One Song - Junior M.A.F.I.A. feat. The Notorious B.I.G. and Lil' Kim "Get Money"

Episode Date: August 28, 2025

Is Junior M.A.F.I.A.’s “Get Money” the definitive battle-of-the-sexes anthem? Diallo and LUXXURY dig into the fiery dynamic between Lil’ Kim and The Notorious B.I.G., on this classic hip-hop track where fact and fantasy collide. They spotlight the iconic Sylvia Striplin sample, EZ Elpee’s breakout placement, and the verses that cemented Kim’s legendary status.  Get organized, refreshed, and back to routine for way less. Head to Wayfair.com right now to shop all things home. Wayfair. Every style. Every home. One Song Spotify Playlist: https://open.spotify.com/playlist/40SIOpVROmrxTjOtH7Q1yw?si=b55b6825cb3c4dc2 Songs Discussed: “Get Money” - Junior M.A.F.I.A. “Come Clean” - Jeru The Damaja “Big Poppa” - The Notorious B.I.G. “Between the Sheets” - The Isley Brothers “Bonita Applebum (Hootie Mix)” - A Tribe Called Quest “Children’s Story” - Slick Rick “This Is How We Do It” - Montell Jordan “Stay With Me” - DeBarge “One More Chance/Stay With Me (Remix)” - The Notorious B.I.G. “The Number of the Beast” - Iron Maiden  “Player’s Anthem” - Junior M.A.F.I.A. “U.N.I.T.Y.” - Queen Latifah “Deeper” - Bo$$ “I Love You” - Faith Evans “Day One” - D.I.T.C. “You Can’t Turn Me Away” - Sylvia Striplin “Give Me Your Love” - Sylvia Striplin “Get Money - Gettin’ Money Remix” - Junior M.A.F.I.A. “Don’t Look Any Further” - Dennis Edwards “Hit ‘Em Up” - 2Pac “Queen Bitch” - Lil’ Kim “Joni Mitchell” - Eagle Noise “Skate Depot” - Channel Tres Learn more about your ad choices. Visit megaphone.fm/adchoices

Spin my V, smoke all my weed, tattoo on titty, saying B-I-G. Now check it. You want to be my main squeeze, baby, don't you? You want to give me what I need, baby, won't you? So are you saying this is that you can go your own way of hip-hop? Is that what this song is? It may be, my friend. It may just be.

Luxury today, we're talking about relationships in the context of one of the most complex, raunchy, and multi-layered hip-hip-hop songs of the 1990s. This song has passion, betrayal, and the blurred lines. between real life and rap fiction all wrapped into one. That's right, D.O. This one has it all. Drama, chemistry, and the official arrival of a future hip-hop icon Lil Kim. And beside her,

the notorious B.I.G., both her mentor, and her lover? Don't go anywhere. We're diving deep into the lore and legacy of Get Money by Junior Mafia. I'm actor-writer-director and sometimes DJ Diallo Riddell. And I'm producer, DJ, songwriter, and musicologist luxury, aka the guy who whispers

Interpolation. And this is one song. The show where we break down the stems and stories behind iconic songs across genres and tell you why they deserve one more listen And you will hear these songs like you've never heard them before You can also watch one song on YouTube and Spotify and while you're there Please like and subscribe All right Diallo what was your first experience hearing get money? Oh man, listen as a DJ The 90s was such a fun time to be a hip-hop DJ because every week

It seemed like there was like a new huge song coming out and everybody had an opinion about it and I can remember the sluble leave to all these songs. Like I always think about the album art, especially get money. I was spinning in Boston at the time because I was in college when this came out. And it's just a really special time. I remember hearing it for the first time. We were like breaking down each lyrical part and like, oh, you know what she meant by this is that that meant that. Where did you hear? What was the first time? Like, where did you actually hear it in a club? I think the first time I heard it might have been Sherry Martinez, who later went on, I think, to work at a hot 97 in New York. Cherry Bomb. She was a, she was a DJ at Emerson College at the time. And, and, and, and,

And her nightly rap show was like, you could not miss it. Because you not only got the songs that were going to become hit singles, you also got, like, you know, this is at a time when, like, DJ Clue was putting out mixtapes, mixed tapes, mixed CDs. And those mixed CDs always had versions of songs that wouldn't make the album, but they were part of what got you hype. What about you, Luxury? What was your first experience hearing, get money? Straight up, I'm not talking, Paul Abdul didn't tell me, but straight up, I will tell you that I heard it when we were preparing for our notorious B.I.G. two years ago, there's a whole category, which is mid-90s hip-hop that I have the outskirts of, but not the inside knowledge about. And you were in New York. But that's the thing. In 1995,

I was there. I was a few boroughs away, or a few blocks away, if you will. I was living in Manhattan. So, like, in this moment, I'm actually kind of taking a break from listening to music actively because I'm trying to be a musician. I am, there's anyone who's familiar with downtown New York, like Soho and Lower East Side, there's a venue called Arlene's Grocery. I used to go across the street from Marlene's grocery, open up the gate in the sidewalk, go down underneath the building there, and rehearse in this rat infested place with my buddy, Tony Dinoff. I would play drums, you play guitar, we went nowhere. We would just do this for hours every day, every week. I'd be like, are we in a band?

Are we starting a band? And he'd be like, maybe next time. My experience is I'm trying to be a musician and I'm kind of getting nowhere. I'm answering a bunch of ads. But I'm not actively listening to music as much as I am trying to learn to make it and be in bands. When I am listening to music, it's because I'm walking across town from my West Village apartment to my East Village job, and I'm passing Kim's video. I'm passing Tau Records and I'm passing other music. And I'm finding all these great indie rock records and these kind of obscure 70s Bollywood Funk records.

I remember hearing the cardigans for the first time. So there's kind of a stereo lab, a daft punk eventually. They'd be a little later. But my exposure to music isn't coming from radio. It's not coming from clubs. it's coming from like random like happenstance a little bit. Just I'll give you an example of the kind of stuff that would like really stop me in my tracks and go, I have to buy this when I'd walk into like other music or cams.

This is a record called Bombay the Hardway, guns, cars and sitars. And it's this compilation of Bollywood film music that Dan the Automator put some beats to. I love this stuff. Dan the Automator. This is just a perfect example of what was on my mind in 1995. This is, this is my jam. This is absolutely 100% what I was doing in 1995. stuff like that. It makes a lot of sense. You know, I think there's a difference in sometimes

that doesn't really get expressed. I don't even know if I've heard anybody express it, but there's like a difference between like listening to hip hop in a social way and listening to the genre of hip hop. Right. And I know that like my collection of friends at the time, if you will, my social circle, we were all young black kids who were all like, we wanted to be a part of that thing that was hip-hop. So yes, we were getting a lot of this stuff on the radio, but we were also getting it from clubs. I sat on the show before the first time I was in a dark New York club and I heard Come Clean

by J-Rue the Damage It You're on the front wide Jump Up and get buck If you're feeling lucky tucks And like the way that that lit The whole room on fire like You know It's a shared experience

It's a shared experience Yeah You're not off somewhere With a bunch of people Trying to make Brit Pop records And listening to Come Clean by J-Roo Because also remember

that things are more balkanized back then. Things are more separate and split off. So, like, I didn't get into Brit Pop, ironically, until hip hop started to bore me towards the end of the 90s, early 2000s. You know what I mean? Like, when the underground became so small in scope that it was just like Rockett's Records and Most Def and Black Star and that kind of stuff, that was when I was like, I need to listen to something else. I want to hear something else. But like, in the mid-90s, like, there was literally so much busting out at the seams hip-hop wise that, like, to not be in the club, to not be 18 and over club, I mind you.

To not be in that 18 and over club. To not be at that college party. You know, up on Tufts campus like, oh, man, we're going to go to Tufts. And they're going to play, you know, that junior mafia song. I can't wait until I hear that junior mafia song. Absolutely. Yeah. It's truly to be a part of a scene.

It's really, I love what you're saying and connecting it to the social aspect and to the actual being out in the world aspect. In the 90s, your social music sphere was different than it might be now when you have more access to that information. Yeah, I think you're hitting it on the head. And there's one other aspect that sort of hidden underneath the social aspect is that I am in peak sort of like, let's go out and try and meet some girls. Right. There's also that.

And listen. How could we both leave that out? That's driving everything we do in this moment. This was the genius of this period on the East Coast is that, you know, up until that point, like hip hop was such a male dominated, male heavy thing that like it was frequently understood that like if you wanted to dance to like hip hop, like mob deep, gnaz, all that kind of stuff. There's not going to be girls around. The girls are going to be there, but it's really like a bunch of dudes doing this the whole time. It's like going to like a DRI concert and expecting to meet chicks like in the Mosh Piss. It's just not going to happen.

When Bad Boy comes along, specifically Bad Boy, they found a way to invite the ladies figuratively to the dance floor. We talked on the Roots episode, how they were putting that sound in that little shuffle. But on top of that, they were sampling R&B, like a lot of R&B. So like it had a level of smoothness to it that made it okay for women to come out to the dance floor. And we're going to talk about that in relationship to get money. Not only is it a duet between Biggie and Kim, but also there's this element of like, it's fun when you're that age to be on the dance floor and be like, fuck, get money.

And then like the girls get fucking and get money. Like, you know, like everybody's like, it's a back and forth. There's something for everybody in that chorus. Yeah. Absolutely. Actually, I'd love to hear more about bad boy and what's happening in that moment. Can you set it up for me? Yeah, it's so specific to this moment.

Look, at this point in the mid to late 90s, hip hop had had, had, finally gone mainstream and it was having its moment. There was more daytime radio airplay. There's more diversity and sounds. And the East Coast, you know, they needed a sound that could rival the West Coast's sort of commercial success at this point. Enter Bad Boy Records between Biggie. Later we get Mace. But at this time, we have faith.

We're going to get the locks pretty soon. Puff Daddy, as he was called back then, he was basically curating a roster of artists that specialize in combining like that glossy R&B sound. That was, for the lack of a better term, more female-friendly at this point in the culture with what we would have back then called gully, you know, East Coast style lyrics. Oh, I don't know, Gully. What is that? Gully, I mean, like, you could say gully. You could say rough, rugged and raw, you know, like to use the words of the time, the slang of the time.

Gully is good or bad, though? Gully, gully just meant raw. Okay. It's good. Yeah, it's good. It was good for East Coast rappers to be gully. I see. Am I gully?

Is it leading the way? Am I gully? you're not you're not going but you know what you're authentic how can i become gully i sort of want i don't know that you can be gully oh no i don't know if gully is in the cards for you i don't know if you can play the gully card but let's be aware we are a little bummed but okay well i don't want to be the arbitrary gully maybe you can be i'd hate to see it guys in the comments put let me know in the comments how i can be a little more golly that's all i ask of you let's be clear uh we are aware of Denny's trial and the terrible things he's been accused of and some of the terrible

things he's been convicted of. So here's the trigger alert. We will be mentioning him and hearing his voice on some of these songs. We are here to talk about the music when it comes to him. So just be aware of that. But with that said, I want to play a little bit of a classic bad boy song that merged that R&B with Biggie's rap style. Here is a snippet of Big Papa. That is the chronic by the trees I love it when you're going to be in the hayer And you're a true player That is so West Coast

It's so Dre with the Moog and the That's what's crazy is that like people First off it's a sample of the Isley Brothers Between the sheets Which have just been sampled like I think two years earlier By a tribe called Quest for the Benina Appabom remix Okay

There was talk of the time The Puffy was a beat shark In the sense that like he would take songs that other people had sampled, and he would give it his own, like, flare. But, like, he has Biggie rapping on it. And Biggie is such a superstar. So even if they're taking beats that have been already used by EPMD is, like a place where a lot of people went, you know, they're like, oh, man, they flip that sample.

Maybe we can flip that sample again two years later. Like, you know, there were a couple of artists who, like, sort of got rated for their sampling. That's so interesting because this is an era because we're about 10 years in hip-hop now. Yeah. So what in the first generation might have been... 10 years, you're in a bit of sample. The first generation of samples might be like,

kind of like the lyrics you are not wishing to bite somebody else's. There's an effort made to try and be original. The second time around, there's a referential layer that starts to happen. You start to be referring to the old school in some ways. Absolutely. It's funny you bring that up because it's 1995 and Slick Rick famously has a children's story. Yeah. One of time not long ago

When people wore pajamas and live like slow Willows were stern and justice stood And people were behaving like they ought to good And then in 1995 Montel Jordan basically takes that sample He does it And he's like, bring the old school back Let's the crack in the old school back At that time, the old school is how we do it

All hands are in the air At that time the old school is only like six or seven years But that means a lot to a teenager So that six or seven years It's a new generation which connects us to our Olivia Rodriguez episode. It's like there's always a new generation of teenagers for which it is new. But that's so interesting to think that in this moment there's a shift.

Although you're a little bit saying a different thing, I understand. But there is a little bit of a shift from we can't use that because it's already been done to who used it and how long ago was it and is it maybe a reference. Absolutely. Just to say one more thing about Big Papa, this was one of the first songs that they were playing during the daytime. And I think it was because Black Radio was so comfortable with the Isley brothers in general that when Biggie starts rapping over the Isley brothers,

they're like, oh, yeah, we can fix that. Those older radio programmers are like, oh, yeah, that's like, you know, that's kind of quiet storm. That kind of reminds me of a WKRP. If you sample a quiet storm song, like, Stay With Me by DeBarge, then yes, you'll get the one more chance remix by the notorious BIG played in the daytime.

All right, so what do you think made Biggie want to start a second, like a side project, Junior Mafia, when he already had success as a soul. Look, this happens in music sometimes. kind of saw this with Prince and Vanity Six. We saw this that's a little different though because he's not on those records in the same way. Well he is on those

records but he's not featured. He's not featured. Oh, you can absolutely hear him on a love bizarre. You know what? It's a little bit like David Alborn and from Lurr doing gorillas. Oh, that's a good analogy. I like that. I think that he was coming off of the strength of his debut album ready to die. Absolute smash album.

Anybody in college had that CD in their dorm room and he decided to start Junior Mafia. Let's talk about it. So Junior Mafia, Mafia stands for Masters at Finding Intelligent Attitudes. I was today years old when I found this. Nobody was like, yo, you heard that Junior Masters and Finding Intelligent attitude? Nobody talked like that. It was like Junior Mafia. They were basically a group of friends of his from Brooklyn. They wanted to have some of the success that he had, obviously, in rap, and he wanted to give them a platform to do so. He basically wanted to build his own bad boy

records, and he was starting with Junior Mafia. So yeah, this was basically like his version of what Lil Wayne did with Young Money. when he had Drake and Tyga and Nicky Minaj and the others. All right. So who are some of the other members of Junior Mafia? Okay, so there are nine members. First you got 666. What was it with 90s rappers and their fascination would come back with 666?

We sort of know what it was. Is that the Satan thing, right? I'm down with the devil. I'm extra hard. Connection to metal. I mean, that's happening over there in like Iron Mainland as well. That's true. Big time.

You've got the 6ss, aka 666, which is Bugsie, Little Caesar, Capone, Chico, and Nino Brown. which is a reference to New Jack City. And they were basically guys from Biggs' neighborhood crew growing up. They were known more for their punchline-driven approach to rep. There's also this group called The Snakes, which is the duo of Trith and Larsonie. They were more street-oriented, you know, like they almost presaged the locks in their delivery. Emsi Klepto is actually interesting because of all of them,

Clepto, as it's been said, is the one who sort of came up with this Versace flow like this everything was like Dior and Dior and Doshin Gabana and all this kind of stuff. Is Rishachi flow about the lyrical content or the rhythm? It's about the lyrical content and a little bit about the rhythm like any time you hear like Barreta and I'm Arreta like that sort of was

apparently the style that Clepto was usually the Big then adopted because Big doesn't do a ton of that on ready to die. By the time he's on Junior Mafia and the little Kim Solo comes out it's going to go too far by the time everybody's talking about Chanel shades and Gucci glasses at some point

That was why a lot of us sort of went with the roots and most deaf in common because it's like, God damn. I feel like I'm in a shopping mall every time I listen to a hip-hop song. But at this time, nobody was really doing that. And MCCLEPTO, they believe, is the person who brought that to this group. Okay. But out of all the group members, there's one who stands above the rest and who, according to Bugsby, had, quote, a focus that focused the rest of the group and was taking it more seriously than anyone else. And that someone is Lil Kim. I love that quote because there's an example just three years earlier of another person.

It's sort of one of these important albums who's taking it more serious than everybody else. And that's when we learn the snoop dog never let the studio during the chronic. He was like, this is my one shot. Yeah. I'm going to take every single day. And I'm never going to leave him. I'm going to like hear other people's verses and go back and adjust mine. Like, little Kim is the snoop dog in the scenario because she's like, this is my shot.

I am absolutely going for it. And it's crazy how young she is. She's not even 21 yet, right? She's so young. She's having a, she's like living a. She's like living a real troubled moment and like this is her ticket out. And by the way, this is not the first appearance of Lil Kim. I know I always talk about rappers like their comic book characters.

I'm like, this is not Amazing Spider-Man 129. Like, this is. Look it up. Action Comics number one is the first appearance of. I spotted Kim on Ready to Die. She's on a song called Friend of Mine. Not my favorite song of that album, but she heard her voice and her persona is comes through pretty clear on that one. So distinctive.

Yeah. Then she comes through it a whole new way, in a whole new way, on this introductory verse. Let's hear a little bit of her verse from Players' Anthem. That video really takes me back. By the way, it's so funny to see that video now because, like, there's a shot of, like, Biggie started getting, like, his stomach rub by two ladies in the back of the limousine. And it's really, it looks like a cheap video. Like, this would never fly today. Like, you would never leave that.

It looks like a low-budget movie that you. watch on Tooby. It hasn't superaged. Well, yeah. The opulence they're trying to display doesn't quite read in 2025. No. But it's so fun to see junior mafia, aka Biggie and Kim, and C's, all looking, you know, so young. Like, it's like, you know, to a certain extent, still the beginning of success for them.

Yeah. And it's fun to see that. It's also important to note that at this point, female rappers weren't rapping in the overtly sexual way we so commonly see in contemporary hip hop today. Like, many of the female rappers, rappers of the time. I'm talking MC Light and Queen Latifah. They were very focused on more politically conscious lyricism. That was UNITY by Queen Latifah. And then there's also artists like Boss and M-A-X who were focused almost strictly on like basically you'd have to call it like gangster street runs.

That was deeper by Boss, an excellent flip of an old Barry White sample. And of course, Lil Kim is just extending that legacy, but adding another category. to it. It's equality in sex, in the sexual sense of it. That's right. And by the way, I feel like right after Lil' Kim blows up, we get Missy Elliott, who takes that female empowerment to, like, brand new heights. When we get into her verses on Get Money, we're going to see how Lil Kim used a different kind of lyrical prowess to assert her arrival in hip-hop. So today we're talking about Junior Ravias get money. Now, this is a record about relationship dynamics, right? Like, between the verses between...

That's one way to put it. Exactly. Their verses between Biggie and Little Kim. Verse one is is Biggie versus 2 as little Kim. But there's also stuff happening in real life between them. The two of them met when Kim was freestyling on Fulton Street in Brooklyn, New York. Some of the most beautiful footage I've seen on Instagram is all these people who like, you know, video cam, they've got their old video cam, like they're big.

On their shoulder. There's something special about Biggie that so much of this footage still exists. Basically, they met out there freestyle. And once they became friends, she was recruited to join Junior Mafia. And Biggie and Kim started seeing each other. both professionally and romantically.

Based on things Kim has said to the press, we know that their relationship wasn't the healthiest, but it's clear that they had a lot of love for each other. It's only a little bit awkward because Biggie was married at the time. A little bit awkward. By two, a freaking legendary icon of a singer, I love Faith Evans. I think Faith is one of the great singers of the 90s.

I feel bad that she doesn't get mentioned as often as Mary Jay and some of the others nowadays. What's your favorite Faith Evans tune? What's one that I... Great question. I'm going to go with actually, I love you. This song is beautiful. I love that song.

That is I Love You by Faith Evans. But she's got so many. She's got Burning Up, which features Missy. Like, you know, there's just, there are a lot of wonderful Faith Evan songs from that period and after it. And in this moment, Biggie, as you're saying, is living a world, a daily experience, which includes both women in different ways. Yes. And obviously, he's not the first, you know, person in rap, in music, in business, in any world. In the world where men live.

To be that. But as we said, it's a very complicated, complex, multi-layered song and relationship. And we're going to get into it. So when we get back, we'll impact the dynamic verses between Biggie and Kim. And we'll even break down what makes get money one of the coolest hip-hop samples of all time. There's some stuff in there you don't know about. Come right back. My man, you look freshly tan.

How is your summer? Tan? I don't get tan. I get burned and freckles. But I will accept that this is the end of the summer. As much as I don't like it, it's true. We're entering a new season. I'm ready for it, though.

Yeah, you get to sit down with a family again on a regular basis and ask people how they're day away. I kind of like the structure. You're absolutely right, yeah. Well, listen, as summer winds down, get back into a routine that you love with Wayfair. From bedding and linens to storage solutions for every room in the house, Wayfair is your one-stop shop.

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All right, let's get into the stems. And since it's hip-hop, I think we're going to start with us. sample. That's right. Let's talk about one of the unsung heroes, which is the producer, that's EZLP. Oh, damn. That's Lamont Porter, and he goes by EZLP. He produced this beat, and it was his first beat. At least his first beat

to get placed. It's a great story he tells. So his origin story is that he's actually the driver for Lord Finesse. Yo, he was Lord Finesse's driver? Yes. I did not know that. That's kind of dope. Lord Finesse, the digging of the crates crew, aka D-I-T-C, these were, this is the style

of underground New York rap that I absolutely love during this period. Oh, me too, absolutely. Some of my favorite producers, some of my favorite tracks, like DITC killed it every time. And it's funny is that he was the driver because he was the only guy who had a car. So added the DITC crew. Didn't we do another episode where somebody just had access to something? Hey, it's valuable.

You're in the crew. I think it was tears for fears. It was like, oh, yeah, yeah. Ian Stanley, I think, had like he had the synthesizers and the drum machines and the studio. So he was in the group. He's in the group now. That's crazy.

Because, I mean, DITC, it would be great if this show allowed us to do like a deep dive on DITC. There's so many hip-hop luminaries and just amazingly talented dudes in that crew out of the 90s. You're talking, it includes everybody from A.G, from show business AG, Big L, Buckwild, Diamond D, D, Lord Finesse, O.C, I think, is in that crew. Fat Joe is in that crew at one point. Like, it's just some of, like, the best crate digging crew. That's what DIT says, we're digging in the crates. Right. they would find like the best,

dustyest, dirtiest sample. This is all the stuff that later on, I'm like, damn, I missed this at the time. But this was my jam. This was my shit at the time, too. This is the stuff I love. Let's play a little bit of DITC. This is a song called Day One.

Just get me... It's the mad magician with the ill deposition. No repetition. Holding down Bronx tradition. My composition. Simply squash the competition. Just get me a hard loop with some vibes in it like that and put a hard beat on top.

And that's for days. That's a deep cut. That's a deep cut. We could have played a lot more, but that's one of my favorite from that, from that crew. But as you were saying, we were talking about Easy LP. All right. So there's some funny stories here because, like, he's the driver. He's hanging out with these. These are his friends, right?

Just because Osmosis, it's around him. He starts to learn about samplers. And he eventually gets enough money to buy his first SP-200 sampler. And he starts making beats with Buck Wild. The first series of beats, he tells these great stories about how, like, he was getting rejected left and right. Nobody wanted his beats. So Big El, he made a whole bunch of beats for Big El. He's like, I don't like anything you've done.

He's like, these are terrible. You've made trash. beats go away. Like, so he's just getting like trashed by his crew. So he gets depressed, he says, in the telling. And he's like, kind of like, he's making beats, but he doesn't have a lot of optimism that they're going anywhere. So he talks about how he's friends with Big, finesse, Buck Wild, and the four of them would just be on the phone talking for hours. So Big says on one of their four hour phone calls one day, is like, bring me some beats tomorrow. So they all go around the studio. It's Big, Finesse and Buck Wild along with EZLP. EZLP tells the story how everyone went

around and played Big their beats. And when it finally got around, to easy. He went last. Biggie picked his, and he was totally surprised. He did not see that coming, that like going from rejected everywhere else to get big to say, that's the one. So they go into the studio with the beat that we're about to play for you, with the loop that we're about to play for you. It's his first ever placement, and it's with BIG. I'm so excited. Please place a little bit of the beat that he played for Biggie. So here's the thing. We don't have the final beat that he played, because in the telling of the story, the original beat had the loop I'm about to play you and something else. But let's play

the loop and then we'll talk about it. Okay. So here's the actual loop that you hear on Junior Mafia Get Money. It's a two-bar loop. I'll tell you the source in just a second. And it sounds like this. And that's really it. We're getting that two-bar loop. We are getting a variation. And the song starts with the variation. It's this intro with a quarter note of that loop looped itself. So it sounds like this. Which is such a nice thing to do for DJs. Yeah. Because I will say there are some other songs specifically off of this album and Lil Kim's solo album that were extremely hard to mix in because they didn't give us that little like four count. Yeah.

That little four eight count, I guess it would be. It helps you mix it in. Super helpful. It's also an immediate indicator. What I love about it is that it evokes within seconds that you're getting something old and something. You're getting something that's clearly vintage because you got the dusty, the dust of the vinyl that it's sampled from. And of course, the sounds which are from a previous era. But the fact that it's boom, to boon.

It's like, okay, there's a DJ. It's the 90s. There's a DJ. It's the modern era now. Yes, absolutely. So that's a sample. Yep. By Sylvia Striplin.

She's another unsung hero of this episode, heroine of this episode. And she came up on our Royer's episode. There's a Royer's connection because she worked with Royer's. And Royers is a co-writer of the song. Yep. Which is called You Can't Turn Me Away.

And let's play what that song sounds like. Oh, then we go minor. Woo! It's such a good song. Like, it's one of those weird songs where, like, I loved it when it was sampled by Junior Mafia. But then when I went back and I heard the original. And like you said, like I guess it's about,

four measures in, the drums drop out. That's the first indicator if you're like dancing this, you're like, oh, this isn't the Junior Mobbriversion. And then when it goes minor, that's where it goes minor. That to me is where, like, the original sort of stakes its flag, and it's like, ah, but there's something here that's going to devastate, it's going to kill you.

So Sylvia Striplin is from New York. There's not a lot out there about her. There's not even a lot of music that she's made out there. She starts out, she's an actress. She's playing Dorothy and the Wiz, a road production of The Wiz. Wow. So she's singing and she's traveling around, in this is the early 70s.

At some point, she gets connected with the Roy Ayers' collective of musicians. He co-produces and helps co-write her one album that I could find that's even on Discogs. I think she just had a single LP release. It's called, Give Me Your Love. The first single is a great tune,

which I've been playing in this one, right? I love that song. Let's play a little snippet of the A-side. It's Give Me Your Love and has a really cool, like, rhythmic weirdness. There's the weirdness. I'll count it out for you. One.

Two, one, two, three, four, one, two, three, four, five, six, one, two. Yes. It's ten beats divided four, four, two, or four, and six. It's so sick, though. So the song that EZLP looped is the B side to that song, and it's called You Can't Turn Me Away. So it's one of those songs where we don't have certainty about every single player, but it's worth calling up because the music in the song, in the junior mafia song, all the music, anything that isn't a vocal, is coming. from these musicians from 1981. So the lead vocals are certainly Sylvia Striplin.

Important to mention, because we hear her ever two bars and get money. That's her going, so I'll just isolate that for you. Here, this is Sylvia Striplin. So we know that she's on the track. She's on both tracks, her own track and on Get Money. On drums, it's either Steve Cobb or the legendary Omar Hakeem. Again, these are all names from the credits that are across the album, but they're not mapped to individual songs.

So we're not sure which musicians on which. The bass is either Peter Brown or William Allen. Peter Brown. Yeah. Love Peter Brown. Yeah, we love Peter Brown. Peter Brown is always bringing. He's brought so much to the hip-hop community

by way of the hip-hop community sampling him. So it may have been Peter Brown, which is important because that baseline is so iconic. So let's listen to that bass line that Peter Brown might have played, isolated. So wet. It sounds like, that might have been a Bootsie filter, like Abootsie Collins. It has that kind of wah filter, even kind of chorus or flange happening on top of a very wet sounding. Yeah, it's so distinctive.

It might have been Peter Brown who played that. But those claps, man, that is an epic clap. Can I hear that clap again? You know we love a clap. I have to play it for you. How does that clap accomplish? I ask as somebody who wants to one day make a solid song. How do you accomplish that clap?

Well, listen, the secret to a great clap. All of the elements of great drums and percussion, like that is a science. Like, you know, that's why the classic cliche of a producer kind of scrolling for an hour through their kick drum library before they pick the right kick drum. And then scrolling through eight hours to find the right snare, the right clap. But part of the elements that makes, I think, claps that we both like is reverb. There's a big, it makes it, that's what gives a late 70s, early 80s feeling is it's not dry. It's extremely wet with reverb.

A big part of what we're hearing. And it's only on the four, I believe. Let's listen back. I want you to be like, it was Sam the Hands, you know, Sam the Hands McMannis. He got hired for every session. He had the biggest hands of anybody who ever stepped into a studio. He had such big hands.

And every time he clapped, it just, you know, glass shattered. I wish I could have given you that answer. It would have been much matter. No, I know. I think there's like one man who was walking around the New York with big hands. And he was on everybody's track. The clavid is definitely by James Bedford, who's one of the co-writers of the Sylvia Striplin song.

Okay. And one last question mark, which is there's an electric piano credit that only goes to mudbone. Wow. It turns out to be extremely ungoogable. Wow. Yeah, of course,

because all you're going to get is Richard Pryor jokes. I was just going to say, the only thing is, is it possibly someone making a reference to that Richard Pryor joke? Now, I know that boy. See, he fucked up. See, that fire got on his ass.

And it fucked him up on that. I'm sure that the electric piano persons, he might have actually just gone by the name of Mudbone. Who knows? But in 1981, this would have been pretty iconic this character. Yes, no, exactly. I mean, like, you know, I guess if you take, like, a keyword from a Chappelle routine and make it like your name.

But, like, I wouldn't assume that that wasn't either a real person or maybe somebody using a pseudonym. I was thinking it might be a pseudonym. Especially if you can't find any other references. But, hey, if you listen to the show and you're like, no, I know the real Mudbone. like, then, you know, you'll find us. You always do.

On discogs, this name only maps to, as a player, only maps to the song. So it's a real mystery. But we'd love to know more about Mudbone. If you know, if you are Mudbone, hit us up and let us know. So was this Sylvia Stripling song written by Roy Ayers? So this Sylvia Stripling song, the splits, because they are relevant to the splits of Get Money, are a three-way split between Sylvia Striplin, James Bedford, the Clavinet player, and Roy Ayers. Oh, wow.

Okay. So like I pointed out, both songs have these very brief loops. And the Sylvia, I would actually argue that even though the Get Money loop doesn't use the entire Sylvia Striplin 2 chord, like loop that goes into that minor chord and back again, the one of the- Even though it doesn't use that, I would argue that the loop that we're hearing, which I'll play for you, it has this kind of suspended nine in the loop. I'll play it for you and I'll explain what that means. So here's the loop in Get Money. It's half of the Sylvia Stripling loop. Listen to this note here. That's significant because even though we have quote unquote just that one chord, the change in that roads in the background where it's like the suspended nine.

Yeah. It's significant. You hear it. We hear it significantly. And this is a moment that I kind of want to give. Also, I think if they left in the minor chord, I feel like it would have made the song like almost comically like introspective on those parts of the verse. It is like so like a great description. Especially like this is essentially a party.

song. Yeah, yeah. You want to be able to like keep the party going, but like if it goes minor, then it's like, grab on a of a bitch six feet. Like, you know, like, you all, you start being like, wow, why. That's a great observation. Matter in terms of, you know, like, does that make sense? That's such a great observation. Like, let's try it out. Let's see what it would have sounded like. This has never been heard before. This is if EZLP had left the Sylvia stripling part untouched with the junior mafia vocals. Let's go. Let's listen. Bet to grab a seat

Grab on your dick As is bitch Deeper than the Cresia I'll get six feet Sift six Fix The minor

You're cute Young bitch from the street Guarantee to stay dead Ooh I kind of like that That's a major Niggas I kind of like that

It's not as bad As you would have thought By the way I don't think I've ever done that In my DJ mix So the fact that I was going to You have to do that now That's the Diallo

Mixed Emotions Mixed By the way you notice It's Emotions Remit You noticed that the Sylvia Stripling song was getting slightly faster, so Kim was falling slightly behind the beat by the time we reached the very, very end. No, but that took me somewhere. With a little bit of tweaking, I could make them work. I really like that. It actually made the song sound a little more modern because I feel like nowadays, 2025.

People do let sometimes the beat go to more introspective morose, if you will. Morose is exactly what I will do. But it wasn't bad. I thought that was great. That's the Diallo Riddell mixed emotion. remix, find it exclusively to one minute ago on this podcast episode.

We'll post it on one song podcast. That was fun. That was great. Nice work. I find this really interesting. Did you tell me that there was a beat that they dropped? Yeah, EZ LP tells the story that originally there was a layer of drums. So when Biggie heard his beat, when Biggie heard his flip of the Sylvia Striplatoon and said,

this is the one. Let's go to the studio. They went to the studio and when they were listening back to it, Biggie suddenly changed his mind. He said, take off those drums. He wanted only the original sample. That's so dope. Which is super dope. And when you listen back, you'll notice the drums don't hit super hard. Not at all. So much of the formula of the air, so to speak, right, for hip hop would be to would be to take. Juice up them drums. You would take the sample and you would beef it up, maybe add some

bass, but definitely add some drums. I would have been, if I was there in the studio, I would have messed it up because I'd be like, we got to juice up the drums. Juice up the drums. You might add a different 808, a different 808, like a high hat on top. And a lot of these ELP's other productions, he's sort of known for having like his high hat sounds are really distinctive. Yeah. But in this tune, you're really getting very muted sounds from the sample. That's so true. I mean, I feel like, and we love DJ Premiere, but I feel like DJ Premier, like the drums are so prominent.

Yeah. This is one of those songs where it literally almost like harkening back to the earliest hip-hop days. They're rapping over a DJ literally cutting back and forth over a break. And it has like more of a mixtape feeling. And EZLP tells us a little bit about where that came from. He said, this beat was playing for eight hours when big, they were like, It's just listening. They're vibing in the studio for eight hours, vibing on it listening. Big's writing. And finally, at 4 in the morning, he goes in and lays down his vocals. And then Easy's like,

great, I got it. Now, let me just go clean up the sample. And Big's like, don't touch it. Don't touch it. Don't touch that sample. I love it. Leave it the way it is. Leave the dust in there. Leave the grit. Leave the grime. Don't beef up those drums. This is a perfect recording. And that's what we have to this day. Okay, before we get to the verses, let's hear that iconic chorus. Get money. What you say? What you say? What you say?

Like I was saying earlier, like this song is, yes, about Biggie rapping about a relationship, Kim rapping about a relationship, but as a person who was at the parties at that time, it was really just a chance to do some call and response, battle in the sexist style.

So all the girls would say the part the little kid was saying, you know, the part the big was saying, we would say, and we were having a lot of fun. Again, also, I want to point out, 90s hip-hop, they were all about

the edits and the clean radio version because, you know, first couple of times that you would hear this on the radio is definitely, what you say, what you say, oh, you know, like, get money, what you say? Like, you would know that version. You would hear the other part of that line. And then you would buy the album and then you hear the regular version. But it is the tale of two perspectives on a relationship gone wrong. Horribly wrong.

Now, this isn't necessarily about Kim and Biggs relationship, but it has been well documented that they had a tumultuous relationship, very passionate, and we shouldn't sugarcoat it at times, violent. So something to keep in mind as we listen, what emotions they may have had channeling what they were going through into this song, almost sweetwood Mac style, to talk about something we've talked about on this show so many times. So let's hear the first part of Biggie's verse, this iconic verse, you want to sip Mo. I'm my living room flow. So are you saying this is that you can go your own way of hip-hop? Is that what this song is?

It may be, my friend. It may just be. You want to sit Moe on my living room flow. Play Nintendo with seasonino. Pick up my phone say Papa not home Sex all night Mad head in the moon I know this whole song by heart I mean I could literally keep going This is such a minor thing

But one thing I just noticed As we're listening to the isolated vocal Is like the breath that Christopher Wallace Like the sound of his breaths is really iconic And I think the song opens with that breath I hadn't noticed that before The very no no there's like literally an intake of breath On the like canonical here I'm just gonna play

Here's the beginning of Get Money There's just this little Right? Isn't that him? No idea. It's probably that. They left it in. We mentioned that Biggie was married to Faith Evans, and that tattoo line is a direct jabber. She actually did have his name tattooed on her chest. Spin my V, smoke all my weed, tattoo on titty saying B-I-G.

Now check it. You want to be my mid-squee, baby. Don't you? You want to give me what I need, baby, won't you? Also the woman who plays his wife in the music video is basically doing a faith look-a-like thing with her blonde hair. that actor, by the way, is Charlie Baltimore. Those of you who know, know that she was a rapper in her own right,

and she was also sleeping, apparently, with Biggie. So, yeah, Kim wasn't the only woman that Biggie had at this time. It's tumultuous all the way around. Okay, now let's play the next part. This is where things really start to go awry in the relationship. Licking the door wave in the full full. All you hurt was Papa, don't hear me no more. Disrespect my click, my shit's imperial.

Fuck around and made a milk box material. Can you feel me? A lot to unpack. there. I think at the end of the day, I'll never forget. The girl I was dating at the time, she was like, whoa, milk box material, which I don't even know if, like, our younger listeners even know what that is. There was a time when the back of milk cartons always came with, like, a missing, have you seen this person thing? So he's talking about disappearing somebody. It's an ugly verse. Look, you know, some can make the case. This is a hip-hop making, you know,

like when you get angry, better to put it in a song than to put it in the real universe. But obviously, like even at the time, this was an incendiary verse. Yeah. It's also, the name of the group is mafia. So there is like this whole mob thing, the whole music video. They seem to be sort of almost like the movie in Glorious Bastards by Quinn and Tarantino

mixing real life with fiction. So some of this is clearly aimed at faith. But then if it was all true, then he would be basically admitting in stereo that he was moving drugs from Virginia, you know, to places down south. and he'd be admitting on committing domestic violence. There's all kinds of things.

There's like a courtroom scene. Like, this is one of those moments where you realize that, like, to be a rapper must be hard. Because on the one hand, we expect you to talk about what you've lived. Right. Or at least what you've observed. And yet, on the other hand, he's describing felony after felony. So it's just there is a-barrant of fiction and non-fiction. Yeah.

Much like in glorious bastards, you have a World War II narrative, but you also have them killing Hitler in an opera house. Right. well before the end of the war. So again, I was sort of a merging of fiction and nonfiction. That is so interesting. Right. You're absolutely right. Because what you can't control is the perception.

What you want to do is have this perfect way of expressing that this storytelling is compelling, A. It must be a compelling narrative. But also, you have to believe that the character telling you there's something behind it that's true. But at the same time, you don't want it to be, as you said, in 3D, a confession used in court because you're describing a true story that has, that is now you have evidence for with your confession, you know, recorded, that line is really, this is actually, this is true for a lot of hip-hop. This is true for a lot of, like, in Mexican music, it'd be Coritos, I believe is how it's pronounced. So these are like true stories that you're hearing from the author.

They're true stories. Things that may or may not be things that they may or may not have done. So you're really trying a fine line there. All right, now let's go to the top of Kim's verse and hear her side of the story. You know, there's one of those moments. It's like Nikki Minaj on Monster. It's like Snoop Doggy Dogg on Nothing But a Gene thing. When the verse begins, it's just an iconic verse.

and you know that this is a star arriving on the scene. Bet to grab a seat. Grab on your dick as this bitch get deep. Deeper than the pussy of a bit six feet. Stiff sticks feel sweet in this look dupea tea. I mean, what could be said? I think that this is some of that raw sexual energy that we're used to from male rappers

that, you know, she was bringing in on the... But we hadn't heard it very much, if at all, before this verse. Had heard some of these couplets before. Some of these fine Shakespearean sonnets. I mean, to this day, this has been 30s. years, I'm still in the studio blushing. Like, I can't believe she said that.

Like, it's just kind of... You don't want to listen to this with your mom in the room, right? It's that kind of, oh, my God. It's like, oh, Bob, turn that off. Why don't we watch a movie? You want to watch Monster Paul? Like, it's like, there's certain things you can't do with parents anywhere near you. But by the way, it's not all just sexual because she is saying like, hey, don't

mess with me either. I'm just as tough as big. And may be small. Maybe Lil. I may be little. He may be big. But you don't want to mess with me because I am. absolutely going to F you up.

Or rub your stomach. We're not sure. How, Courtney, I can't even say the F word. She just said. She just said what she said. She just said what she said. She stood on business. So, do you know about how the lyrics were written? How Kim's verse were written in particular.

I will say, at the time, most of us thought that Biggie was writing her verses, which wouldn't have been unheard of at the time, JZ had a mill. We also thought Jay might have been writing, JZ might have been writing Foxy's lyrics. What's come out since is that all of these women had a lot more say in writing their verses than maybe we were giving them credit for at the time. And some of that is just from what we were hearing from the rappers themselves. Like I think they wanted to take credit for writing these verses.

But looking back, I think she had a lot more input than we knew. And let's be honest, she's standing next to one of the greatest emcees of all time. So yeah, if he says, I want you to change this and adjust that and do it this way, like you're going to listen to Biggie because Biggie's the freaking goat. So I think the influence on her is obvious. But it's also a lot more her driving the bus. The fact that her style didn't drastically change upon his death, you know, within a year. Within a year of this album coming out, tells you that she had a lot more say in writing her lyrics than we thought at the time.

All right, let's get back to the verses. Can we hear the part of Lil Kim's verse where Biggie comes home? Out on baby. Pull out your nine while I cock on mine. And what, nigger? I ain't got time for this or what, nigga. I'm not trying to hear that shit. Now you want to buy me diamonds in a money suit.

Adra Vinodini and Chanel non-boots Things to make up for all the games And the lies Homemark cards saying I apologize So much to impact there But I think what you can say is this Even though one would argue that Faith is the wife

And Kim is the side piece To use a word from the time She's mad that he's got Other side pieces You know like she's like you know To make up for all the games and the lies Hallmark cars saying I apologize But she's also

staking out her power, right? She says, like, hey, you pull out a nine, I'm going to cock on mine, because I got one too. You know, I ain't got time for this. That's such a great line, yeah. It's such a great line. It's one of my favorite little Kim lines. It definitely establishes this is not a little person you can mess with. And I do want to say something about the very

last line of this. Now, I ain't gay. This ain't no Lesbo flow. Nah, I ain't gay. This ain't no Lesbo flow. Just a little something to let you motherfuckers know. It's a battle of the sexes. Like, for whatever reason, Biggie's flow is more typical of hip hop at that time. Nobody would have questioned whether he liked women,

given all the things he said about this woman. For whatever reason, her verse, because she's hitting back just as hard, she felt the need to say, no, I'm not a man hater. Right. Which is her ham-fisted way of saying, like, you know, nah, and gay, the same, no lesbo flow. But how

interesting in that era of, quote, no homo, that she felt like, I have to say this so that people don't think that I hate all men. Like, she put an apology in there where Biggie was, one was never expected of him. That's a really great point. It's so interesting. You're right, because she is one of the first voices to be of this emotional state.

It enables the next generation to kind of build on that. But she didn't have one before her. So people are like, what does this mean about you? She had to sort of counteract a potential narrative that having a strong female voice. Somehow made her gay. Right. Like all of a sudden she couldn't be into men. Putting aside whatever, that being a negative aspersion,

Like she has to assert that, no, this strength doesn't come from something else that has something with being anti-men, to your point. So, now that we heard the song, how do the split shake out? I'm so curious on this. This might actually answer the question, did Biggie write her verses? Kimberly Jones gets just as much as Christopher Wallace. They both split the 50% that isn't the sample. So the sample itself is the other 50%. So the same three names, Sylvia Strip, and James Bedford, and Roy Ayers are all getting basically 15% each.

good on Biggie for giving her 25%. And they're equal. You know what I'm saying? I guess without being in the room, we'll never know who wrote what lines or whatever. But the fact is he wanted her to be seen as an equal. That's right. And I think that that's good given the amount of power he had in that relationship. It should be said that there is a little bit of a conflict about the splits and the public records. Because Lamont Porter, who is EZLP, is also listed name-wise.

But he doesn't have any, it doesn't have a number. which means that there's either is an ongoing conversation about including him in terms of royalties or some agreement was reached that his name appears in the credits and he might have gotten a one-time payment but he isn't currently, according to this,

if you were to sync this song in a movie, the payout wouldn't necessarily go to EZLP. So we have to mention that following the release of Get Money, there was a remix, Junior Mafia released the Get Money remix, which quite honestly could also be considered an absolute hip-hop class. It's so weird when like not just the original, but the remix are both equally freaking classic.

And it has one of the best choruses of all time. I'd love to hear The notorious B.I.G. Do his Barry White singing, which you don't get a whole lot of, especially not already to die. But on this one you do, let's hear a little bit of the Get Money remix. So don't test me. Get money. That's so cute. They had actually sampled a song.

I think a lot of you probably. I know it, Dennis Edwards is Don't look any further. With Cedar Garrett. Classic song. And it was also infamously sampled. Actually, not sampled.

Was it? As Questlove pointed out, it was interpolated by Tupac and hit him up. Fuck your bitch and the click you claim. Westside when we ride coming quick with game. You claim to be a player,

but I fucked your wife. I mean, in this music video, he's got puffy look-a-likes, big-y look-a-likes, little-kib-l-l-l-likes. He's got so, many lookalike. And using a musical Dennis Edwards

look-alike, as it were, right? It's all look-alikes. Well, I think that was Death-Roy. I think Death-Roe was like, let's pay everybody as little as possible. I also wondered, like, what was it like to be in the studio the day he recorded? I think somebody online, like, had like the engineer. It was like a sketch. It was like, the engineer working on hit him up. And he's just like,

first off, like, you just can't even, you don't even know what it was like to be there that day. I will say, when this song came out, it landed like an atomic bomb. All right, so Giala, what do you think the legacy of get money is? I honestly feel like, in some ways, it's a great rap song. There's so much going on that is like some of my favorite stuff from 90s rap songs,

the sampling, the innovation that's going on there. But in some ways, I think Lil Kim might be the legacy of this song, more than anything else. This track was instrumental in teeing her up for a wildly successful career. Just later that year, she didn't even wait a year. Later that year, she released her solo album, hardcore. which, from a production point of view, purely production point of view, I think is a masterclass in sampling. It debuted at number 11 on the U.S. Billboard Top 200, which at the time was the highest debut for a female rapper ever. I could play so many songs off this album.

In fact, in preparing this episode, I was listening to a lot of them. A lot of them still get me going. This was got one of my favorite Kim Lines and one of my favorite songs. This Queen Bitch, let's hear a sample. I don't for better. Nobody do it better bet I wretcher like hurricanes and Taftoons. Got buffoons eat in my pussy while I watch cartoons. Okay, so I want to talk about that lyric. Because to me that is one of the most epic lyrics of all times. Got buffoons eating much while I watch cartoons.

It's legendary. I love that line. I love it then because if nothing else, to me, that more than anything, predicts the coming of a carty. or like just the idea or just literally watching cartoons while something like that is happening as you can tell still makes me giggle

It's very funny Well they used to the word buffoon As the setup for the rest of the story Well I don't know why she's insulting If it sounds like he's being really nice Jesus Kim This also has a line This is how you say thank you?

Come on But I think that like The idea that people would talk about this Yeah It was not common discourse We were the wild west So I think that An honest conversation

about the male and female dynamic, about sex, about a lot of these things. Little Kim was the tiny foot that kicked open that door. And we've never, we've never, I think, She kicked in the door. And we wanted more. I think we really have to credit Lil Kib with being the blueprint for so many female rappers of a day. She was part of a brand new wave of female rappers.

I know that we had had like Moni Love, Nancy Light, and Queen Latifah. and Salt and Pepper. But, like, she was part of this, like, mid to late 90s wave. They absolutely paved a path. Foxy Brown, Missy Elliott, Eve. And then later on, you get Trina and Kaya and, you know, all the way up to Nikki Minaj and CityGrials, Cardi, Megan the Stallion.

They all benefit from Kim's groundwork. And it starts here. What about you, Lux? What do you think? Well, I think even though personally it may have been belated for me to, like, learn about Little Kim and, like, know her music in the same way. like I absolutely as a fan of Missy Elliott benefited from

her groundwork that you've just wonderfully described being Lane. So it's hard for me to imagine a world without Lil Kim. Even if I only started to pick up on her legacy like a little bit later, like it's now so obvious in retrospect that it would not be the same. Rap would not be the same. The world would not be the same without Lil' Kim and without her

verses that we just heard on Get Money. Okay, Luxury. It's time for one more song. This is a segment where we share a deep cut or a hidden gem with you, the one song nation and with each other. Luxury, you go for it. Listen, I just discovered this tune on TikTok the other day, and I was really taken, especially with the, I hadn't heard a voice that sounded like this before.

This song is called Joni Mitchell. It's by Eagle Noise, and it's really freaking good. I just love how, like, clean and smooth. I was, like, taken in immediately. There's just some voices that you hear. Have you heard this before? Do you know this? I don't know this.

Yeah. Well, big reveal. This is Casey's band. Our producer, Casey is singing that song. And when I heard it, I was like, that is who? What? It's really great, Casey. This is a great tune. This is Eagle Noise by our video producer Casey Simonson. And it's great. Check it out. Eagle Noise. It's on Spotify. And the song is Joni Mitchell. Get back to work, Casey. What are you doing in your spare time? That's fantastic. I'm blown away. I think we're all a little bit. Those of us had not heard the band are in shock. So congratulations. It shocks. It shocks a good word for it. I was like, I never heard it. I was like, Jesus, this is great. Dialo, what is your ones? One more song.

My artist does not work in the room. For today's song, I'm going to choose Channel Trey, and the song is Gate Depot. You know, I was recently talking to somebody who did not already know the music of Channel Trey, and I was like, you know what? I don't think I've ever done a Channel Trey song as my one more song.

So if you don't know, go to Spotify. If you're a fan of, I'd say anything from disclosure to Ketranada, you will enjoy yourself. And since you brought up claps earlier, I was listening to that clap thinking about your love for claps. That clap is extremely dry. So that's the contrast.

That's why it sounds like now. Yeah. That sounds modern because it doesn't have a big reverb behind it like we heard in the other. Let's bring back the reverb, nerds. Reverb is the word. As always, if you have an idea for one more song, you can find us on Instagram and TikTok. You can find me on Instagram at DIA-L-L-O. That's right, at Diallo.

And on TikTok at Diallo-R-R-R-Y. And you can find me on Instagram at L-U-X-X-U-Y. and on TikTok at Luxury XX. And you can follow our podcast at One Song Podcasts on Instagram and TikTok for exclusive content. You can also watch full episodes of One Song on YouTube and Spotify. Just search for One Song Podcasts. We'd love it if you'd like and subscribe. Also be sure to check out the One Song Spotify playlist for all the songs we discuss in our episodes.

You can find the link in our episode description. And if you've made it this far, we think that means you like the podcast. So please don't forget to give us five stars, leave a review, and share it with so someone who you think would like the show. It really helps us keep it going. Baby, baby, baby. All right, luxury, help me in this thing. I'm producer, DJ, songwriter, and musicologist, luxury.

And I'm after writer-director and sometimes DJ, Dialla Riddle. And this is one song, we will see you next time. This episode is produced by Melissa Duanyez. Our video editor is Casey Simonson. Our associate producer is Jeremy Binbo. Mixing by Michael Hardman and engineering by Eric Hicks, production supervision by Razak Boykin, additional production support from Z Taylor.

The show is exactly produced by Kevin Art, Mike Stein, Brian Smiley, Eric Eddings, Eric Weil, and Leslie Guam.