formula now.

Speaker 2 (51:51):
Right, unless they were smart enough to get out of
that and go somewhere else, which riky. Main The part
I never understand is how nobody repeated the age out
system because once you if you got a great brand,
and they weren't. Even if those numbers are right, that
means only a few of those records probably really hit.

Speaker 5 (52:09):
And a lot of them tank. They were the only
ones that thirty one albums when you.

Speaker 2 (52:12):
Think about it, they were the only ones with that template, right,
age out, age out, Oh yeah at all?

Speaker 5 (52:18):
I mean I think yeah.

Speaker 7 (52:19):
That was kind of the thing that was the most
interesting part about it to me.

Speaker 1 (52:24):
They had ten of them that were Golden platinum.

Speaker 2 (52:25):
I don't know about the rest, right that part, they
start declining. Twenty one albums were in question of as
as the music becomes more modern and there's more artists
out there, they start to decline a little bit.

Speaker 5 (52:40):
Decent batting average to thirty you know, three thirty three.

Speaker 2 (52:45):
But you know, I don't know if you're if you're
killing it because you know, records eventually after MTV, you
had to stick with what you had because if you didn't,
that would be in consistency and without continuity, right and
MTV in that generation, even in the Spanish version, they

(53:05):
expected something and I don't think they adapted to that.
So they they slowly declined. And you know, how could
you adapt to that? What like every member is going
to change every other year because every year one of
them's turning seventeen, there's going to be a new member
the next year. There's no consistency in that. As the
video star becomes to e merge.

Speaker 7 (53:28):
But you know what I want to say, I almost
feel is that how they did it or did they
just like kind of kill one band and start a
new one.

Speaker 2 (53:37):
They would age one, they would age one guy out
and bring a whole new guy in. He'd be the
youngest one now and then the guys that were under
the oldest guy who just aged out their next if
it's one or two or three of us, like the
Manudo Hunger games and shit, yeah they put.

Speaker 5 (53:56):
Games for the public, like yeah, when he turned sixteen,
the next member company.

Speaker 2 (54:04):
And people will be the check this out. I wonder
how many Latino households at that time when that was
the system, Like when people realized your kid could maybe
try out to be a member of Manulo, how many
motherfuckers push their kids.

Speaker 1 (54:21):
To everybody that was like that was everybody doing that?

Speaker 2 (54:26):
You know, you're Miho, You're going to the Menudo tryouts.

Speaker 5 (54:34):
I mean imagine that.

Speaker 2 (54:35):
Let's imagine that was you your popcast.

Speaker 4 (54:37):
Look, Buble, this is your big chance.

Speaker 5 (54:42):
Don't fuck it up.

Speaker 4 (54:42):
Don't fuck it up.

Speaker 1 (54:43):
They were putting out They were putting out two records
a year. Some years they were doing three.

Speaker 2 (54:50):
You would have had to wear opper business, you had
to wear all the crazy fucking Menudo ship that they
had to wear as kids. They were wearing some crazy
ships kids sudd But you know what those checks.

Speaker 5 (55:02):
That was getting was kind of deep. I don't know, Hey,
somebody was getting decent checks.

Speaker 2 (55:08):
I don't know who was the guy who own the brad.

Speaker 1 (55:13):
Because it was it was like wrestling. It was like, uh,
you know anything else where, there was an owner of
it and everybody was out there working for that that dude,
because it was like a touring thing, you know what
I mean, they like they were going well ship.

Speaker 2 (55:27):
I think it was like one of the guys that
had something to do with their career was fucking Colin
Loomananda's father. Oh shit, and he like one of the
one of the original members or one of the maybe
second generation members, was talking about the fucking father sexually
molested him allegedly one of.

Speaker 4 (55:46):
The one of the Manula guys.

Speaker 8 (55:48):
Yeah, oh damn, I'm gonna say.

Speaker 1 (55:49):
Ricky Martin was really young man. He's little. He was little, really,
he was the smallest one in the whole. Yeah.

Speaker 2 (55:55):
How old is Ricky Martin? He's probably in his fifties,
probably like fifty. He's probably are rage.

Speaker 12 (56:00):
Yeah, he's what fifty three?

Speaker 2 (56:03):
Also worldly, Yeah, you're older than Ricky. We all are
right here because he's living.

Speaker 9 (56:08):
Yeah.

Speaker 2 (56:09):
Locke Holmes, he was Ricky's our little brother who blew up.

Speaker 1 (56:13):
You know, dude, he's a good actor too, by the way,
he's pretty good.

Speaker 5 (56:16):
Yo. Think about it, like, like, what more of a
of a coming out the Closet song? Is that living
that long?

Speaker 2 (56:25):
I guess, I guess I didn't really look at it
like that, but I never thought of that.

Speaker 1 (56:33):
It was in our face, he said.

Speaker 2 (56:35):
Lookself and listen. We went way off course. But did
you know it is the birthday of Christina Applegate, comedic legend. Hey,
salute to Christina Applegate, Happy birthday, Oh my god, Kelly
Bundy and many many other.

Speaker 1 (56:54):
She was so hot on that show. Bro.

Speaker 2 (56:56):
She's very talented this one man. She could sing, she
could dance, and she was hilarious.

Speaker 1 (57:01):
Let's see what Google's doing to her right now?

Speaker 2 (57:04):
Oh man, Google, Google, Google looked great upon her.

Speaker 5 (57:11):
I think.

Speaker 2 (57:13):
I'm not sure it's mistaken. Yeah, she's dealing with MS
right now, healing vibes. Healing vibes to Christina Applegate. He's
gonna change this show's name, all right, here we go?
Uh it is Uh?

Speaker 4 (57:29):
Did you know.

Speaker 2 (57:31):
In nineteen eighty seven of this day Christmas in hollis
by run damn c drop. You know we just talked
about this song yesterday and or maybe the day before
about like hip hop motherfucker's dropping Christmas songs, like there's
only a couple maybe, but their's is the main one.
There's kind of not a point after this one. It's no,

(57:53):
it's the one. I think it's still this one. That's
I think it's still open game for us in the field,
right because it's like, you know, Christmas songs they play
every Christmas from the from the great ones to the
to the Hall of Fame ones, to the to even
the shitty ones. Dude, I would love to hear a
fucking Cypress Hill Christmas fucking album. Oh no, not a

(58:14):
Christmas album. A Christmas song album is too It's like
too much pressure.

Speaker 5 (58:21):
Christmas joint make a Christmas album, but you don't. It
is the way of the elf.

Speaker 2 (58:26):
Hey, all right, that's that. Hey, that's not that, Eric, Eric?
What about the Twelve Days of Christmas? Is the twelve songs?
And every song is a day that's not a bad

(58:47):
or twelve Days of Christmas? Each one has something to
do with, like you know, rolling a doin.

Speaker 1 (58:51):
Or Christmas about weed twelve. I think it would be
awesome if it was a Christmas weed song.

Speaker 5 (58:58):
You might be onto something aver ck stoned is the
way of the elf, little elf hoorn.

Speaker 1 (59:08):
A little elf horn.

Speaker 4 (59:09):
Oh that'd be good.

Speaker 2 (59:12):
And then you and then you get a I to
have an elf like all stoned out. Well he's trying
to make fucking Christmas presents. All people doing on a
shelf making all fucked up, fucked up gifts because it's
too high.

Speaker 4 (59:28):
Oh ship, damn, how I could just wrap a gift?
All right?

Speaker 5 (59:38):
There you go.

Speaker 4 (59:38):
See you're getting in the spirit.

Speaker 2 (59:40):
Hits from the claws the clause. He's that a clause
taking a hit. Well, he's on the fucking sled and
we do a whole song about him getting some some
in the slag cookies. He would have an ill bong,
he calls he because it's bung the north pole.

Speaker 1 (01:00:04):
That's dope.

Speaker 4 (01:00:05):
Ship, Yeah, you should do it, ring it. Yeah, there
you go, Stone, It is the way up the l.

Speaker 2 (01:00:14):
Instead of pigs reindeers, this deer pulled the fucking slig
You know.

Speaker 5 (01:00:22):
What's crazy, like like you'll be surprised the rappers that
have Christmas song.

Speaker 2 (01:00:28):
Oh fucking DMXOM records like too short, like if you
look at me, Cray how about d m X did
Rudolph the Red Nose Raid Dear no what You've never
heard that?

Speaker 4 (01:00:45):
What?

Speaker 1 (01:00:46):
No way?

Speaker 2 (01:00:46):
Yeah?

Speaker 1 (01:00:47):
Hear that?

Speaker 5 (01:00:47):
Yo? My favorite? And this is before AI, so it
has to be like that. He did one, like for real.
I did a Christmas song once, but it wasn't like rap.
It was like a blues cut, which called blues for Christmas.

Speaker 7 (01:01:02):
It was like for k rock, like for some Christmas
Christmas ship like the radio album, but like that's.

Speaker 5 (01:01:08):
The time Christmas.

Speaker 2 (01:01:09):
That would be hilarious though, to like flip those songs
like that and make them like Christmas.

Speaker 1 (01:01:17):
I have heard all these Christmas songs at one point
or another, but I hardly ever hear Christmas music at
Christmas time. Like I'm just not listening for Christmas music.
It comes on, it's just so background to me right
to notice it.

Speaker 2 (01:01:31):
For guys like us, it's background. We're not purposely putting
this music on. Other people do, though, to get into
the whole fucking spirit, you know.

Speaker 1 (01:01:39):
What I mean.

Speaker 4 (01:01:39):
I don't mean my wife does.

Speaker 5 (01:01:42):
I don't.

Speaker 1 (01:01:43):
I got little kids, so I'm in the riot.

Speaker 9 (01:01:45):
I'm you know, I got an sug I bumped a
little and next time there's a couple of Christmas channel.
Jimmy Fallon has a Christmas channel, there's a couple of
straight you know holiday It works.

Speaker 5 (01:01:55):
You kind of escape the holiday feelings. You're gonna you
have ship decorated. Even if you're not listening to music,
everything is decorated.

Speaker 1 (01:02:02):
That's why I never listened to it though, because it's
just going to be on somewhere, you know what I mean,
something's gonna be playing the market and shit.

Speaker 2 (01:02:11):
I've become accustomed to having to listen to it, but
it's not something that I would go out of my
way to listen to. Like if you know, if I'm
at a place or if we're throwing a Christmas thing
like family whatever, I could listen to it in that
sort of thing as background. Like Steph says, I'm not
really paying attention to it. It's just sort of there.

(01:02:32):
But no, I'm not putting it on in my whip
to get it to the spirit of Bristmas. I just
I can't do it, you know what I'm saying. I'm
not gonna listen to Riah Carrey like on the way
home because it's Christmas.

Speaker 1 (01:02:47):
I can enjoy hearing it when it's on wherever it's on,
Like it sounds cool blah, but I ain't putting it on.
I'm not nothing. It's fucking music. It's just on wherever
I'm at.

Speaker 5 (01:02:57):
It's music the shop.

Speaker 2 (01:02:58):
Those are all the rap songs and those other Christmas
wrap so the classic ones. Check it out, Number one,
Christmas and Hollis as it should be, Christmas Rapid Curtis
Blow Fat Boys, Christmas Cheer. I remember that run It back.
I don't remember re issues, Yeah I don't. Yeah, I'll
cast players, Paul, that's Christ's players.

Speaker 5 (01:03:20):
I don't remember the bismark.

Speaker 4 (01:03:21):
No, I got it made. That's not markets either.

Speaker 1 (01:03:27):
Is wrong.

Speaker 2 (01:03:27):
Then I've seen it make up ship. Yeah, Treacherous three.
That's good. That's good, but it's not really it because
people never really.

Speaker 4 (01:03:40):
Yeah, just because it says hoo ho.

Speaker 1 (01:03:44):
No, you don't remember that ship.

Speaker 2 (01:03:46):
So you throw around a bunch of hose. It's like
Christmas something that Christmas holes, Christmas hose.

Speaker 5 (01:03:57):
He's Treacherous three.

Speaker 1 (01:03:59):
That's that Beach Street.

Speaker 4 (01:04:00):
Yeah, that's that Peace Street ship.

Speaker 2 (01:04:02):
We're sitting in their faces were in that fucking.

Speaker 5 (01:04:05):
Bodies of Black part was classic to me. Hell yeah,
that little clip is classic.

Speaker 2 (01:04:11):
Yeah, no, fuck, that's you know, some of the gems,
some of the first gems we get to see that
that represents hip hop right there.

Speaker 9 (01:04:21):
I'm gonna watch that with my kids. HALLM kind of
catch up from the from the early days ahead.

Speaker 7 (01:04:26):
Christmas movie and a die hard hard sort of It
is kind of Christmas movie, you know what I mean?

Speaker 2 (01:04:32):
Like it's got Christmas in it. Yeah, it absolutely does.
It qualifies. It's got a Christmas it's got Christmas trees.

Speaker 9 (01:04:40):
You know what's a tradition for me for a Christmas
time to watch the Trading Places.

Speaker 4 (01:04:44):
It's not really a Christmas movie, but it is.

Speaker 1 (01:04:46):
It is in Christmas time, and it's a similar Yeah.

Speaker 5 (01:04:51):
All right, M.

Speaker 2 (01:05:00):
To run DMC for showing us the way in many ways.
Did you know in nineteen ninety four, forty two Doug
was born. Happy birthday, forty two, Doug Crazy you turn
forty two forty two? B nice thirty one. It's thirty one. Now.
Salute to all y'all out there getting down with us

(01:05:20):
on the Doctor Green Thumb Show. There'll be a mix
of some sort after this, probably a replay, but check
it out because it's gonna be good. We're working over here.
What do you want for me? Listen, We're about to
open up the doors to the insane asylum. But before
we do that, smash those likes. Help us out with
the algorithm here because YouTube doesn't help us out for nothing.

Speaker 4 (01:05:43):
We need you out there.

Speaker 2 (01:05:45):
You to like, smash the likes, share the show out
to your friends and tell them to smash the likes
and make comments and become a part of the community.
You know what I mean by subscribing to be Real TV.
You know what I'm saying. Catch this Doctor Green Thumb
Show Madness Monday through Friday, two pm Pacific Standard time,

(01:06:06):
five Eastern on the start with you know the legend
table right here on Tuesdays, and uh you know the
rest of the crazy shows that happened here. I you know,
get down with us. We got a lot of cool
shit popping off here. Uh, spread the work. Tell tell
your peoples, you know what I mean. Make make sure

(01:06:26):
YouTube knows because you know they be treated us crazy
over here. Anyway, let's open up the doors to the
insane asylum. That means, y'all, if you've got a comic question,
shout out suggestion.

Speaker 4 (01:06:35):
We are here for it.

Speaker 5 (01:06:41):
Fuck God, you welcome to the insane.

Speaker 6 (01:06:47):
The liars are saying. The liars are saying, y'all don't
forget that body count one a grammy.

Speaker 13 (01:06:52):
Yes what yeah a full still does body count people
up size team man a yo, Ice, this is Ice
Iceberg slim.

Speaker 1 (01:07:09):
I mean.

Speaker 2 (01:07:11):
To save it because he's coming. We're gonna save it.
We don't get it when he's getting talking about him
no more, because he's coming. There's three of us here
that could just you don't lock him in. We got
just lock him in when he's here, because he might
be on the East coast again he could.

Speaker 4 (01:07:27):
Yeah. Brothers, brothers, brothers, brothers, family.

Speaker 5 (01:07:33):
Yeah, I think I think like the magic they put together,
like it's you can't beat that energy right there. Yeah,
they got some good bounce off each other perfect true
that that's important to have a DJ that you've been
doing for years. You could you know how how to
bounce back.

Speaker 4 (01:07:48):
That he's been rocking with the East since they one.

Speaker 5 (01:07:51):
Yeah, that's that's one of that man. That's why it's
a dope show.

Speaker 4 (01:07:55):
Yeah. Word up.

Speaker 6 (01:07:57):
We got to ask guys about the d m V situation.
D MV that they know me, they know they know
me when you got caught up at the DMV.

Speaker 4 (01:08:06):
You don't have your license?

Speaker 2 (01:08:07):
Right?

Speaker 4 (01:08:07):
D they know me?

Speaker 7 (01:08:08):
They know me telling you he's gonna come, they do
know him. We're gonna we're gonna have a whole like
three hours.

Speaker 2 (01:08:16):
I bet you that I tea that cop is like
the laughing stock of his ship, because like everybody like,
here's that every day. How do you not know that's like?
How do you know that? Not know that's iced tea?
The fuck is wrong with you?

Speaker 5 (01:08:29):
Bug?

Speaker 1 (01:08:29):
Are you kidding?

Speaker 2 (01:08:30):
He's getting been on TV, been on TV on a
cop show for for twenty fucking some odd years and
you don't know that's ice?

Speaker 5 (01:08:39):
You know why it'd be a fucking Indian traffic cop.
You know it wasn't. It wasn't.

Speaker 2 (01:08:46):
It wasn't it was a dude that looked like me.

Speaker 7 (01:08:48):
Well that's even worse, worse, No, exactly, the guy that
watches that show.

Speaker 5 (01:08:57):
You look like a Hey the colt. So you don't
look like you if he looked like you?

Speaker 6 (01:09:03):
Yet you put your hands behind your backs like.

Speaker 5 (01:09:10):
A nice car.

Speaker 6 (01:09:11):
You didn't license, you didn't put your tabs on the car.
This year I can tow your ass.

Speaker 4 (01:09:18):
Hey, why are you tags? Outdated. Get out of the car,
all right, becket of that too.

Speaker 6 (01:09:24):
Let's see here, we got a tall boy up in here,
saying iced tea takes gummies. He is also working on
his own cannabis brand.

Speaker 5 (01:09:34):
It's about to happen.

Speaker 4 (01:09:35):
Yeah, try some of my cp D or bring the.

Speaker 2 (01:09:39):
Gummies on the show. We'll smoke some of your your, your, your, your, your,
your finest and we'll talk. And yeah, well I was
waiting to see where you were going.

Speaker 5 (01:09:52):
That's it. He knows, you know. When she hears that?
What's all right?

Speaker 1 (01:10:00):
Oh?

Speaker 6 (01:10:01):
Can I have less here? When he's here? So Jason saying,
I'm not a Nickelback fan, but I recently found the
song slow Motion in it rocks take it back, saying,
what's a song you guys like from.

Speaker 2 (01:10:13):
A band that your favorite?

Speaker 4 (01:10:15):
Hold on what.

Speaker 6 (01:10:17):
He's saying, slow Motion by Nickelback rocks, even though he's
not a fan of the band, and he's asking a
what's the what's the song you guys like from a
band that isn't your favorite?

Speaker 2 (01:10:27):
It's a good question. I don't know a band that
it is a favorite song from band?

Speaker 7 (01:10:33):
I don't like like a song you really like from
a band you.

Speaker 2 (01:10:37):
Kind of don't right, Yes, yes, that is yeah, I
get that. I'm just trying to wrap my head around that.

Speaker 8 (01:10:44):
I would say painted Black.

Speaker 9 (01:10:46):
You don't like the Stone, so I'm not a fan
of the Stones, but that song is fucking ill.

Speaker 4 (01:10:50):
Okay, here are you? That's fair.

Speaker 5 (01:10:52):
I'm not a fan of Stones, but I like joints
they got, so I don't know. Maybe I'm a little
bit of fan. Okay, what do you call that?

Speaker 2 (01:11:00):
Just like a few of you, I think it's I
think it's the same Pigot falls under.

Speaker 5 (01:11:05):
But that's cool, right, Yeah, I shouldn't get mad if
people come to my show and hate the whole show
and just love that one song.

Speaker 1 (01:11:11):
I mean, that's the I want to say, you just
described every one hit. Wonder they bought the ticket.

Speaker 4 (01:11:16):
Absolutely they know what they're gonna get. Ship. I don't know.
That's a great question. A bandit I didn't like, but it's.

Speaker 8 (01:11:25):
Not necessarily what like, you weren't a fan of you
know what I mean?

Speaker 2 (01:11:28):
What it's the same thing my favorite because I'm trying
to think of myself and it's all the one hits.
It is all the one hits. Really yeah, yeah.

Speaker 1 (01:11:39):
Those single hits were the Jam, but outside of that,
I just got to drop out nothing.

Speaker 7 (01:11:44):
This is I hate to say this because some you
know my Irish and I'm supposed to be really but
like that Zombie song, I really like that, but I didn't.

Speaker 5 (01:11:51):
Like much else by that group.

Speaker 1 (01:11:54):
Cranberry's thank You Cranberrys on.

Speaker 2 (01:11:57):
Thebility I like, but the one song I thought was
fucking crazy the Zombies.

Speaker 1 (01:12:02):
Yeah, damn No.

Speaker 2 (01:12:03):
The pressure is on me because I got to remember
some shaped.

Speaker 4 (01:12:09):
I don't know. M Hey, fuck you in your drum roll?

Speaker 5 (01:12:15):
Man, why are you doing this to me?

Speaker 1 (01:12:20):
Uh? Fuck damn?

Speaker 2 (01:12:23):
That is a fucking great question, because like I normally
don't get stumped by stuff like this, but like I'm
trying to figure out uh Herman's Hermits and uh one
of their joints. I can't remember what it's called. Something
tells me I'm into something good. It's a group from

(01:12:45):
the fifties or something. Something tells me A man into
something good?

Speaker 1 (01:12:52):
Ah man good.

Speaker 7 (01:12:59):
I'm sorry. I should just held in because we almost
we almost had that kid, We could do it.

Speaker 5 (01:13:07):
You do that? You do that throw a hip hop
behind beat?

Speaker 2 (01:13:10):
Doubt it, dude, I was I actually remember when you
used to do war pigs.

Speaker 4 (01:13:15):
Yeah I could. I could remember that when you used
to sing.

Speaker 2 (01:13:17):
I could keep some keys that all of them model
got all the keys, We got the case keys, but
not all that they throw. Yeah. I wasn't really a
big right in his range perfect as a music fan.
I wasn't a big herman in the Hermit's fans. But
they got a couple of good joints. One of them,

(01:13:39):
for in my opinion, one of them is just what
what fucking name? That's also it's also in one of
the Naked Gun movies. I think the first thing I
was about to say, what movie is it? Because that
I'm trying to think of Leslie Nilson and Priscilla.

Speaker 5 (01:13:55):
You couldn't be in that band if your nuts wasn't
like swollen. And if you look at the picture, you
know it's like the pants they was like if.

Speaker 4 (01:14:05):
You had swell nuts. There was like a giveaway.

Speaker 2 (01:14:07):
They spelled nuts yet, like I Sam, So they redid
the master so they didn't have to probably pay for
the classic. Yeah, okay, so there goes my song after
all that pressure. All right, let's go next one.

Speaker 6 (01:14:20):
Let's see Kane. He's saying Happy Thanksgiving everyone, he's we
kind of talked about this. He's saying, be the Menendez
father was, or allegedly the guy that abused the Menudo
Kids documentary.

Speaker 2 (01:14:31):
Yeah, that's what I said, man, I said that Africa.
But you're right, that's the I mean, yeah, he owned
a lot of their ship, I believe.

Speaker 5 (01:14:42):
I mean yeah, man, that's you know, because he.

Speaker 2 (01:14:44):
Was a record company executive I think for Arista or
one of them companies.

Speaker 6 (01:14:53):
Luis, and you're saying, I was a CEO in Yuma
and a DMX to the Christmas concert for the.

Speaker 2 (01:14:58):
Yard, and I bet he did Rudolph the Red Nose
Reindeer and my Dog's Hat. It's an actual song. If
you take up trip and look it up, he's out there.
There's a video of him of him doing it.

Speaker 9 (01:15:10):
Have you ever seen DMX performs a record though, I've
seen the video where like somebody and him and were
doing He's like rude and he's singing off the red
all right, But there is that an actual record?

Speaker 2 (01:15:18):
Yeah, there's an actual recording of him doing that ship.
And yes, Frank, he was a very dope live performer,
like he really like he was very He's like an
emotional dude on stage, but also but also he could
stick the landing like he was like he was dope, man,

(01:15:40):
He was, He was really dope.

Speaker 9 (01:15:42):
We did a show with him in Santiago, Chile, and
I swear it's probably the most memorable Cycle World show
I could look back at that.

Speaker 1 (01:15:49):
Dude.

Speaker 4 (01:15:49):
He's a beast on he would destroy it. He was
a destroyer.

Speaker 5 (01:15:53):
Son, and he's a funny dude.

Speaker 7 (01:15:55):
I've heard people describe it like this, But the one
time I saw him was that I got a festival
in Europe, dude, and he had like a fuck one hundred.

Speaker 5 (01:16:02):
Thousand people.

Speaker 7 (01:16:04):
Ready to punch somebody in face at that moment, crying
the next moment, praying the next month, fucking song and
ready to punch people in the face again by the Yeah.

Speaker 4 (01:16:14):
He knew how to funk with the bullshits.

Speaker 5 (01:16:17):
Yeah, chills the whole time you're watching it. Yeah, it
was pissed off because we was all in the same
room and his little room didn't have a Hennessy. So
I was the beef that everybody's going, We're like, what
the fuck we got hennessy here? Tell him to take
a nah. He wanted he wanted his Hennessy like.

Speaker 2 (01:16:38):
He wants to drink that ship himself. So I hear that,
you know, hey, but you know he's wanted you know,
gone too soon man, one of the greatest right there, man,
you know.

Speaker 5 (01:16:50):
Shout out to the rough riders. That's that's family too
true that.

Speaker 9 (01:16:53):
You can look up the video of second Round and
DM max on on YouTube. Fucking insane people like bonfires
and ship the place the venue A dude that made
the Eiffel Tower built a railroad like a train station
in San Diego, Chile, and it's basically the same kind
of iron workers. Shit is sick and they've gutted that place,
admitted a venue for concerts and ship.

Speaker 12 (01:17:14):
It's fucking word, we've played there. Yeah, hell yeah, def
don't played that spot. Yeah, word, it's you. It's a
big spot. Yeah thero I believe it's called all right.

Speaker 6 (01:17:30):
Uh Twacklac and the super chat.

Speaker 5 (01:17:31):
Same.

Speaker 6 (01:17:32):
Blessings to the entire Grentham squad, my fellow fifty and fifties,
May your holidays be joyous and filled with warmth and prosperity.

Speaker 4 (01:17:39):
Cheers, Thank you, brother, Cheers these blessings to you.

Speaker 5 (01:17:44):
I'm gonna have a drink today, my.

Speaker 6 (01:17:46):
Shallah, Western Goods is asking, everlast, what are some of
your favorite Cypress Hill and beat Nuts songs?

Speaker 2 (01:17:54):
Shall are You're gonna fucking test my fucking mind of
fucking titles.

Speaker 4 (01:17:58):
I don't know if it's.

Speaker 2 (01:18:01):
Watch Out Now, but when the day I got the car,
I sent you the video the first fucking song in
my car.

Speaker 5 (01:18:09):
Yeah, yeah, no doubt.

Speaker 2 (01:18:10):
What's what's that one called? Watch watch watch out now?
That's one of my favorite reined attech. I meant to
mention this earlier when you guys were talking about went
up that one. So that's almost off the possy cut, right,
but that's almost a positive cuse there's four or five there, right, Yeah,

(01:18:30):
that is a possible. That's what I was gonna try
and say earlier. That's one of the great posse cuts
of all time.

Speaker 5 (01:18:35):
True, we love.

Speaker 2 (01:18:36):
That Cypress Hill legendary. I mean, I was around when
a lot of this was made.

Speaker 5 (01:18:41):
But what like like like like that posse joint is
equivalent to the jump around. It's it's just you throw
it at the party and it's time of it pops. Yeah,
you throw that any of those songs on you know,
we all got those joints that we do have the joint.
We don't give a funk about what they're saying and
what whatever. It's fucking banging through. What were you saying?

(01:19:02):
Ever as far as Cypress Hill your first.

Speaker 2 (01:19:06):
Albums, you know, but for me it was the more
the day we met and I heard the entire first
record right to me, that's one entity that that changed
my whole fucking like, oh ship trajectory of.

Speaker 5 (01:19:23):
What I was doing at the time. You know what
was crazy on the East Coast that that we loved Cypressil.
But we also loved that Cypress Hil was family with
Everlast and and it was like a family. We used
to love that like a click click, you know back
then that was important. That's that's the click. They all
fuck with each other. That's the ship.

Speaker 7 (01:19:44):
So Cypress's entire first album from Pigs to whatever, the
last it's not real Estate, isn't the last album song?

Speaker 5 (01:19:50):
Is it? No?

Speaker 4 (01:19:52):
I can't remember what it is.

Speaker 5 (01:19:54):
The way of the.

Speaker 2 (01:19:57):
Way that border get busy or some ship like this,
Oh I took ship.

Speaker 1 (01:20:02):
Yeah, oh yeah, that whole album.

Speaker 7 (01:20:05):
But yeah, I know I get it and also like
understand it. It's it hits different right now thinking about it,
because I understand how much earlier I heard it than
any other humans, and and how like I was like,
oh this, we were.

Speaker 2 (01:20:17):
Trying to rock unorthodox styles at that point.

Speaker 5 (01:20:20):
It was also like hip hop was had was hit
a wall.

Speaker 7 (01:20:23):
There's two times in my life that, like when I
was actively involved in hit the culture quote unquote where
it like got stagnant and then something hit and took
it back and made it again. And the first time
it was public Enemies Takes a Nation and through that
and the single of a Rebel without a Pause, right

(01:20:44):
like that absolutely that everybody chased. Yes, first album kind
of came along at a time and did that exact
same thing.

Speaker 5 (01:20:53):
To me, I was like, h hip hop's getting kind
of boring.

Speaker 7 (01:20:56):
And then bang, I fucking hear this record in a
living room after like a reggae fest, and I'm like
what that's right?

Speaker 5 (01:21:04):
Fuck, I'm like, what the fuck.

Speaker 4 (01:21:07):
He went to a fucking reggae fest. That's right.

Speaker 5 (01:21:10):
So, and I like, I like records like that, Man,
that just changed the channel on you, Like you you
into this ship. When this ship drops, You're gonna change
the channel now? Fuck about that? We on this ship now?

Speaker 2 (01:21:22):
You know, like, you know, Mugs had some good influences,
like Molly mal at the beginning, and then hearing the
Bomb Squad, And I think the Bomb Squad was the
biggest you know what I'm saying, Like hearing that ship
opened his his mindset on the chop game in a
different way, and that's that's what gave way to you know,
those heaters that he gave us, you know, from.

Speaker 4 (01:21:45):
All all the groups. You know, it's twelve sound.

Speaker 2 (01:21:48):
That's the twelve hundred game he had right there too.

Speaker 7 (01:21:50):
He sounded like Molly meets Bomb Squad meets motherfucking.

Speaker 2 (01:21:54):
Ultramag right right bang, all that right there, That was
one moment. Yes, all that encompass all those influences. That's
MUGGS made its own sound out of all that.

Speaker 9 (01:22:06):
But I can't lie man. To hear the guitar riff
and kill a man changed a lot of ship. And
then at the end when when Homeboys spoke about the PEPSI,
you got like, well, these motherfuckers little suicidal is like,
there's a lot of connections to other genres in that
in that hip hop ship. So it opened up a
whole fucking other audience.

Speaker 5 (01:22:22):
You know, what's crazy to me, Like, like we all
come from the same era and and and I know
Mugs is a digger, a beat digger. Yeah, that's that.
And so that's what I love about beat digging. When
you go beat digging, everybody's looking for a different ship, yeah,
or cut it different. Yeah, we're all gonna find different ship.
But it's gonna we're gonna.

Speaker 4 (01:22:42):
We know what we we were looking for, or different
ways to chop it or.

Speaker 5 (01:22:47):
Even what you like. Yea, I might want to just
hear this fucking record, you know it's.

Speaker 9 (01:22:52):
I mean, I hear sample and I'm hearing it in
my head in pieces, I'm hearing it already chopped up, flipped,
I'm hearing all the options in my head, like, oh
I could do this to that.

Speaker 5 (01:23:00):
You know what I mean.

Speaker 2 (01:23:01):
So you know, let me ask you this as producers, right,
because everybody here could be said, you know, has produced
and as a producer slash artist, right, Is it hard
to enjoy something like that without hearing like, oh I
could do this and not with it as opposed to

(01:23:22):
just hearing it as a fan like and absorbing it.
It's not hard, you get what I'm saying. Like, sometimes
we're hearing with two different ears. We're hearing with fan
ears where we're like letting go of the work part
and not like thinking about oh what I could do
with this, and we're just absorbing it as art and entertainment.
And then there's the other ears we listened to, Oh shit,

(01:23:43):
I could do I could chop this this way or
you know what I'm saying that like because we have
the knowledge of that, like producing, right, can you separate
that and enjoy a song or do you always think
of it in the work form.

Speaker 7 (01:24:01):
I hear what you're saying, I can, I think a
little easier probably than what you're the way what you're
talking about, because producing for me isn't like a lot
of sampling. It's like anymore writing. You know, well, yeah,
I'm making beats system.

Speaker 2 (01:24:16):
But what I'm saying is like, so I got I
don't necessarily think of the record in that sense, you
know what I mean. But I get what you mean
by it, you know, like, yeah, but that's the that's
also a huge part of why you like to DJ
some much. But you know what's that DJ's mind. That's
why Mugs was so good at could be fucking amazing
sample artists and and and producers like Premiere you know

(01:24:39):
what I mean. But yeah, fucking they can DJ in
their mind thinks in that oh I would chop that
bar and now just keep it.

Speaker 5 (01:24:46):
That's your mind.

Speaker 2 (01:24:47):
It starts to think that's technically samples if you think
about it right when you're thinking the right breaks, you
know what.

Speaker 5 (01:24:54):
Like us as producers, I think we're always gonna hear
ship Like producers, we always oh it is crazy.

Speaker 4 (01:25:03):
What I could do with that.

Speaker 2 (01:25:04):
That sounds like a sample it in the sense of like,
oh I love what they do with Hammond Record or
what they do with the reverb on.

Speaker 4 (01:25:12):
I'm not trying to I'm not thinking of it in
sample terms personally.

Speaker 2 (01:25:15):
I think in your your your forum stuff, it's more
like serves more like inspirational.

Speaker 8 (01:25:20):
Yeah.

Speaker 1 (01:25:21):
Yeah. For me, like I hear something dope and I'm like,
I'm like, man, I want to just start doing like
I start doing. I started just doing what I would do,
you know, my own thing, but I want to do
it like like oh hell yeah.

Speaker 4 (01:25:33):
Yeah.

Speaker 5 (01:25:34):
It's like it's like it's like when Jazzy Jeff invented
the Transformer scratch right. Every DJ now is like.

Speaker 4 (01:25:43):
Trying to figure that out.

Speaker 5 (01:25:45):
Every DJ now if you want it. But then it
graduated to other ship, big and better ship, so you know.

Speaker 2 (01:25:53):
Yeah, I mean it's inspirations everything I mean, but like
when you listen to it with the work here, it's
just different. I think you got you know, like turn
that off for a second, just to enjoy somebody else's
art for a second.

Speaker 1 (01:26:06):
Now, as you know, as a guitar player or a musician,
because I also see the DJ as a musician, right,
but as a guitar player, bass player, whatever instrument you're playing.
I learned I want to cover a song, I learned
how to play it. So I'm figuring it out. Do
you do that as a DJ? Can you can you
play another person's song and you're doing the cuts that

(01:26:30):
they did, you know, like I think you can, Like
a guitarist does another person's you know parts, Yeah, you're
doing that DJ's parts.

Speaker 5 (01:26:38):
Do you ever do that?

Speaker 2 (01:26:39):
I've seen, like, you know, like in live shows when
someone has to replicate the scratch that was on the
ship if it's not on the track, right, if they
separated the scratch of that. Yeah, Like there's DJs that
replicate the original scratches. Did her on those records all day? Yeah,
for sure that weren't the original DJs that scratched it, right,

(01:27:00):
That's what I'm wondering is Yeah, and some elevate it
and do different patterns that are maybe more dynamic or
better or better and dynamic, you know that type of thing,
like add to it, because every DJ wants to put
their own little stamp on it, So they might take
the base of the original scratch and use that, but

(01:27:22):
like add on to it and show like, hey, look
this is how I would This is how my twist
on that. This is my twist on it. It's there's
pieces of the original, but check this out. And most
DJs will do that. Some will keep it original because
they think that's what people want to hear, but others
will take the opportunity to show you, like, let me

(01:27:43):
show you where I would have took it.

Speaker 1 (01:27:45):
I think the majority of people want to hear it
the way I feel.

Speaker 7 (01:27:48):
Like I've seen a couple of DJs that actually take
records and while they're djaying, reconstruct the song with the
actual with the break that's dope there and finding the samples,
but doing it kind of lies like you know what
I mean together lines in that sense doing making a
cover after I feel like I've seen that. Yeah, you

(01:28:10):
might have seen it on YouTube because I'm just making
you know, because if not, somebody better fucking do it.

Speaker 8 (01:28:15):
No, it's been done for sure.

Speaker 2 (01:28:17):
You know, for a minute there was there was like
at least I'm gonna say five or six dudes that
were on YouTube like, yeah.

Speaker 1 (01:28:23):
That's anybody who's playing Vinyl.

Speaker 5 (01:28:25):
That's a cover to me. Anybody was around the covering
some song.

Speaker 9 (01:28:28):
The era of Vinyl has done that, you know, I mean,
because that's how we fucking would create a break.

Speaker 5 (01:28:32):
That's all the whole fucking just started. It's also the
era of of of.

Speaker 9 (01:28:39):
Sample break example n PC's but program allto so you
can have you can do that.

Speaker 7 (01:28:48):
You can loop here's the break, the drum break this
record uses and loop that boom.

Speaker 2 (01:28:53):
I was gonna say, I changed. I feel like I've
seen somebody do it with like you know, shook ones. Yeah,
like you know, it's crazy. Serrado is basically what a
DJ used to do with Vinyl. Now I got the buttons,
but we all used to have to bring the record back.
Now you could just hit a button. And the record

(01:29:13):
is come back, but you can still you can still
bring it back and start stacking it. You could bring
it back for tradition's sake, but yeah, you could hit that.

Speaker 5 (01:29:21):
You don't have a screen either's showing us waves.

Speaker 4 (01:29:24):
Yeah, don't.

Speaker 2 (01:29:25):
I don't mind that feel that we had a piece
of tape. But it's but it's okay to have that information.
If you could have it, why not have yeah? Yeah, yeah, Yeah,
it's crazy grooves. So you can literally see where the
breaks the next song starts.

Speaker 1 (01:29:41):
Records.

Speaker 2 (01:29:41):
Listen, that's you can see all that's that's they're literally
looking at.

Speaker 1 (01:29:45):
Listen.

Speaker 2 (01:29:45):
Yeah, so that's the advancement of technology. You're looking at
the groove right there. Yeah, and you know like wa
wavefulness with whatever you got going on here, that's DJing
when you're just doing this right. Well, that when you're
that person, Well that's a big argument.

Speaker 9 (01:30:07):
Now let me tell you with young DJs and old
there are days what he's saying, Yeah, that's a big
argument right now.

Speaker 4 (01:30:12):
But records, right, what is the DJ? You got to
be able to mix all that DJ is a skill
you got. You gotta be able to mix.

Speaker 2 (01:30:21):
All those things in to create something and something of
your your own, because every DJ like pops off a
different thing. But if you learn that skill set and
have the real DJ fucking tricks and all that ship,
like a Lord or mixed Master Mike or Cubert and
those guys. It's fucking crazy the way they manipulate all

(01:30:42):
this ship.

Speaker 1 (01:30:43):
Now, I think a real DJ doesn't literally has two
turntables and a mixer. There is nothing else. There's no screens, computers.

Speaker 4 (01:30:55):
Well they got that too, but again technology has advanced it.

Speaker 2 (01:30:58):
It's literally I'll show you five guys right now. They
do that with forty fives all day long. Exactly all
day long. I'll show you guys. They do it with
forty fives and don't even scratch them because they don't
want to scratch their forty five's.

Speaker 5 (01:31:09):
They do it just.

Speaker 7 (01:31:11):
Well, let me just tell you this fucking beats. I
just expound on something you had just said about the
whole thing was for me.

Speaker 5 (01:31:19):
It's like all this pushing the buttons. Anybody could do it,
all right.

Speaker 7 (01:31:25):
It's djaying is like anything else, like construction or learning
an instrument or something. There's fucking levels. You gotta know
the basic parts of it before you can be unique
and advanced at it. Yeah, it's like or it's like, Marshall,
you got you can't just be a fucking black belt. No,
you got to get the blue belt and then the
red belt and the you know, orange and Sherbet belt

(01:31:45):
whatever else fucking belt along the way?

Speaker 2 (01:31:47):
Got it part?

Speaker 1 (01:31:48):
You know what I mean?

Speaker 7 (01:31:49):
And everybody wants to fucking shortcut. Well, ain't the problem that?

Speaker 9 (01:31:54):
Yeah, you can teach someone the little technical bullshit about DJing,
but you can't give them the gift of being able
to think of, Okay, this acapella goes good with this break,
or this instrumental goes good.

Speaker 4 (01:32:03):
Well, it's that's your talent.

Speaker 2 (01:32:06):
Yeah, yeah, I mean you have to have the creativity
to put things together.

Speaker 5 (01:32:11):
He was the problem.

Speaker 7 (01:32:12):
Dudes like Lord wouldn't have a little spaceship looking things
that they could actually put on the palms of their
hands dj with and.

Speaker 4 (01:32:19):
Still make that ship look right and do it right.

Speaker 5 (01:32:22):
You know what I mean. It's not the problem. The
problem is the cheating, the little Oh I don't have
to do all that.

Speaker 7 (01:32:26):
I can just look at oh this look at I
put the little plastic makes it for me, tells me
how to do all the trade, and I just used,
that's not that's not DJ DJs.

Speaker 5 (01:32:36):
I'm not saying you can't rock a party. Yeah, let
me tell you something. There's there's DJs that just press
one button and the mix plays, and all they do
is fake pretend like they but that's the dancing and
jumping around and getting and getting a lot of money.

Speaker 2 (01:32:52):
It looks so look, I've seen DJ Lord and Mike
and Qubert and a few guys put together Z Trip,
but I'm saying here in this house put together a
set where they did every aspect of what a DJ does,
turntablism and manipulating the keys on the mixer. It was

(01:33:17):
like a commendation of both, but in their own different styles.
None of them were the same. They were all unique,
and it was like showing that with their DJ skills
that they had possessed before this technology and now with
this technology, how much you could elevate the level of
what you're presenting to people by knowing how to top

(01:33:39):
the keyboards and make the beat right there, like you're
making a beat and they're hearing it, and then you
get back to fucking scratching on this fucking side, and
then you fucking get on this side, and then you're
fucking making a beat on this side and then scratch
into that shit. Like these guys they learned how to
fucking manipulate this technology that works to the advantage of

(01:33:59):
creating something even more unique than what they already.

Speaker 7 (01:34:02):
Had, because they framed the house and insulated it and
put the stairs in it before they put the goddamn
roof on.

Speaker 4 (01:34:07):
Right exactly.

Speaker 2 (01:34:09):
Yeah, So those guys already had those kind of skill sets.
The technology just allowed them to take their shows, or
their styles or their skill sets and elevate them on
a different level.

Speaker 8 (01:34:22):
Hey, I was against Serado when it first came out.

Speaker 9 (01:34:24):
Don't get me wrong. I'm a big Vinyl head. I
grew up in that era. I learned how to DJ
in that era.

Speaker 1 (01:34:29):
But now now on the fucking like in our mix
right here on, I'll be real TV.

Speaker 9 (01:34:35):
When I do the mix, I'm incorporating all that ship
because as a producer now I can fucking take stems,
hit my own beats on there saying I'm the buttons,
I'm hitting looping ship like I'm literally using everything on that.

Speaker 5 (01:34:47):
What's better than rolling up with your laptop and do
the mix and get the bag. Yeah, real easy to
put your ship.

Speaker 4 (01:34:55):
Yeah, you don't want to be rolling with crates.

Speaker 5 (01:34:59):
Crates.

Speaker 2 (01:35:00):
Carrying crates got me in quite a few doors as
a youngster to get to touch a microphone.

Speaker 4 (01:35:05):
I get that.

Speaker 2 (01:35:05):
But nobody's got too many people are rolling crates. I mean,
it's a special gig when that happens, unless unless you're
easy love. I love the crates, but you'll never catch
me doing a crate. I wouldn't make everyone unless you
see loose. No, he might have some crazy he could do. Yes,
Like for me, I got rid of all my records,

(01:35:27):
damn like I got rid of all of them. There
might be like two crates in the pack over here,
but I got rid of all of them. I decided,
you know, I'm letting go of all this ship. I'm
gonna donate them. I donated them, some of them to
Miba and others to other places.

Speaker 5 (01:35:41):
Why you didn't call me?

Speaker 2 (01:35:42):
Yeah you weren't. You weren't here yet. No, you weren't
here yet, doc like meaning it happened. It happened before you,
It happened before you moved here. It's what I'm saying.
And uh, I said, fuck this. You know it was
liberating because now with the serato, I don't gotta take
no crate nowhere, and I don't got to do none
of that ship It's it's right there on my drive

(01:36:06):
bang laptop racket.

Speaker 9 (01:36:09):
There's no way you were able to carry all your fun.
You had to pick Okay, it's this kind of party.
I know what to bring to these listeny you'd pick.
But now you got your whole fucking library.

Speaker 5 (01:36:22):
Not only that, not only that.

Speaker 2 (01:36:26):
Hold up, not only that, not only that, if you
brought the six crates, you have to hope, like, if
you brought that many crates, you have to hope that
the fucking DJ before you didn't rack any of the
stuff in those crates, or even like oh, because then
you brought all those crates for nothing.

Speaker 9 (01:36:45):
And what if somebody requests them ship and you don't
have that record. Yeah, but I'm saying that's the difference
between having your library for me.

Speaker 2 (01:36:54):
I get it.

Speaker 4 (01:36:55):
I get keeping it old school because that was the culture.

Speaker 2 (01:36:58):
But you know what, the culture all evolves, and sometimes
the technology evolves to to help, you know, push it further.
In this in this case, it did because now where
you could only take six crates, you could take your
whole fucking library and your fucking drive and have an
infinite amount of songs to get through a case.

Speaker 4 (01:37:17):
Some dick haad DJ like burns your fucking crate that
you had in mind.

Speaker 9 (01:37:21):
Yep, easy bag, Yep. I've had people saying change the
genre on me. I went to DJ at a club.
They told me it was R and B and hip hop.
I get there, they tell me it's all reggae. I
didn't bring no fuck. I only brought a little bit
of reggae, you know what I mean. So had I
had my laptop at that time, I'd be like, all right, click,
you know what I mean.

Speaker 1 (01:37:38):
I'm now I'm in my my reggae platelist.

Speaker 5 (01:37:41):
I hear you. All right, I got some some DJ
things going on, but we're gonna talk behind behind the scene,
you know, right.

Speaker 6 (01:37:50):
The Great Pretender still talk about it.

Speaker 5 (01:37:52):
Yeah, all right, no problem.

Speaker 6 (01:37:54):
The Great Pretender super chatted saying, haven't seen you guys
do stunning glass game where one person swears and you
guys got to do five flips? Would you guys play
that again?

Speaker 5 (01:38:04):
Oh?

Speaker 4 (01:38:04):
Yeah, see this is before you came on.

Speaker 9 (01:38:07):
No.

Speaker 4 (01:38:07):
I was here for it once or twice. Man, I
went home drunk as fuck one time.

Speaker 5 (01:38:11):
Bro.

Speaker 2 (01:38:11):
No, no, it's it's not a drinking game. Oh well no, no, no, wait,
let me let me correct myself. We used to do
this thing we're in the first what was it fifteen minutes?

Speaker 9 (01:38:21):
Was it?

Speaker 1 (01:38:21):
It was an hour?

Speaker 4 (01:38:22):
First five minutes, thirty minutes?

Speaker 2 (01:38:23):
No, it was the Yeah, it was the first thirty
It was the curse in the first thirty Yes, and
if you cursed, you had to do either five flips
or take a shot. I've never played that, ye, never
even out for flips. No, we did, well, yeah, you know,
this is when we had the stunding glass here, so
we'd be taking the flip.

Speaker 7 (01:38:42):
Feel like it was an hour or y'all fucked with
me or I cursed a lot in the first thirty minute.

Speaker 2 (01:38:47):
No, it was only ever the it was only the
first thirty minutes, because we were like trying to follow
this so called algorithm that if you didn't curse in
the first thirty minutes, YouTube wouldn't fuck with your ship.
But it turned out that that was bullshit because there
was many shows where we held it together for most

(01:39:08):
of it and that was not the case. They still
flagged ask very properly. Yeah, so you know we got
rid of that and ed plus we were getting the
highest fuck I did do the flips? No, I mean
if if I cursed like three times four times, you
know I'm doing fifteen to twenty fucking flips. And that's significant, man.

(01:39:32):
I mean it's different. Yeah, it's different than just some joints.
And you know what with us with me, I remember
it used to be drinks like if I IF I
the time. Yeah, you had to take a shot, a
shot I was here, Well shot that for you. You're
just taking shots all the time. It was a choice.
It was a choice you shot or smoke. Well you

(01:39:55):
gladly did the shots. That goes against the whole thing.

Speaker 1 (01:39:57):
That was fine.

Speaker 5 (01:39:58):
So I got wind over it's there.

Speaker 2 (01:40:01):
I mean, listen, uber is there, so you could actually
do that. You know, the cars are the safe place.
Nobody's gonna fuck with it here. Who knows what day,
Maybe we'll bring that back for a day. Yeah, it
is dangerous. You get really hot. I gotta work after this.

(01:40:21):
I can't do that all right.

Speaker 6 (01:40:22):
Next Mike is asking them what are three features you
like to see on a NAS and DJ premiere album?

Speaker 2 (01:40:29):
Three features I'd like to see on a nos and
and DJ premiere album three. That's what he's asking three
features Nas, Nas Nas. You know he just did a
feature with day Las Soul. I'd like to hear one
more De Las Soul would be fucking dope with Nas.

Speaker 8 (01:40:48):
Big Ill Bigel. They just put out a fucking nos
big Oh.

Speaker 5 (01:40:52):
I don't know.

Speaker 2 (01:40:53):
Then that doesn't count, but I was I always, Hey,
it's my three, then you get your three, all right,
uh Nas, Nas and Uh.

Speaker 5 (01:41:04):
I wouldn't mind seeing like a Nas Kendrick thing happened.

Speaker 2 (01:41:08):
All right, fuck my three, you guys go ahead, just
get your three out and then I'll figure my two
other two outs.

Speaker 7 (01:41:14):
Yo, this guy has by your time, bro, I think
I combined his answers with yours.

Speaker 4 (01:41:21):
Bro.

Speaker 2 (01:41:22):
All right, I'll take that. I would like to have
heard Nas and pun oh ship. That probably would have
been dynamic, right and Nas and.

Speaker 4 (01:41:41):
Stepsco loved this the fifteenth Paul McCartney.

Speaker 2 (01:41:46):
What the fifteenth, Yeah, Paul McCartney, Yeah, the fifteenth, Paul McCartney,
the fifteenth, like that like a king you know, wow,
that would have been different, you know, said, but no,
not for real? Uh uh fucking nas in hm hmmm,

(01:42:09):
Nas and and Hermits, Hermot and her Herbert, Nas and
kid tea nice team. That's my three, all right, how
about you? Nas and Kendrick wouldn't be uninteresting to me?

Speaker 7 (01:42:27):
And then that that I didn't realize we could go
anywhere in the universe or multiverse. Come on, let me
think a little harder now, Nas and fucking if we're
going there, Nas and like maybe some maybe Jimmy Hendricks,
Oh wow, wow, nice Okay. I wouldn't have thought like
that till you kind of say what you were saying.

(01:42:48):
My third would maybe be like, fucking.

Speaker 2 (01:42:51):
Well, in that case, I'm going NAS and Miles Davis.
You dude, did I peel that? I peeled that?

Speaker 4 (01:42:57):
Huh?

Speaker 2 (01:42:58):
Peeled that out of your fucking head bag? Fucking I
was like Na's kind of blue type thing.

Speaker 8 (01:43:07):
Yeah, great, minds.

Speaker 1 (01:43:09):
Think you know what I was.

Speaker 5 (01:43:11):
I would say, I'm going with people that's still here,
you know, be real. Ever, Last, Psycho Last and.

Speaker 14 (01:43:20):
NASA would be would record with man that's oh my god,
best believe it's gonna be fire.

Speaker 7 (01:43:31):
He's partner, He's partners in Sweet Chick with that Chicken
and one Spot when the open l A spot just
his family be coming.

Speaker 4 (01:43:40):
He was talking about the Queens, the Galaxy of Queens.

Speaker 2 (01:43:43):
He was talking about he remember my first record with
I team, like like the head Steph, do you got three?
We studied the best, No three for stuff. I gotta
tell you one more. I'll submit it for stuph coolgi Wrap.

Speaker 1 (01:43:58):
I think they have done.

Speaker 5 (01:43:59):
I was was say, fucking no, death Tones is not uninteresting.

Speaker 4 (01:44:03):
Oh, that would be fu in the death Tones. I
like the sound of that.

Speaker 2 (01:44:11):
That's crazy, would be no one expected he could snap in.
It's really interesting, dude, I don't think it's Eric. I
gotta get your pigion hair. Someone asked, maybe a week ago,
some two weeks ago, who would you want to work

(01:44:31):
with if you could have a collaboration? Right and.

Speaker 9 (01:44:36):
Me?

Speaker 2 (01:44:36):
In terms of representing Cypress Hill, two always come to mind.

Speaker 1 (01:44:41):
Right.

Speaker 2 (01:44:41):
One is, you know, like working with the Death Tones
because there are bros and we understand each other in
a way that other groups don't understand each other.

Speaker 5 (01:44:50):
Right.

Speaker 2 (01:44:51):
And the other I thought was Cypress Hill in nine
inch Nails or Trent Reznor like him producing our ship. Wow,
I think that would be fucking crazy. I mean they're
both super interesting. Yeah, you don't know who I would
want to work with, craft work, craft work, Yeah, now

(01:45:14):
for nothing. That ain't a bad fucking answer.

Speaker 5 (01:45:18):
In the studio lockdown with them, best believe it's gonna
be some stupid ship. Yeah's stupid, y'all.

Speaker 4 (01:45:25):
They got music, all right, legend what else you got?

Speaker 6 (01:45:30):
Tall Boy in the super chat saying, Iced Tea's new
strain is called body count and uh, their dispensary New
Jersey is called medicine.

Speaker 4 (01:45:37):
Woman, they counting bodies.

Speaker 2 (01:45:39):
Be I wonder if their little bags of weed are
like a body, little Bennie body bag or a casket.

Speaker 1 (01:45:47):
You know where he lives?

Speaker 5 (01:45:48):
Do you live in Jersey? Now that's better?

Speaker 2 (01:45:51):
Is that?

Speaker 1 (01:45:51):
Where he lives now is in Jersey?

Speaker 4 (01:45:53):
Maybe?

Speaker 2 (01:45:53):
I think that the version of whatever C s I
or what I'm no disrespect, I just don't follow its
New York. So yeah, yeah, this is iced Tea. Hey, yo,
this is Ice Twisted. Check out my new my new
new body bag. Hey yeah yeah yeah it's power Iced Tea,

(01:46:14):
Ice spert.

Speaker 6 (01:46:17):
Yeah, I'm seeing as of a twenty twenty they've had
a condo out there, New Jersey.

Speaker 4 (01:46:21):
All right, get it, let's see.

Speaker 6 (01:46:26):
Nicholak is saying cheers and thanks to be Let's recall
how he used to give out mystery boxes to listeners
like Green Sanna used to be Green Santa.

Speaker 2 (01:46:34):
We were doing mystery boxes. We might bring them back
in the next year. We'll see what happens.

Speaker 6 (01:46:42):
Terry Sucks is saying you guys gotta check out Afroman's
Christmas album, saying it's pretty good afrom on Christmas.

Speaker 2 (01:46:53):
I saw it, like YouTube footage of this guy doing
a show and it was pretty fucking good.

Speaker 4 (01:46:58):
Man.

Speaker 2 (01:46:59):
Hey, yeah, guitar and the title Eric. Yes, my Dudel
could play guitar and he got a good show.

Speaker 4 (01:47:05):
Yes, it was pretty entertaining.

Speaker 1 (01:47:07):
Deck my Balls, My Balls, pullye blow my water, Letter Blow, that's.

Speaker 5 (01:47:21):
Letter Blow. Has he been on the show now yet? Man,
Come on, be real show.

Speaker 1 (01:47:25):
Man, letter Blow, Letter Blow.

Speaker 2 (01:47:29):
I wish you, I wish you would roll a new blunt.
Oh Christmas Tree, Violent Night, Old Chronic Tree, Come do
a live perform Chronic Tree, Oh Chronic Tree.

Speaker 1 (01:47:46):
Oh Chronic Tree. M I like deck my Balls My Ball.
I think that's my favorite so far. Letter Blow, Letter Blow.

Speaker 5 (01:48:00):
I remember those cold five Christmas, forty five Christmases.

Speaker 2 (01:48:07):
Oh man, it's cold forty five. That ship I get,
you know, old English tasted horrible. I can't imagine how
bad A forty five.

Speaker 1 (01:48:18):
It was great because you got four you got five
more ounces with it. Nah, you know, listen, five more
warm mass spinning.

Speaker 2 (01:48:26):
From experience, you didn't need those bottle listen from experience,
I could see you didn't need those four or five
extra ounce.

Speaker 1 (01:48:33):
But that's what made it great.

Speaker 5 (01:48:35):
I mean from experience. I don't know if experience it
was that first drink that tastes like ship. After that
you got used to it and listen, you want more.
I don't know if anything made that great one. There
was nothing great about that. I think there was a
great maret liquor a lot. Hell no, if you you
had to have an extra cold for it not to

(01:48:56):
taste like like icy. Yeah.

Speaker 4 (01:48:58):
They have to be icy, yeah, because man, and you.

Speaker 5 (01:49:02):
Had to drink them fast on a high ast.

Speaker 1 (01:49:04):
You had to drink them fast. What do you think?

Speaker 4 (01:49:06):
What do you think the worst tasted one was of
them all?

Speaker 2 (01:49:09):
Because I'm pretty sure we've all tried there.

Speaker 1 (01:49:12):
Out of all those, the Steel Reserve.

Speaker 5 (01:49:15):
My personal favorite all those, and then y'all aren't think
I'm buy it.

Speaker 1 (01:49:19):
I drank Mickey's.

Speaker 2 (01:49:21):
It was horrible. I was all gasoline, had those little
fat mouthed bottles. I drank Steel Reserve. I got to
tell you that the gold piss was Old English. I
gotta say, man, I never really had Cobra, so I
can't speak to it, but English. I didn't like it
at all, but I drank a lot of it. Yeah,
like I never had the Steel Reserve. It was cold
forty five I had. I had Mickey's and I had

(01:49:42):
Old English and the worst one was Old shows like
the one of Choice. If you can go the Mickeys,
I mean, listen, they made Old English famous in the
hood in some of those songs where they're talking about
having an Old English.

Speaker 1 (01:49:57):
That's the most famous of all of those.

Speaker 2 (01:49:59):
But that's why, you know it's it's It's similar to
why sixty four Chevy is the most popular low rider
out there because one of the first songs was like
cruising down the Street and my six Folk.

Speaker 4 (01:50:10):
The worst one up.

Speaker 2 (01:50:11):
There the rappers indoors, like when it came out, say nights,
but it's thought up there. Yeah, Yeah, that one was terrible.
That was terrible to her street. We used to creat
we used to did produced by DJ Pooh.

Speaker 5 (01:50:24):
Yeah yeah, remember y'all remember going to clubs and and
motherfuckers is serving forties? Yeah yeah, Like I used to
be in clubs, motherfuckers, everybody walking around with a forty.
It was a whole era to where there was like
a comeback of that shipping club right the late night,
real quick?

Speaker 4 (01:50:42):
How many more do we got?

Speaker 2 (01:50:44):
Just a couple?

Speaker 4 (01:50:44):
Alright?

Speaker 1 (01:50:45):
Bus They was fighting at them clubs.

Speaker 2 (01:50:47):
True that there was one club we used to go
to all the time, New York where they had this sould,
the Fosters, the big fat.

Speaker 8 (01:50:52):
Fosters and oh I remember Australian.

Speaker 4 (01:50:55):
It was a lot of love over serving. Really wasn't,
but it was that little kangaroo all right, Bolts of
what you got?

Speaker 6 (01:51:02):
Hybrid Cipher saying I saw a drowning pool, saying the
current singer is the soil singer.

Speaker 4 (01:51:07):
That's what he's saying, the soil singer.

Speaker 1 (01:51:09):
What does that mean?

Speaker 4 (01:51:10):
Yeah?

Speaker 5 (01:51:11):
I was just about to say that.

Speaker 4 (01:51:15):
Another band, somebody, someone smokes better weed than us. That's
what that means.

Speaker 5 (01:51:20):
Oh yeah, right, at some point.

Speaker 1 (01:51:24):
You know you got me.

Speaker 5 (01:51:25):
I'm just asking if my.

Speaker 6 (01:51:27):
Yes looking here? Ryan Ryan McCombs. He sings for a
drowning pool and soil oh got you?

Speaker 4 (01:51:36):
Ah right, okay, now what was the deal?

Speaker 5 (01:51:38):
What was the deal?

Speaker 6 (01:51:39):
Original dude, I saw a drowning pool live.

Speaker 4 (01:51:41):
Oh he saw drowning pool live. All right, They're dope,
no doubt about that. All right? What else?

Speaker 2 (01:51:48):
And the last one?

Speaker 6 (01:51:49):
More Belle is saying easy and dog pound of crips.
Miss songs are classic wop Miss.

Speaker 4 (01:51:55):
Well, you know I could do without those, but that's
on you.

Speaker 6 (01:52:00):
Mar Bell and the chair rooms laughing at a cycle
Les's comment of little puns, little.

Speaker 2 (01:52:07):
Puns red though, you know, Yeah, Santa Blaus, no funck
with Santa Blas blah, you know what I mean. Don't
do it, mar Bell, Santa Blas coming with it with
his red bag dropping gifts on you.

Speaker 4 (01:52:25):
You know what I'm saying. You got a big old red,
bad hat red sag.

Speaker 2 (01:52:30):
You know what I'm said, fucking fucking reindeer, got a
red nose, homie and.

Speaker 4 (01:52:35):
His whole, his whole, his whole, Santa suit bleeding blood.

Speaker 2 (01:52:39):
You know what I'm saying. All Right, Uh, we the
funk out of here. Thank you very much for getting
down with us. Much love and positivity pushed your way
thank you for being here. We appreciate your homie Rudolph homie.
Salute to all y'all. Uh, ever last you got any shoutouts.

Speaker 7 (01:52:59):
On the dead hood he's homie whatever now shout out
to you. Uh f stephe my man over here. I
forget your name, oh cycle Last. I'm happy to be
here today.

Speaker 4 (01:53:15):
Man, So.

Speaker 5 (01:53:17):
Love y'all, no doubt. Boom salute everybody man hanging out
with us, you know, just kicking it with us, the
whole Doctor Green Thumb crew. Everybody here at the table. Also,
if you're on the i G. I know the they
i G took my ship down. So so no, it's nothing,
you know, this is this is gotta follow the the ship,

(01:53:41):
the guidance and all that. But anyway, follow me at
the cycle lest shop and uh if you want to
hit the website, go to the cycle Less shop dot com.
Also we're doing this mix right the cycle Real Cycle takeover.
Oh go not you you might get a retake all right, yeah.

Speaker 1 (01:54:03):
Retake.

Speaker 6 (01:54:05):
Yo yo, show at the Insane Asylum, show to Ratio,
to the Dominator and what's up stuff?

Speaker 1 (01:54:10):
Yeah man, what's having? Uh yeah, keep it simple today.
Shout out to you, b man, thank you for giving
it this lane where we can all take it.

Speaker 15 (01:54:19):
Man word, absolute brother word, not some good ship. There
is the way the hell big up to my brothers.
Here's the table.

Speaker 9 (01:54:29):
Everybody in the treehouse and everybody that watches and tunes
into us. Check me out on i J d JFM
under Square LA. I'm always posting on my B and
when I'm up to yeah B. May God give you
the blessing that you need at the time that you
need it.

Speaker 4 (01:54:43):
Swallow that

Speaker 5 (01:54:47):
Yeah Real TV