The Breakfast Club - No Ceilings: Conversations About Nate Dogg Never Smiling

Episode Date: March 17, 2024

The Black Effect Presents... No Ceilings with Glasses Malone! Glasses Malone discuss the impact and legacy of the talented late great Nate Dogg. Nate was so serious in his craft he never cracked a smile in a music video. Joining the conversation is usual suspects Peter Bas and Deuce Mac (1/2 of LA Giants). Tune in and join the conversation in the socials below.  "Please make sure you order a copy of my new album, Cancel Deeez Nutz OUT NOW!!"    - the loc The Crip Store Rate, subscribe, comment and share. Follow NC on IG feat Deuce Mac (IG: @deucemac_lagiantz)See omnystudio.com/listener for privacy information.

what's up and welcome back to another episode of no silliness podcast with your host now fuck that with your low glasses malone the irish whiskey very all right yeah i got the um i had to get like a nicer version of it because i got this little thing with short shelves. They only sell a bottle that looks like a kettle that'll fit in the shelf instead of the regular bottle. But it's better than a regular bottle. Right. Why do you drink Irish whiskey versus a Scottish whiskey, like a scotch?

I like both. They're different. Irish whiskey is usually a little bit sweeter, a little lighter. Scotch is a little bit drier, sometimes a little harsher, a little smokier. The processes are different.

A bourbon is a whiskey made in Kentucky, right? Yeah. Give me all of the whiskey comparisons. So you have bourbons, which is cause it's, it's a whiskey made in Kentucky or Tennessee.

And then the Scots is a whiskey made in Scotland. Yes. Then you have an Irish whiskey. Yeah. And then you've got Canadian whiskey and I guess Japanese whiskey. What is Japanese whiskey? It's just like other whiskeys. It doesn't have,

um, this thing. Oh, is that? it's just like other whiskeys it doesn't have um ginseng what's that it's ginseng that is definitely not in that case i'd fire one up and what about canadian whiskey i see uh sam sam's club sells Canadian whiskey. Yeah, like Crown Royal's Canadian whiskey. Okay. Bourbon is like sweeter, but it's kind of harsh. Irish is like sweeter and lighter, and

scotch is the most complex, but it's the driest tasting. What the fuck does that mean as somebody who don't drink when something is dry? When something is dry, it means it's not sweet. Do you drink whiskey at all, Deuce? Is that your shit?

You know I do. I don't give a fuck. Are you into it that deep? No. Just give me some cognac, my man. I'm straight. Oh, by the way, speaking some cognac on the off site oh by the way speaking of cognac the liquor store across the street from me either some jamaicans or some haitians run the joint they have a pyramid of uh all white hennessy in the store like five feet tall they've got like 20 some bottles retail. They sell it over the counter.

It's in the US now. Oh, it is? Okay. I don't know if they snuck it off a boat at the port. That shit ain't even good though. That shit tastes like you smell alcohol when you fuck with that shit. Yeah, I never liked it. I just knew it was popular. It's like the Chardonnay of cognac.

Yeah, because it was only overseas. So once it started coming over here, I mean, you know, niggas, it was always like this old, oh, nigga, I got the white Hennessy on deck. $175 a bottle type of shit. Like, nigga, get out of here. Yeah, they got it at like $89. I say the Chardonnay of cognac because it's like, I think it's skinless grape. Oh, that's why. Yeah, that's why it's like, I think it's skinless grape. Oh, that's why. Yeah, that's why it's all white.

Oh, the skin gives it the color. You know, dudes, that there's no difference between brandy and cognac. Only difference is where they made that. What's the best brandy you ever had? Shit, man. I don't know.

You don't even fuck with brandy, huh? Nah, nah. I mean, you know, it's crazy because Vassie ain't remind me of brandy. Well, remember all kinds of... I don't know no, like, good brandies.

I never seen a good brandy, I guess, like Ciroc and shit like that. You know, that shit brandies. I never seen a good brandy, I guess like Ciroc and shit like that. You know, that shit brandy. Oh, the Ciroc one. It's a French brandy. It's a brandy which is weird because... It's a grape vodka. Ciroc makes grape vodka.

No, Ciroc makes a French brandy too. Which is weird because... It ain't French. It is French french but it's not made in that region there's also armagnac which is like cognac but it's the region next door that has its own brandy see that's what it is so it's really all the same process to make all every cognac is a brandy but they say every every cognac so every cognac is a brand you gotta but they say every cognac... Every cognac is a brandy.

They got to be made in cognac. They got to be made in cognac. It's champagne versus sparkling wine. It's the same shit. I just think to myself like most of the brothers I know never even tried to find a specific brandy because brandy is a better

quality of liquor. I guess it could be, but shit, I'm sure if you made brandy because brandy's a better quality of liquor i mean i guess it could be but shit i'm sure if you made brandy with the same process it'll be the same shit but i don't think niggas really try to find a reasonably priced brandy that has the same you know character as as as traditional cognac like hennessy and then every drinker i know actually tell me hennessy ain't really good like that. It's just kind of like an acquired flavor after you drink it long enough. You got to... My rule of thumb...

It's got to be like XO or Beyond in the brandy world to really... for it to be good. You know what I mean? If you like, if you're not spending 150 plus.

Yeah. If it's XO, it is smoother. Yeah. Yeah. I'll be honest. You want to a great cheat? Like I think Napoleon and E and J brandies,

they both have an XO brand. Like XO brandy by E and J is better than like VS Hennessy. It's a third of the price. That's all age. That's all that all that exo shit is about age. You know, people. Yeah, all that exo shit is about age. All that Nejo, Blanco,

Reposado is about age. All of them is just talking about how long they've been sitting in barrels. It really is the same process. Just the longer it's sitting in the barrel, it becomes more valuable. Like, we can store your shit like they charge you a storage fee. Well, additionally, like wine, when it's in the bottle, it continues to mature in the bottle, but its spirits don't because they've been distilled. If you have your base spirit in oak, a lot of those impurities, they bleed out into the wood. So if something's in wood for two years, it's going to have a lot more crap in it,

and it's going to be a lot less refined than if it's in wood for 10 or 20 years that's that's a big part of it so it's more of a temperature thing you can't store your you can't get your own mini barrels and store your own shit because you need a certain temperature right you could it's just fucking hard i mean if you went if you called up so and so and said hey i want a barrel they'll sell it to you there's there's companies that you can invest in that are funds like like um alternative investment funds where you can buy or participate in a collective purchase of wines and ageable spirits and you buy the actual cask remove it from inventory and it's yours to own and then you would sell it you know as an investment

10 years from now at a 10x you know price point no ceilings gl my nigga peter i'm back from the a my nigga peter back in florida he was in atlanta i got down me douche mac from the la giants if you fuck with glasses malone and you heard any of these glasses malone albums that's been out then you pretty much heard douche mac on half of the LA Giants. What up, man? Deuce Mack got one of the hardest best microphone voices in the industry. I wish I had a voice like his. He owe that shit to Newport.

I said, you need to cut Newport a check. Man, I Newport didn't do my voice as well, but it was a downer. Did you know why it works for Deuce? Because Deuce is so fucking harsh on the mic, so it's like, oh, it's perfect. This nigga voice sound like

the way he be talking. He be talking crazy. The shit he be saying, okay, it makes sense a nigga will have this voice. And he carries crazy because he in such a situation where, you know, living life, life got his stresses, so the nigga need to smoke, but then he don't want to smoke because he need his voice, you know, living life, life got it stressing, so the nigga need to smoke, but then he don't want to

smoke because he need his voice, but then the nigga stressed, so smoking the only thing calm him down. Nigga in a vicious cycle of life. I've been smoking weed lately, though. You stop smoking, your voice is going to sound like Frank Sinatra. You're not going to have that cachet no more. I think it's going to go from Frank Sinatra to Eddie Kendrick from the temptations

man that's fucked up now what you said uh pete was texting shit i was like man we're a pot about it what was you asking me about oh we were talking about beats per minute and how that kind of bluesy sort of like downtrodden, darker, angrier sort of sound out of, you know, Atlanta and Memphis. It has a lower beats per minute than songs that do well in L.A. And I was wondering if you thought that some of the fact that so much of L.A.'s culture is New Orleans transplants. There was a significant, you know, jazz footprint in L footprint in la for a long time if there's a relationship in beats per minute and musical culture that pulls from new orleans that found a foothold in la rather than necessarily just straight down home you know old southern town

type of shit like the rest of the south yeah so it's hella tricky right because like the west is in a unique position because it's the last place to be developed around the country right people came to the east first south and east first the midwest got developed south obviously was there the west kind of adopted his own personality musically right which is funk right we adopted that in hip-hop that's our personality right but if you think about it like in correlation to human beings we're gonna have more pop music than anything it's why rhythmic stations are so big on the west coast it's kind of like the middle ground between urban and pop rhythmic and um we got a ton of rhythmic stations on the West, you know what I mean? But the South kind of has their thing with blues, right? And that's where you get trap, you know, the feel of trap.

So it's all of this, like you said, that down-trotting, that down-home-trotting type of blues that they make in the trap. And more than anything, it's important because the sonics, you know, the sounds are getting richer. They're getting darker. So like the 808 is hitting a lot harder. Frequencies is a lot lower than ever before. You know, I mean, and I think that's where the West is kind of coming up short. Like our sounds was always in the middle. I mean, we had a when it was the base, we was doing fine.

But as it going to that 808 and they get deeper and darker and darker, the South is having its way with the game. But connecting it to New Orleans. Right. Well, Mardi Gras jazz is a bit funky. So if you listen to like a lot of the hip hop shit, the sausage, the sausage, the way they be doing a thing, it's kind of, that Mardi Gras jazz has a funky feel to it. So that's why the connection is there. You know, they jazz is a lot more festive than just

regular traditional jazz. Even when they bury somebody when they have a funeral and they have that procession and they walking and they jamming and shit, carrying the casket and shit. Looks like good time yeah for real you know i mean so i think our connection is there mardi gras jazz is really festive and funk music is festive so we connect at that point um sure but the bpms on like like what was the cash money bpms or like that what was what's the name of that

style that all that came out of yeah yeah probably somewhere between their real shit is probably right about 87 80 somewhere between 87 to 90 i would have to ask head but right off the top of my head they average is gonna be somewhere between 87 and 90 because Because they ain't going to have nothing too much slower than 80. But they will have a lot of shit at 100, 100 BPM, 98 BPM. A lot of that Cash Money Doze records, like Back That Ass Up is a fast song. Yeah, yeah.

You know what I mean? A lot of that shit is faster. But, you know, New Orleans always had to cheat code to me because they could kind of go down home trotting like a regular south or they could make like this festive thing and that's why you look at a lot of those cash money records that was hella successful like back that ass up like you know i mean them shit's high as 90 bpm if i remember correctly

you know i mean they they shit is jamming like that it's all a jam but like when we was in atlanta right and we go see zay tovin and shit really what i was looking for for zay was just the bottom i feel like the west is struggling musically because right there's a few things but definitely our music don't have as much bottom as the rest of the country. Like it's it gets darker the rest of the country, you know, everywhere you go. And ours would be, you know, hella pop. Everything is kind of in the middle or top. But they working for it. But I definitely think we got to kind of implement more of what's going on down south as far as the sound itself, not the rhythm. Like we got to keep our rhythm. We got to stay faster because our life ain't as slow as damn self.

Our life is faster. Not the style, just the phonics, so to speak. You know what I'm talking about, Deuce? Yeah. Man, you know what? I don't... Man, you can only listen to what I feel like listening to. Sure, sure.

But I don't think we're having a conversation of preference, right? I think what we're talking about is just, because I was explaining to Pete, one of my ideas going down south was to get that deepness of those sounds. Like, them niggas' sounds is dark as fuck. Like, you hear they 808s? They 808s is way darker than ours now. Right. Like, in a car, West Coast beats could hit

on an 8. You need a 15 for an ATL beat. There you go. Great point. Right. I think we've missed some of that bottom. That's why I said, but I don't think we can slow the music down and make trap. That's the problem. We can't. It don't fit our life.

I was explaining more bass lines. Yeah, and that's another problem. I can't. I mean, and it don't fit our life. And I was more baselines. Yeah. And that's another problem. Like, I think we had this conversation about I had this conversation with, you know, with the army about Drake. Like when Drake music started, like his tone matches the baseline. So a lot of music started losing the baseline when Drake kind of came about. You listen to Drake music. You don't really have a ton of bass lines because his octave is the bass line, but it's also weird because to me, he don't have enough soul

to mask not having a bass line. You know what I mean? Like the shit he on, the real texture of his tone, but he is close. So 40 years producer being the sonic genius he is they just got rid of the baseline and start using the 808 because if his is where the where the baseline is

his tone where the baseline is you ever notice he oh he loves right here where the base is at so they fill in the whole bottom right and then they fill in everything on top so it's always going to be a there's a lot of 808s kicks shit like that but it ain't never a baseline because they feel like it'll clash and you know who work like that to me too quick like if you notice quick a lot of the voices quick produce are higher because quick depended on the baseline a lot so think of amg sugar free dj quick himself second to none they always have which is probably the greatest challenge would have been mossberg because that would have been the lowest

thing he had to deal with as far as tones high c voices above the bass line so producing a song full is different i mean when you actually produce a full full song, it's a it's a spectrum frequency. And I know we can have a technical cause, but it really matters. So, y'all, this is Questlove, and I'm here to tell you about a new podcast I've been working on with the Story Pirates and John Glickman called Historical Records. It's a family friendly podcast. Yeah, you heard that right. A podcast for all ages. One you can listen to and enjoy with your kids starting on September 27th. I'm going to toss it over to the host of Historical Records, Nimany, to tell you all about it. Make sure you check it out.

Hey, y'all. Nimany here. I'm the host of a brand-new history podcast for kids and families called Historical Records. Historical Records brings history to life through hip-hop. Each episode is about a different inspiring figure from history, like this one about Claudette Colvin, a 15-year-old girl in Alabama who refused to give up her seat on the city bus nine whole months before Rosa Parks did the same thing. Check it.

And it began with me. Did you know, did you know? I wouldn't give up my seat. Nine months before Rosa, it was Claudette Colvin. Get the kids in your life excited about history by tuning in to Historical Records. Because in order to make history, you have to make some noise. Listen to Historical Records on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. It's like we was up in the bay and I was listening to a lot of the hyphy records right and i was

thinking about it we was talking about it then i would compare it to like rick rock and i'm like it's not full this this the frequency rainbow is not all the colors it's really only really at the top or at the bottom and it's a lot of mid that's missing but then right if you go listen to rick rock uh like uh yay area or a lot of his shit it's gonna have all the mids around even the vocals so it ain't just 808 and melody it's still a mid that's going with the melody and and as much as people don't believe that the average everyday person can hear that they can feel it are there examples off the top of your head of like like say nate dog being on tracks that had really robust bass lines where you did get that collision a little bit or his song's the void of it. That's why they didn't really do it like that.

I mean, if you listen to the song Nate did with a shout out to my boy from V8 because it's slipping my mind. I'm getting old. What's the nigga name? I be fucking with him all the time. He produced from Virginia. So Big Did, I Got Love.

You know what I'm saying? Niggas don't really know that. Big Did, I Got Love. You know what I'm saying? Niggas don't really know that. Bing did I Got Love. Bing did the song with Nate and Corrupt. Paws. Girls All Paws. Girls All Paws and the other one. Oh, that might be Fred.

Girls All Paws. He did do Girls All Paws. All the ones that didn't sound like super G-funky, I would imagine. Yeah, but they were funky in their own regards. Sure, sure, sure. You could tell they were from out of town. Honestly, I take that back. I got Love Is Sold. That's Donny Hathaway.

I just mean in the sense that that's Donny Hathaway. Yeah, they still sound super L.A. Yeah. He did Girls All Paws for Corrupt. He did a lot of the sounds that song Streets is a Mother, Deuce. Oh, yeah, yeah, right. He hard.

But I think, yeah, you're right. Like, there isn't a ton of funky shit with nate like that it's usually like things that kind of bleed in the funk like like that donny hathaway sample that they use for i got love where they take the soul but it had a bass and they kind of made it funky a little bit but it's not really funky um warren g regulate which is I Keep Forgetting, which is that blue-eyed soul that's kind of more jazzed than soul. I Keep Forgetting. How does the beat go?

Kenny, what's his name, right? Who? Who the original he did that song? Michael McDonald. Oh, Michael McDonald. That's right. I get him confused. Michael McDonald from the Doobie brothers so yeah like um it just gets into the space where and that's a great point like if you think of the biggest records with nate they're not really that funky yeah you know i mean like, like, think about it, right? Like.

Donnie. Nobody does it better. Little Ghetto Boys, Donnie Hathaway. Yeah, the only one that's a 40 record was kind of funky. That's true. Yeah. And the Battle Cat. Nah, nah, nah, nah, nah.

And Battle Cat, he is funky as hell. But Battle Cat got an R&B style. So he'll have those melodies going with the bass to where even if you lose the frequency listening to him, kind of layer that motherfucking bass line with other keys and shit so you never lose it. And Nate was on kind of a higher octave on that song. He did. Mommy's in, baby. I'm so elated.

Yeah, he was. Mommy's in made it. I'm so elated. My homies faded. You know. Nah, nah, nah, nah, nah. Yeah, yeah. What's funny is one of the biggest Nate Dawes songs that come to mind too is that Toto song. This is where I want to be.

Oh, yeah, yeah, yeah. Riding with my loved ones. That's a Toto song from here. What the fuck happened to him? Shay's still around. Shay's still around. I haven't talked to him.

Were there some of those issues on the two-part album that Nate did? What was the song, Nobody Does It Better? Those songs kind of had that... I don't remember. I'm telling my head. It was old. What's funny is when you think about the way Dre used

Nate versus the way Warren used Nate, they use them completely different. What's the biggest Nate Dogg Dr. Dre song? Ain't no fun right probably and that's not even really yep yep that's probably the biggest one yeah but he used him real sparingly and that's because nate wasn't really a funky singer i never tripped off that nate wasn't really a funky singer. It was like more church boy.

Yeah, so like Donny Hathaway. That's to me who everything about him gave off. Like even the seriousness of his face all the time. That nigga never smiled in no video. No. Donny Hathaway was so dope, bro. They say Donny Hathaway

was so concerned with the world, that nigga killed himself. He just couldn't live no more. That nigga jumped out a building or something. Yeah. And Nate was serious like that. I remember the time Nate came to the studio, cuz, and he was the first legend that came to work with me. And he came

to the studio, and we did a song. J.R. Rodham did the music. I need to talk to J.R. to try to get that song. But it was called Can't Be Faded Part 2. And he was just talking to me. Cuz.R. Rodham did the music. I need to talk to J.R. to try to get that song. But it was called Can't Be Faded Part Two. He was just talking to me. Cuz never smiled. He was hella helpful, bro, but he was like, that nigga never smiled, cuz.

It was like, yeah, G, I got you, brother. He's talking to me. He's like, yeah, we was chopping it up about some shit. Yeah, you know, but I was like, this nigga just left. Got in the limo and left. I was like, this nigga just left. Got in the limo and left. I was like, huh. But it

worked because it lived up to all expectations of Nate Dogg. You know what I'm saying? Nate Dogg, cuz, was serious. That nigga was all business. All business. I'm out there asking him if the cuz ever smiled.

Did that nigga ever smile. Warn him. Did that nigga ever smile? He had to laugh, nigga. When? When they was chilling. That nigga never smiled. I think I seen that nigga on one of them documentaries bagging on a nigga or something.

But he was even serious then. It was funny. He had to smile. He was serious, girl. There's a little clip with him singing Brown Skin, right? Shout out to Joseph Lineburn. Joseph did that beat, right?

That was a 213 shit. A 213 album? No, I guess it made it there, but I don't remember hearing the song out. I only heard it on YouTube. I don't know what body of work it came out on. He was singing Brown Skin. It was Warren cuz. It was in there. Brown Skin. It's on YouTube. It's probably the top 20 favorite YouTube video. He was talking shit about niggas. Don't be stealing

my riffs. Don't steal. He was serious. I'm like, he was serious. I'm like, this nigga cuz never smile. I wonder why he's cuz so trouble. Maybe because he was upset that he just couldn't find the right matching beats with a bass line. Just threw him into a permanent funk for years. It's like this shit ain't right. But I be thinking about all this shit.

So it's like there's a real connection. Like the West adopted funk. That became our identity. But to me, the music that we really made ourselves, I mean, it's more of sunshine pop. That was like in the 60s and the 70s. But that music didn't age well. Right. So it is funny because Tootie Booty is derived from a sunshine pop song, a band that's out of Orange County. Right. The South held on the blues. That's where you get that trappy darkness from. I mean, from the blues riffs. that's how they make their music and then

you can take a group like outcast who kind of made this blues funk like like nigga mc8 could rap over all old outcast instrumentals and that shit would hit because that's how eight does his thing right same thing the midwest adopted r&b so if you listen to all the rappers, right, you go back to Do or Die, Boom, Twista. It's a melody to that shit. Tech N9ne, Nelly. Notice they all sing because that's because something about the Midwest and R&B just locked in. Maybe it's Motown, but all them niggas be singing. Even Kanye be singing.

Them niggas all figure out a way to sing on a song. Even Eminem. You know what I mean? Them nigga be singing and shit. be singing. Them niggas all figure out a way to sing on a song. Even Eminem. You know what I mean? Them niggas be singing and shit. You know what I mean? And that's just the musical identity that the Midwest built off of, R&B. And the East, obviously, is jazz. They celebrate jazz the most.

You can't tell them niggas nothing about Premier. They don't celebrate Eric Sherman the same way they celebrate premiere or pete rock eric sherman has shit and i know eric sherman shit mattered on the west so i know it mattered out there um but they don't really celebrate they funky producers or even they r&b producers to me like the tony polk or the puffs and all of them they really hang they had on the sophistication of the jazz bass sample right which is premier P rock and all that other jazz shit q-tip I mean that's how they feel they sound is so we all picked up different parts of music and different parts of the

country like funk right the West is with the funk, South is with the blues, Midwest is with the R&B, and East Coast is with the jazz. So I think where the South is really reigning supreme is because they got like these frequencies lower and lower and lower than everybody else. And I mean, when you start talking to Zaytoven, than everybody else and i mean when you start talking to zay tovin you start talking to mike will you start talking to dj toon and them they're telling you that they going through a lot of shit to get there like they not it ain't just out that motherfucking fruity loops nigga like there's some shit that they doing down there like he was telling us to get to that space to find

that lowest frequency and i think hip-hop is in such a weird space right rest in peace to nate but hip-hop is in such a weird space that the ghettos have to combine to really impact the country again like even if you take like look at what's going on with a memphis producer and sexy red a saint louis artist you know i mean like take keith it worked out there so i think you know i think we got our ghettos have to combine and i don't just mean the motherfucking rappers i mean the musical elements of it the musical elements and and it's required because people hip-hop has kind of ran his last leg as being this separate entity and the world's like whatever you know i mean they they get they get it so fast now and i think we're at a space to where we got to combine ghetto powers

like we got to go down there and fuck with the southern producers but that don't mean we need to go down there and try to get them to make trap records. I think them niggas can all produce for the most part. I hit the B King in Texas. B King from Texas. I'm like, man, he like, I ain't never set my metronome that high. I'm like, set that

motherfucker that high, cuz. Let's do something. That's why I'm pushing a lot of niggas too. Set your metronome to 95, cuz, and give me what you got let's see what you got i hit fables i didn't realize fable produced uh uh spaceships on back here geeked up whatever i forgot the proper name of the song i'm like hey give me one i need one of these yeah i'm hitting toon toon give me the fast shit i've been hitting p rock probably for like a while just to get him i've been trying to

eric sermon know i'm on here like i feel like we got to combine the ghetto sonically to really impact mainstream america again because i don't think it could be separate and the music does it anymore i think it got to be like a visual thing at this point if it's just like saint louis right if it's you see sexy red that shit right? If you see Sexy Red, that shit is just like an anomaly. Or you see certain niggas, that's an anomaly in how they look, right? Niggas got all these shit going on. But I think for the music to be as impactful again, it's required that the ghettos combine sonics, like the Atlanta ghetto and the Los Angeles ghetto combine the sonics and really put it together

so the world could have something that it's never had. Sure, yeah. That only makes sense. A lot of it also is there was a sequence of new cities and regions coming out with new sounds, so it was new. Well, the whole

obviously globe got covered or the US map anyway. There's nowhere else to go. So yeah, you got to innovate in a combination kind of fashion. That's the way technologies

even outside of music tend to usually work. And I think this is the advantage we have over our predecessors from a different time. It's like we about to make the colossal burger of hip-hop. Everybody else has been making pastrami sandwiches, hamburgers, grilled cheese

and shit. I think it's been a lot of impossible burgers the last few years. It is. For real. It's a new comparison. Bullshit. But the shit that is happening is dope it is some hamburger still like the south make me good burgers but I feel like the west make pastrami

this time we make colossal burgers man we gotta put the word on colossal burgers they ain't had this before yeah LA almost kind of like what the um the carne asada burger or whatever it is is that a real burger? I've seen.

That might be. Yeah, I've seen some stuff. Yeah, there's some stuff. You ever had a carne asada burger, dude? Wait, what? I know. I'm trying to think. There's a burger that I've seen. You're not meaning like, you're talking about like tortas? No, colasso.

No, a carne asada burger. No, you know, like a burger with carne asada added to it? That might be crazy. You know they got a burrito in L.A. where it's carne asada and pastrami. Carne asada and pastrami? Yep. I never had that. This is what we have to do.

It's chili cheese, pastrami, and carne asada. Theyi yep so i never had that this is what we have to do it's chili cheese pastrami and corny asada they call it something too it's it got a name to it i don't know because i never had it but i know my dad and my brother had one of the motherfuckers what they said about it i'm up about 20 they said it's fire though nice but i ain't never nigga corny asada with chili cheese and pastrami that's just crazy nigga that's what i'm gonna do this for i sound like a heart attack i can't even i don't think of nothing i can't find a logical reason to eat that shit and i think that's what i think the west was serving straight up and i just think it it's time. Like I said, we still, as all of the ghettos,

the hip hop is the ghetto. Right. So I think the idea is like, okay, we can't do this alone anymore at a major level. Like, right. Everybody like,

man, we ain't tripping. If it's just that, like, yeah, we'll take it. Like nobody, like,

obviously let's say the West coast is, is just that, you know what I mean? They'll take it, but it won't have the same impact because people spoiled by it. Remember, like, when chili cheese fries went to that space where everybody had it too much, and then they threw them pastrami on there and it changed the game, and it kicked back in here. Chili cheese, pastrami, them chili cheese fries with pastrami meat. You ain't had that yet, though?

You had that, Pete? Yeah, over on... What's that spot? Pete and Real Motherfuckers in the Tams? Like Crenshaw and Imperials got a spot over there? Oh, he's over there on the other side. What's that?

You know what he talking about. They be always talking about that shit. Crenshaw and Imperial? It's like just north. It's between Crenshaw. Or it's between Imperial and Central. That place been there forever. That burger stand.

Oh, yeah, yeah, yeah. It's on Crenshaw. Yeah. I can't think of the name. It's on Crenshaw. But yeah, I think that's just where we at with it, dog. I think we at that space now. That's probably true.

Yeah. This is one spot I'll be fucking with. They grill it, then chop it up. That's how I did my pastrami all the time. I had them grill it and chop it up. It's small pieces, but it's all over. That would be better. That would be better. That's kind of like that top shit that they got in New York.

Oh, the chopped cheese. Chopped cheese. Yeah. Chopped up hamburger. Chopped up pastrami up, nigga. That shit. After they grilled it. Oh, yeah, that shit.

Because if you run out of pastrami, bro, you don't want this shit. I don't want it no more. Broly Hut, cuz. Broly Hut. Yeah, that's right. Broly Hut. Yeah, that's right. Broly Hut. That's right. That's like Inglewood.

Yeah. Yeah, that's Inglewood. Yeah. Yeah. What's up, y'all? This is Questlove, and I'm here to tell you about a new podcast I've been working on with the Story Pirates and John Glickman called Historical Records. It's a family-friendly podcast.

Yeah, you heard that right. A podcast for all ages. One you can listen to and enjoy with your kids starting on September 27th. I'm going to toss it over to the host of Historical Records, Nimany, to tell you all about it. Make sure you check it out. Hey, y'all. Nimany here. I'm the host of a brand new history podcast for kids and families called Historical Records. Historical Records brings history to life through hip hop. Each episode is about a different inspiring figure from history. Like this one about Claudette Colvin, a 15-year-old girl in Alabama who refused to give up her seat on the city bus nine whole months before Rosa Parks did the same thing. Check it. I wouldn't give up my seat. Nine months before Rosa, it was called a moment. Get the kids in your life excited about history by tuning in to Historical Records.

Because in order to make history, you have to make some noise. Listen to Historical Records on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. But for sure, you know what I mean? And that kicked in another gear. And I think that's just where we at in hip hop. You know what I mean? Where it's like, everybody's like,

yeah, we ain't tripping off that. You know, white folks, regular mainstream American white folks, like, yeah, we heard it all. We saw Snoop before. You know, they not tripping off a nigga just being a crip no more. They like, yeah, we know some cool crips.

We're not impressed. Right, right. I mean, they like, yeah, we know some cool crips. We're not impressed. Right, right. I mean, they like, we need to see some shit come together. They need to, they need to crip in a trap to come together. That's probably true. They need the culture. They need the drill. You know what's funny? I was hitting, uh... They gonna need you to reenact the

burn, my nigga. Ain't nobody seen that. Really go cook some. Boy, them niggas, boy, they wouldn't even know what to do. It gotta be a way for us to fabricate it. Listen, what's crazy is I was on Chop from Chicago, the nigga that one of the main architects of Drill. Oh, Young Chop? Yeah, I used to DM all the time. Like, man, set that metronome up to 96

Nigga, see what you get You know what I mean? Just cook with them sounds that you be cooking Nigga, I got you What'd he say, no? He was interested He was like, man, I don't know what it's gonna sound like I'm like, just do it

Where they shit at, like 80-something? Hell no, they shit like 60, 59, 63 Hell, for real? Yeah, all that don't like and all that shit That shit snow 60, 59, 63. For real? Don't like and all that shit? That shit snow. I've been looking at a lot of the shit that they got going on in all these places and I really feel like that's the key.

Bringing the ghettos together, dog. 66. Don't like it 66. 132. 132. I was just going to say, so it was more like a 132. Yeah. So that's just too far out the round for the West.

So I think this is the natural progression, you know what I mean? Bringing the ghettos together, keeping our rhythm, but getting a sounds and then adding to it. And that's, what's dope about having EP around. I mean, like that nigga can really,

like, I think about, like I told you when I was texting you this morning, like, like we got a sauce that nobody got right now. And that's because you could take him in a trio click or him and my nigga Kano or blah blah blah and he could do some things and you'll have some that like this is la don't sound like nothing

that's actually been out there yeah it's like we they give us a candy painted caprice and we go cut that yeah exactly we take them big ass wheels off. Yeah, we're going to cut this. Put some chains on that motherfucker, put some hydraulics. That motherfucker probably that move. With that big ass dumb motor. That big ass dumb motor. They put them 540s up in the motherfuckers with them. Yeah, we're going to take the wheels off. Put some chains on this motherfucker, put some hydraulics in the truck.

They got to be able to see theyself in it. Yeah, exactly. That's what I'm saying. It's worked in the other direction. I mean like PZ did a song over obviously like Regulate, I'm Good 3 and then Let Me Ride.

He did both those beats on that Detroit kind of sound. So there was successful like transferability of styles there to be able to do it the other direction. Peezy is a Detroit rapper. He tight. I got to get my shit together, man. I don't listen to you.

You ain't. Niggas got to work harder. Even adult niggas. Even a nigga like Peezy got to work harder. The reason you don't know who he is is because it ain't happened. The sound ain't together yet. It's there. If you hear it, you're like, okay, I see why niggas fuck with him but you are an example yeah why it ain't necessarily where it should be like if you hear it you'll be like okay i see you need to be tightened up in these

places i'm bad with that bro i don't i see new niggas i already click on it yeah but if it's a dope nigga you gonna know like travis scott you ain't gonna be like who is that like you know i mean you might not know a lot of his songs but you gonna know i can't really name none of his songs but if something come on i might know it yeah yeah i don't think i ever really played a travis scott song though bro oh no but i don't think that yeah i don't think you're supposed to but i'm saying if you heard a travis scott song you wouldn't turn it off oh Oh, you mean basically I would respect where he at? I get what it is. It ain't for me, but I get why it is.

It's them niggas who shit be finished. Uzi don't got a lot of finished shit. That's why you ain't gonna know it. He got some shit though. You'll hear you like, oh, I get it, but it ain't all finished. Travis shit be finished.

J. Cole, right? You know J't all finished. Travis shit be finished. Everything you... J. Cole, right? You know who J. Cole is. That nigga shit finished. I mean, you don't hear... All the niggas who kind of be trying to MC and shit, I know who they are. And more than just MC, but literally just be... They shit be right. Even if they... Like Future, nigga, you

gonna know some Future shit. He don't be trying to MC, per se, but as a songwriter, the nigga is dope enough to where you gonna hear it and you gonna be like, oh, you won't know some future shit. He don't be trying to MC per se. But as a songwriter, the nigga is dope enough to where you're going to hear it. You're like, I get why niggas fuck with him. Even if you don't like that nigga is still a product of of of all that outcast shit. And that nigga is still a musician in there as a record maker. Even if you don't necessarily partake in his MC ability. How old is Future?

Future got to be 40, 41 now. Okay. I know I heard some niggas rap over some beats. And I was like, I mean, I didn't know. I thought it was they song till I heard Future. Till I heard it by Future. And I'm like, nigga, that's Future's song? Like, damn.

And I don't be knowing, bro. Yeah. Future's shit. I I don't be knowing, bro. Yeah. Future's shit. But I know Future got some shit, though. As a songwriter, Future is. And I know why they fuck with Future. Yeah, that's what I'm saying. Certain niggas you don't hear, even if you not.

Like, I don't really listen to Future like that. But I'll hear certain songs, and I'll be like, oh, I get it. This shit crazy. Like, if you listen to that beat with that flute and that 808, you're like fucking shit. You ain't fucking with the MC conversation and all of that. I think that's

the song Mozzy did it over. Yeah. And it was Future Song. And when I heard Future Version, I was like, oh shit. Yeah, this is the... The flute and that 80 that together. That shit just go crazy. But again, it go back to that finishing shit

on that sonic spectrum, on that frequency spectrum. Niggas having everything, and that's kind of what happened. So, Pete, was them niggas that was doing the beats by the pound, was they all New Orleans niggas? I know KL is a New Orleans nigga. know KL is a New Orleans nigga.

KLC is a New Orleans nigga. I think they were. I think they were. I know KLC is a New Orleans nigga for sure. And the Dungeon Family is all ATL? All Georgia niggas, yep. But I think we just moved past that space.

I think hip-hop has been around for 40 years now you know what I mean so much music coming out that it'd be hard to like what do we go take from you know what I mean I don't think it's even about taking from it no more I think at this point it's really just

you gotta find the niggas that's the bright spots and all of those reasons as producers and really get with them because i think or you find some niggas who talented they got some gifts but they can't finish because you got to finish like we got mariano rivera at this point we got a nigga feel me that even if he don't pitch like ep could pitch nine innings right you heard castle he's nuts like as a a producer, Irvin Pope can produce. But think about how much more legendary he going to be as Mariano Rivera.

Well, he only got to pitch three. Like listen to what he did with This Is L.A. with the trio click. You put me in the pitch the last three innings, it's going to be a shutout. But I feel what you said because that's kind of how our bad boy in them did it. Dre in them was winning, and then they just came with a feel of us, but put their little twists on me.

If you think about it, everybody talk about when Dre had different niggas working on ideas for his shit, it might have been Daz probably on the loop or Warren on the loop, and then Dre come in and finish that motherfucker and throw the last three innings. Right. That's kind of what it is.

It would be cool to take some shit that feel like they shit but make it our shit. Well, that's the point, right? I think once you set the metronome up, once you get that motherfucker to 95 BPM, you ain't going to know what it feel like. It's going to have our rhythm and with ep playing on it you ain't go it's gonna be like something you ain't never heard i really believe that right it's gonna be like what the is that yeah okay yeah i get it you just can't rap at they bpm like that that's not cool. Yeah. We can't flow like them. Cause then that's what,

that's where it fucks us up. I can't stand hearing niggas from New York or California rapping like Chicago or Detroit or whatever. Like, I want to hear niggas sound like they own shit. It's like a fat girl that we're a little girl. Close. Yeah.

Yeah. Like a fat girl. That's wearing like, like like a fat girl that's wearing like like halter tops like baby that ain't yeah yeah just stomach everywhere yeah you don't gotta do that you just can kind of get in your own shit yeah i mean like you don't you don't gotta bite them little hoes shit go get some fly big girl shit that you putting together it's like when you see girls that be like too skinny that be wearing shit that be for thick girls like Maybe that is not... You do not got the ways for that. Yeah. Skinny girls twerking, or if you

got to jump 10 times to get in the jeans, they're the wrong jeans. They don't fit. Well, if you got ass... I don't know. If you got ass, you might... You don't have to jump to get in the jeans. If you got... Yeah, yeah. You got front eyes. But calves... At what point are the jeans so tight that you... jeans. If you got front eyes, at one point,

are the jeans so tight that you just smush everything you can't tell anymore? Well, that's when they look fucked up in the jeans too. It look fucked up when they stuff and shit. That's when all the foopas and shit start coming out.

You know, hey. Gee, didn't like back in the day, like Dame Dash used to go get beats. And there's a lot of controversy of how he got some of these beats for Jay-Z. But would get beats for Jay. Was there another person? Like if Dame got beat A, was there another person that they would have that would tune them up for Rockefeller? Or was he just getting him and james jumping on them well they the thing about rockefeller that was really smart is they didn't really gamble at first like even when they was

making reasonable doubt like you could hear the blueprint you could hear the illmatic blueprint right but they went to the guys that fucked with them. And then I was having this conversation with somebody the other day, and they were saying they felt Jay was being commercial by his first two albums. I'm like, no, Jay is just a better songwriter than Nas, like a record writer. Not like, do you like him as an MC better, but like just writing records.

That nigga Jay is nice. That nigga's sharp. He understands hooks a lot more, bridges a lot more, transitions a lot more. Now, if it's straight MC MCing and kind of painting a picture, then your preference could be your preference. But just as a sheer songwriter... Reasonable Doubt was better.

Better than Illmatic. Who? Reasonable Doubt was better than Illmatic. Yeah, but it had Illmatic as the blueprint. Okay. You know what I'm saying? So I would agree. I prefer Reasonable Doubt over Illmatic, but it had Illmatic as the blueprint. Okay. You know what I'm saying? So I would agree. I prefer Reasonable Doubt over Illmatic, but I can understand why every other nigga who fuck with him would never say that and it'd be blasphemous. But to your point, nah, Pete, they usually went to the best niggas.

Okay. You don't need a finisher if Pharrell is doing it. You remember the second album? True. The first album, they had dope niggas, right? The second album, they start going to Puff and Trackmasters. They start going to the niggas

making records. And the third one, they went top producers. That's the one thing Jay always had correct. He went to the niggas. He did not play. He ain't didn't. And there's not enough respect on producers, but that nigga did not play, man. He went to the guysiggas he did not play he didn't and it's not enough respect on producers because but that nigga did not play man he went to the guys think about it historically is there some sort of

i said my memory is so shoddy like i thought there was some sort of a backstory on like uh like the hard knock life beat or something like that like who put that together how did that come together you know all that was that? No, that's 45 King. 45 King was the same nigga that did Stan, too. Okay. And they say that the word is, I'm not sure if this is true, but they said King Capri was just playing it. And he was like, who shit is that? He's like, ain't nobody shit, nigga. This is 45 King made this.

And he was playing instrumental. And that's how Jay got the instrumental. You know what I mean? But that dude passed away. But his contributions is one of the ones that's how Jay got the instrumental. You know what I mean? But that dude passed away, but his contributions is one of the ones that's special. But think about it. When Jay first started, there was no Rockefeller sound.

You know what I mean? Like the Rockefeller sound didn't happen to Blueprint. That's when you start getting the Rockefeller sound. So they kind of rode the wave. Forgive me for using that term they kind of rode the wave. Forgive me for using that term, but they rode the wave of successful producers for two, three, four albums. I mean, they did not deviate. They had a quality product. When you hear Reasonable Doubt, Volume 1, all the way to Volume 2.

Even when they went to Volume 3 and they got Rick Rock to do, excuse me, Rock A Lot Familiar. Right. But they got rick rock to do excuse me uh rock a lot familiar right but they got the blueprint that's when they start using their in-house the guys that became the sound that we look at rockefeller which is just blaze and kanye west which kind of was stimulated by bink in the first place i mean so that's where that Rockefeller sound, you know, you talk about 2001 before that. Jay was just pretty much working with the niggas who already had the right mentality about making music. And they Sonics was familiar to the world. Gotcha. Gotcha. Oh, yeah. Wow. Yeah, there's a bit that goes into the all of this man

Jay Lee always had some cool shit I really wasn't I didn't like all his beats but that nigga always had some quality shit

yeah Jay Jay wasn't gonna never play with the production like other niggas like he didn't play like that nigga came right in with the work and that niggas. He didn't play. That nigga came right in with the work and that was it.

First album. Did RZA ever produce for any of them type of niggas? Huh? Did RZA ever do anything for them? For other motherfuckers outside of any big notable songs outside of Wu-Tang? It probably would have been so late.

I'm sure he did some, but it would have been so late. I mean, think about it. He was producing eight or nine artists. No, no, I understand, but I'm just saying it so No, no, I know what you're saying. If this shit happened with them, you would think that somebody would reach out and be like, nigga, I need a RZA beat, even though all his

bits weren't all that, but he had some shit though. When you go back to his thing, you'd be like, damn, this nigga RZA. The rapping part maybe was that, but he had some shit though. When you go back to his thing, you'll be like, damn, this nigga real important. The rapping part maybe was crazy, but it does shit. I'm looking at volume one, right? This is the second J album. I can't

fucking believe it. The second J album I'm looking at volume one is Premier, Teddy Riley, Puff, Prestige, Ski, who was all over the first one, Premier, Stevie J, Prestige, Ski, who was all over the first one, Premier, Stevie J, Prestige, Trackmasters, Tony Prok, Ski,

yeah, yeah. Jazz, yeah. Puff shit. Puff shit. You know what I mean? That nigga never played. He was using his niggas that was winning. All his producers had shit that was winning he was like he had a real retailer mentality he knew

a dealer's only as good as his plug good looking out for tuning in to the no sellers podcast please do us a favor and subscribe rate comment and share this episode was recorded right here on the west coast of the USA and produced by my homeboy, A. King for the Black Effect Podcast Network and iHeartRadio. Yeah.