Sept. 16, 2026
Best Notorious B.I.G. Songs: From Juicy to Hypnotize | Top 5
Our Dream Collaborator for Biggie, Rock With It or Stop With It, and our Top 5 Biggie songs
We're ranking Biggie's catalog — but first, our Dream Collaborator: Nas, and the "Gimme the Loot" remix verse that almost happened. Nas was booked for the session and it fell apart for the most Nas reason imaginable — as he told The Breakfast Club in 2020, "I got too high." It's the closest thing hip-hop had to a heavyweight unification match that never got made.
From there it's Rock With It or Stop With It, testing whether "Miss U" and "Going Back to Cali" still hold up. Then we get into our Top 5 Biggie songs, with tracks like Hypnotize, Warning, Juicy, Mo Money Mo Problems, Who Shot Ya, I Got a Story to Tell, and Victory all in the conversation as we build our individual lists and defend every pick.
Listen and watch: https://www.youtube.com/@50_For_50
Apple Podcasts: https://podcasts.apple.com/us/podcast/50-for-50-life-music-friendship/id1857746432
Spotify: https://open.spotify.com/show/0ADmN7bp4fXQzAZsnSuFQj
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[SPEAKER_01]: we are back with the top five on the notorious b-i-g. You know, one thing I forgot in our 50 or 50 or 50 episode is collaborations, dream collaboration.
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[SPEAKER_01]: So this is someone that he didn't work with who could have been a cool person to work with in your mind.
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[SPEAKER_00]: Oh, man.
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[SPEAKER_00]: That's a really good question.
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[SPEAKER_01]: I mean, there's one that stands out and it almost happened, but didn't necessarily happen was a noz.
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[SPEAKER_00]: Yeah, I mean, noz is kind of the one person I thought about, but I'm like, he, I mean, for such a short period of time, he collaborated with a lot of artists.
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[SPEAKER_01]: I guess noz was supposed to be on, give me the loop.
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[SPEAKER_01]: Oh, really, and so here's here's the story.
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[SPEAKER_01]: I don't actually have the reference of where this story came from, but supposedly not said that he got too high was in the studio, and big gave him some chocolate and didn't warn him, oh, this is from the breakfast club in 2020.
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[SPEAKER_00]: Okay.
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[SPEAKER_01]: And so Naz got two messed up and then they asked him why he didn't just come back the next day and he says he was still messed up.
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[SPEAKER_00]: Wow, okay.
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[SPEAKER_01]: The other one I thought about while you're thinking the other one I thought about was
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[SPEAKER_01]: LL, but then they kind of did work together, but I don't know that they actually work together together.
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[SPEAKER_01]: But if they did, it's like, it would have been interesting to hear them just the two of them on a collaboration where they're both in studio together.
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[SPEAKER_00]: Yeah, I mean, I, you know, I'm thinking, and I'm like a biggie, big daddy cane record would have been great.
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[SPEAKER_00]: Mm-hmm.
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[SPEAKER_01]: Um, just, you know, there was the cute tip one as the producer we mentioned that got did did it.
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[SPEAKER_01]: Right.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: You know, I mean, I don't necessarily know that there's styles and meshed, but like a biggie tribe record.
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[SPEAKER_00]: A biggie fight record would have been pretty dope.
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[SPEAKER_00]: Um, you know, a biggie, you know, Mariah collaborate with everybody else, you know, maybe she should have had a biggie.
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[SPEAKER_00]: And I think honey was supposed to have biggie on it.
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[SPEAKER_00]: Oh, really.
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[SPEAKER_00]: Yeah.
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[SPEAKER_01]: If I remember that story correctly, instead of the locks, or because there was like two different versions of.
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[SPEAKER_00]: Yeah, instead of the locks.
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[SPEAKER_00]: Yeah.
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[SPEAKER_01]: Um, and yeah, I mean, Biggie, I mean, he worked with the Michael Jackson of all people.
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[SPEAKER_01]: Yeah, I guess.
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[SPEAKER_01]: Yeah, what was that verse recorded specifically for that song or was that verse just grabbed?
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[SPEAKER_00]: No, it was recorded.
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[SPEAKER_00]: Michael allegedly requested that Biggie be on the song.
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[SPEAKER_00]: And that's, you know, like there's even there's video from like the MTV Awards.
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[SPEAKER_00]: I think in 95, we're like Michael and Janet went in the warden Biggie presents it.
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[SPEAKER_00]: And, you know, Mike
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[SPEAKER_00]: You know, he again, for like a short period of time, like the amount of people that he collaborated with Mary and Michael and methic man and, and, and she, daddy, oh, that's right, that's right.
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[SPEAKER_00]: Yeah, he didn't record with shot check daddy.
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[SPEAKER_01]: You can, I think it was you can't stop the rain or something like that.
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[SPEAKER_01]: I think so too.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: All right, let's get into our top five here.
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[SPEAKER_01]: I didn't really have a ton of the rock with its stop with it because I think the songs that I don't like on life after death that are like the easy ones that I wouldn't like over-sexualize like some of the more, I guess the less,
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[SPEAKER_01]: I don't know.
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[SPEAKER_01]: There's the little Kim stuff.
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[SPEAKER_01]: There's our Kelly stuff.
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[SPEAKER_01]: I didn't really like that.
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[SPEAKER_01]: There's the one where he and puffed out of your cruning, which is Yeah, silly song is just a dumb song.
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[SPEAKER_01]: Yeah, but those weren't hits.
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[SPEAKER_01]: So nobody really goes back to those, but the one that you had mentioned in the episode missing you
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[SPEAKER_01]: rock with it or stop with it.
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[SPEAKER_01]: South with it.
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[SPEAKER_01]: Me too.
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[SPEAKER_01]: Me too.
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[SPEAKER_01]: I mean, and it takes from the Diana song.
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[SPEAKER_00]: Right here.
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[SPEAKER_01]: Yeah, about Marvin Gaye.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: And so this is specific to me.
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[SPEAKER_01]: And I stop with it.
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[SPEAKER_01]: I mentioned going back to Cali because I
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[SPEAKER_01]: I've always been conflicted about him going on the Elvis and JV show while the 107 before he, you know, when he came out to California, he was clearly kind of like unsure of the idea of being out here or whether it's a good idea or not.
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[SPEAKER_01]: You could tell he's like not super comfy and I can't not think about those moments when I hear that song.
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[SPEAKER_00]: I mean, I haven't listened to it in a really long time.
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[SPEAKER_00]: I like it.
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[SPEAKER_00]: It's not a song that I go back to on a regular basis.
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[SPEAKER_00]: And I do, there's certainly a lot of validity to what you just said.
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[SPEAKER_00]: There is some discomfort listening to a lot of his stuff.
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[SPEAKER_00]: And pox stuff too, knowing what eventually was going to happen.
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[SPEAKER_00]: You know, it felt like they were kind of directing themselves to, you know, kind of in an available end in a way and in retrospect, that just makes some of their songs, like, I can't really take that stuff.
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[SPEAKER_01]: All right.
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[SPEAKER_01]: Let's go to our top five here.
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[SPEAKER_01]: Um, why don't you go first with your number five?
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[SPEAKER_00]: All right, I moved a bunch of stuff around it.
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[SPEAKER_00]: I'm still not really sure where I landed on a lot of stuff, but my number five was unbelievable, you know, pre-mo, I think, and Biggie just made like a really good match together, and it's like this beat is so like minimalist, but Biggie's lyrics, I think, just kind of like, carry it over the finish line here.
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[SPEAKER_01]: uh... yet it's it's a great song fantastic song and it's and it's one that you know that they i think i think when they thought of like a hard biggie song like that was probably one of the reference points to what they wanted was i want to song it sounds like this
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[SPEAKER_00]: Right.
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[SPEAKER_00]: I mean, it was, you know, famously like it was the B side to juicy because juicy was like a kind of a a radio record and they wanted something that was really going to like resonate with the streets and, you know, it does have an archery sample and, you know, your body's calling was like huge.
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[SPEAKER_01]: heard juicy on the radio.
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[SPEAKER_01]: And we're like, oh, I need to buy this album.
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[SPEAKER_01]: And then listen to the opening intro track of the album was like, this doesn't sound like juicy.
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[SPEAKER_00]: I mean, I don't know.
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[SPEAKER_00]: I mean, it's definitely when you listen to the album in its entirety.
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[SPEAKER_00]: juicy and big pop of both kind of stick out like a sore thumb because the album sounds a certain way and it feels like maybe Puffy was like big you need one or two songs to be radio friendly and but you know winning recorded those songs but they almost sound like they should be on two different albums yeah totally all right what's number four
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[SPEAKER_00]: I remember fours I got a story to tell.
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[SPEAKER_00]: Just again, like lyrical excellence, it's funny, you know, obviously in retrospect, it's a little crass, but you know, a biggie was able to like take crass stuff like that and make it funny.
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[SPEAKER_00]: And you know, at the time, you're listening to this initially, like I'm 20 years old, like it's it's funny to me.
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[SPEAKER_00]: And again, as a piece of story telling,
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[SPEAKER_01]: It is like that barbershop story that that's why you go and hang out at the barbershop to hear stories.
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[SPEAKER_01]: That's what it feels like to remind me of that.
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[SPEAKER_00]: It should talking, should talking with your homies, embellishment, like all that stuff, you know, it's, you know, it's, you know, a modified version of Guy Talk.
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[SPEAKER_01]: Mine is more money more problems.
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[SPEAKER_01]: It's just it was just such a gigantic song.
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[SPEAKER_01]: I do have mixed feelings about the timing aspect of it, but the day and a raw thing is ridiculous.
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[SPEAKER_01]: Like, you know, that song was what probably over 20 years old when, when, when,
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[SPEAKER_00]: More money more problems in 97.
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[SPEAKER_00]: I'm coming out came out in 1980.
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[SPEAKER_00]: So okay.
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[SPEAKER_00]: So it was in 20 hours.
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[SPEAKER_01]: Yeah, but it sounds just fresh as all hell.
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[SPEAKER_01]: Yeah, you know that that sample and you know, we didn't talk about mace too much, but I will say
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[SPEAKER_01]: I think a mace, and we've said this before, mace as a solo artist is very lacking, but mace coming on as a guest artist is kind of amazing and when you hear him on this song, you're like, about this dude.
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[SPEAKER_01]: incredible.
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[SPEAKER_01]: He's about to blow up, but then when you hear Harlem World and you hear him all by himself, then you're like, okay, I could see what the problem is going to be here.
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[SPEAKER_01]: I don't want to hear mace mumble through stuff like on every single song, but he's kind of funny and charming and he's got an interesting voice.
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[SPEAKER_01]: So for, you know, for 16 bars, it's kind of fun.
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[SPEAKER_01]: And he may not have been any better than he was on this song, actually.
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[SPEAKER_00]: Yeah, I mean, give it for Mace, give me 16 bars, give me like one or two punchlines.
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[SPEAKER_00]: Be out.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: And he's the, he's the young dude at the group, too, right?
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: He's, he's like, how old would Mace have been when he was more than 20?
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[SPEAKER_00]: Maybe 20, 21.
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[SPEAKER_01]: Imagine all the stuff that that little dude.
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[SPEAKER_00]: So I mean, Mace, I mean, actually, I think he does have a book, but who knows, like, I mean,
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[SPEAKER_00]: Imagine the stuff in reality that Mace has inside his brain and I guess now he does a podcast with camera on camera It is highly toxic.
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[SPEAKER_01]: Yeah, it's it's a version of I got a story to tell, but they talk about sports Right, and now they're 50 and it's like that shit isn't cute anymore And he kind of still looks the same though So you still see him almost through the same lens.
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[SPEAKER_00]: He's like just it kind of looks like he's looking to our office like a year ago Yeah
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[SPEAKER_00]: Um, probably looking for a deal and came in like we're in a fur coat and I'm like, yeah, and you know, all right, like I Someone needs to write a story about Jesus, maize.
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[SPEAKER_00]: Yes, and what what sent him down that road and what brought him back because some shit happened.
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[SPEAKER_01]: That story is crazy because yeah, so hard.
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[SPEAKER_01]: The world Mace so Then he has the group right and then
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[SPEAKER_01]: it's like a baby stays in all the randows could love and like people that I would not even know what they look like but then him and Puffy have a falling out his follow up welcome back isn't like until what like oh he had a second album he had a double up it was double up yeah which I remember like one song from that album
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[SPEAKER_00]: Yeah, and I think right before that album came out of right after that album came out as when he had his like his conversion and he was like, I'm leaving and then welcome back comes out and like, oh four something like that.
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[SPEAKER_00]: I don't remember years anymore.
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[SPEAKER_00]: Yeah, it might have been like, oh, three or four something like that.
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[SPEAKER_01]: And I don't even remember why he came back.
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[SPEAKER_01]: Like, what was, cause that song is memorable because of the welcome back collar.
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[SPEAKER_01]: Right.
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[SPEAKER_01]: But I didn't feel like it got pushed very well or.
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[SPEAKER_00]: I mean, that album went gold.
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[SPEAKER_00]: So it did okay.
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[SPEAKER_00]: I mean, but he came back and he was like, he came back as like the family friendly, like, clean rapper.
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[SPEAKER_01]: That was the, what was the song for the Rugrats movie?
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[SPEAKER_00]: Oh, take me there with a black street and that was my, that was a dope song for a kid's movie.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: Yeah, but the main story was always just wild to me.
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[SPEAKER_01]: I was like, the student goes away, then he comes back, then he goes away again.
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[SPEAKER_01]: And I never saw him.
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[SPEAKER_01]: I mean, I mean, horse and carriage was huge with him in the camera on.
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[SPEAKER_01]: But, uh, and then, you know, you learned that original rap name was like murder.
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[SPEAKER_01]: Murder-made shit.
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[SPEAKER_00]: Yeah, it was murder-mason kill a can.
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[SPEAKER_01]: And then AB came M to the A to the Dallas sign E. Yep.
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[SPEAKER_00]: He's on the Jesus Walks remix.
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[SPEAKER_01]: Oh, I forgot about that because that was, yeah.
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[SPEAKER_01]: Yeah, he's favorite rapper.
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[SPEAKER_01]: Yep.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: Oh, man.
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[SPEAKER_00]: Mace.
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[SPEAKER_00]: Mace and Beth a biopic.
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[SPEAKER_01]: Geez.
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[SPEAKER_01]: That he probably did.
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[SPEAKER_01]: He probably has lived an incredibly interesting life.
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[SPEAKER_00]: Yeah, crazy life.
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[SPEAKER_00]: Yeah.
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[SPEAKER_01]: Okay.
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[SPEAKER_01]: My name.
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[SPEAKER_01]: Ah, we did my number for your number three.
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[SPEAKER_00]: My number three is warning.
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[SPEAKER_00]: Uh, you know.
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[SPEAKER_00]: It's just the opening line of that song.
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[SPEAKER_00]: Oh, yeah.
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[SPEAKER_00]: Uh, it is just it's crazy.
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[SPEAKER_00]: Like big just.
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[SPEAKER_01]: the mental pictures of of this song that he wrote like he was so descriptive just to it's right number two it's a tone set it like it's an absolute tone setter yeah all right what is your number two oh what was your number three oh sorry minor three and I'm cheating here a little bit because I feel like the reason why I like this song as much as I do is partly because of the sample but
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[SPEAKER_01]: it's a little bit of cheating it's not a biggie song necessarily it's a puffy song but i think he's the best part of the song outside of the the rocky sample uh yeah i mean everything great about that i mean the sample's great biggie's great bust is great bust is great you're going to take him puff you off that record and he doesn't need to just get it yeah he doesn't need to be on it and i mean
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[SPEAKER_01]: You know, all about the Benjamin's is similar in that way.
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[SPEAKER_01]: I know there are different people on that song, but you know, I mean when it came out I I liked it, but it's like it's a posse record and you're dealing with puff daddy rather than enjoying it.
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[SPEAKER_00]: You're tolerating.
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[SPEAKER_00]: Yes, talk to her.
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[SPEAKER_01]: And it's his song.
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[SPEAKER_01]: So great.
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[SPEAKER_01]: And then you got to go through the rock remix of all about the Benjamin's and everything.
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[SPEAKER_01]: Great.
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[SPEAKER_01]: But yes, so victory's number three for me.
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[SPEAKER_01]: All right, what's number two?
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[SPEAKER_00]: Number two is hypnotized.
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[SPEAKER_00]: The beat is just, I've done DJ sets with that song and you can just play the beginning where he's going like over and over and over again, like 50 times just to build a crowd up.
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[SPEAKER_00]: It's, again, just, like, it's the perfect mixture of, like, pop, biggie and hardcore, biggie in, like, one song.
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[SPEAKER_00]: That is my number one, like far away.
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[SPEAKER_01]: Okay.
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[SPEAKER_01]: My number one.
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[SPEAKER_01]: All right.
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[SPEAKER_00]: Such a great song.
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[SPEAKER_01]: my number two was warning.
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[SPEAKER_01]: So yeah, all minor are accounted for.
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[SPEAKER_01]: But I will let me say some of the ones that were in the running flavor in your ear remix, but that is lesser of I couldn't even do that because of you know, I went there with victory.
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[SPEAKER_01]: I feel I feel comfortable doing that back couldn't go there with that song.
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[SPEAKER_01]: I got a story to tell was on my list to the one more chance.
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[SPEAKER_01]: Stay with me remix.
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[SPEAKER_01]: Right.
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[SPEAKER_01]: This is, I, I just wanted to mention this, but it wouldn't have necessarily made it, but run in with two-poch, which came out posthumously is good.
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[SPEAKER_01]: I think M&M produced it, like it's kind of, it's pretty interesting the way that they put it together, because they have interview segments with both of them on the track.
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[SPEAKER_01]: The track is solid, and then the verses are pretty decent, but the, the, the verses themselves aren't really the focus of the song necessarily,
16:39.168 --> 16:50.632
[SPEAKER_01]: But it's I thought that was one of the better kind of poshchemists put together songs was was running And then I also had Brooklyn's finest, but that's a jitter, you know, that's on there.
16:50.672 --> 16:52.292
[SPEAKER_01]: Jason the J album.
16:52.572 --> 16:59.555
[SPEAKER_01]: So we already talked about that one But yeah, so those were kind of like my ones that missed the list.
16:59.575 --> 17:00.355
[SPEAKER_01]: So what is your number one?
17:01.435 --> 17:04.957
[SPEAKER_00]: Um, but before I get to number one, I also like who left a couple of things off.
17:05.017 --> 17:07.699
[SPEAKER_00]: And the flavor near remix was definitely on that list.
17:07.719 --> 17:11.681
[SPEAKER_00]: But I'm like, that's not really a biggie song, even though to me, like Biggie's biggie.
17:11.701 --> 17:13.542
[SPEAKER_00]: Like, biggie and busta, uh, uh, everybody kind of shines on that song.
17:13.562 --> 17:15.343
[SPEAKER_00]: That's one of the few like posse songs where like, everybody gets there's off.
17:15.363 --> 17:21.286
[SPEAKER_00]: Um, um, um, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh,
17:21.446 --> 17:26.247
[SPEAKER_00]: Like even the Michael song this time around Biggie's going like he's not this isn't pop biggie.
17:26.327 --> 17:32.049
[SPEAKER_00]: This is like hardcore biggie like you know dropping in words and curses and shit on a Michael Jackson record.
17:32.089 --> 17:33.889
[SPEAKER_00]: So like that's pretty hardcore.
17:34.989 --> 17:41.571
[SPEAKER_00]: There's a song I'm born again to call Come on with him into dot X. I think that's like a great sort of early Biggie song.
17:42.131 --> 17:48.692
[SPEAKER_00]: Guinea to loot which I was listening to on my way back to my apartment this morning just such like a Brooklyn song.
17:51.894 --> 18:02.392
[SPEAKER_00]: Um, just because, again, talk about mood setting, um, like it sets a mood, like the production is dark.
18:05.247 --> 18:23.391
[SPEAKER_00]: And again, just like the lyrics, it's just an incredible song, and obviously the releasing of it was maybe not timely or not sensitive, but if I had a song that had I don't want to put it out as soon as possible, too.
18:23.492 --> 18:26.012
[SPEAKER_00]: It's just a crazy, crazy, crazy, good record.
18:26.612 --> 18:26.892
[SPEAKER_00]: And again,
18:30.291 --> 18:34.312
[SPEAKER_00]: They say people from Brooklyn talk about Brooklyn all the time because it's like the thing they're most proud of.
18:34.412 --> 18:35.012
[SPEAKER_00]: I'm from Brooklyn.
18:35.032 --> 18:36.152
[SPEAKER_00]: That's talk about Brooklyn a lot.
18:36.192 --> 18:36.592
[SPEAKER_00]: I get it.
18:37.953 --> 18:44.654
[SPEAKER_00]: There's something about Biggie in general and that song specifically that is like so so Brooklyn.
18:44.734 --> 18:46.975
[SPEAKER_00]: It's very specific to a place in time and mood.
18:48.355 --> 18:49.956
[SPEAKER_00]: And that's part of the reason I love it so much.
18:50.396 --> 18:53.016
[SPEAKER_01]: All those guys on the flavor near remix.
18:54.097 --> 18:56.857
[SPEAKER_01]: Do you think when they heard the finished version of that song?
19:00.758 --> 19:03.560
[SPEAKER_00]: I think we're a little tries to like explain the verse, I've heard him on
19:12.387 --> 19:26.173
[SPEAKER_01]: Maybe it's on Questlobs podcast where he explains it and he was like he said it's just something that he she part was just something that he used to goof off with his friends about like they used to just say that to each other a lot.
19:26.813 --> 19:26.953
[SPEAKER_01]: Right.
19:26.973 --> 19:30.154
[SPEAKER_01]: And then he was so it sounds like he's just like messing around on the thing.
19:30.454 --> 19:39.298
[SPEAKER_01]: But like on on and on a song like that like why wouldn't you want to come a little bit harder like he did on 4 through 2 1 right?
19:40.459 --> 19:50.622
[SPEAKER_00]: Yeah, I don't know, like it's weird that it kind of offset like his verse, I think it's probably the most memorable on the song because it's so strange.
19:51.262 --> 20:03.966
[SPEAKER_00]: Like if everybody else is like, you know, hitting it hard, I feel like almost a smart thing to do is just kind of like go completely left and just spit some wild shit and be like, okay, you know, when
20:07.223 --> 20:09.529
[SPEAKER_00]: Ha ha ha, a long time ago.
20:09.549 --> 20:13.059
[SPEAKER_00]: Um, Yemen, I-I-I-I-I-I-I-I-I-I
20:14.379 --> 20:22.184
[SPEAKER_00]: That verse will be talked about for years and years and years to come, probably LL's most memorable verse and it doesn't mean anything.
20:22.425 --> 20:24.466
[SPEAKER_01]: Yeah, I think Bloticious is the same thing.
20:24.486 --> 20:30.290
[SPEAKER_01]: He's like, yeah, we just, you would make up words and say them to each other because it entertained us or something like,
20:39.208 --> 20:56.027
[SPEAKER_01]: uh... we have to laugh at this because you're ll you could have just been like i'ma just make all i'ma write a whole verse has nothing but inside uh... alright uh... that was that was fun not i love i love just the reflection about the stuff because
20:57.457 --> 20:57.717
[SPEAKER_01]: ha ha.
20:58.477 --> 21:07.179
[SPEAKER_01]: Some stuff just sits in your brain for some reason what for what reason and then on a show like this, then it just all comes back.
21:07.199 --> 21:08.279
[SPEAKER_01]: Good memories back.
21:08.299 --> 21:10.840
[SPEAKER_01]: You're like, yeah, I haven't talked about this thing in a long time.
21:10.860 --> 21:13.261
[SPEAKER_01]: And who else am I going to talk about this with other than my great.
21:14.381 --> 21:16.641
[SPEAKER_01]: All right, we will be back next week.
21:16.661 --> 21:20.302
[SPEAKER_01]: Like I said, usher will do an usher top five as well.
21:20.482 --> 21:23.903
[SPEAKER_01]: I was I'm struggling with that top five for sure, too.
21:26.157 --> 21:28.259
[SPEAKER_00]: I don't know how much I'll struggle.
21:28.279 --> 21:29.901
[SPEAKER_00]: I think my top five is pretty clear.
21:30.361 --> 21:35.647
[SPEAKER_01]: I'd listen to the first four albums, and there's already space that I need to make.
21:35.707 --> 21:37.149
[SPEAKER_00]: I think.
21:37.189 --> 21:37.549
[SPEAKER_00]: Got you.
21:38.250 --> 21:38.590
[SPEAKER_00]: All right.
21:38.670 --> 21:39.371
[SPEAKER_00]: That is it from here.
21:39.491 --> 21:42.735
[SPEAKER_00]: We'll be back next week for my KMWC when we see you piece out.
00:02.187 --> 00:15.300
[SPEAKER_01]: we are back with the top five on the notorious b-i-g. You know, one thing I forgot in our 50 or 50 or 50 episode is collaborations, dream collaboration.
00:15.320 --> 00:23.488
[SPEAKER_01]: So this is someone that he didn't work with who could have been a cool person to work with in your mind.
00:24.569 --> 00:25.170
[SPEAKER_00]: Oh, man.
00:27.065 --> 00:28.246
[SPEAKER_00]: That's a really good question.
00:28.346 --> 00:35.991
[SPEAKER_01]: I mean, there's one that stands out and it almost happened, but didn't necessarily happen was a noz.
00:36.812 --> 00:47.620
[SPEAKER_00]: Yeah, I mean, noz is kind of the one person I thought about, but I'm like, he, I mean, for such a short period of time, he collaborated with a lot of artists.
00:49.201 --> 00:51.963
[SPEAKER_01]: I guess noz was supposed to be on, give me the loop.
00:53.810 --> 00:56.451
[SPEAKER_01]: Oh, really, and so here's here's the story.
00:56.571 --> 01:16.235
[SPEAKER_01]: I don't actually have the reference of where this story came from, but supposedly not said that he got too high was in the studio, and big gave him some chocolate and didn't warn him, oh, this is from the breakfast club in 2020.
01:17.388 --> 01:17.829
[SPEAKER_00]: Okay.
01:17.969 --> 01:25.980
[SPEAKER_01]: And so Naz got two messed up and then they asked him why he didn't just come back the next day and he says he was still messed up.
01:28.103 --> 01:28.924
[SPEAKER_00]: Wow, okay.
01:29.424 --> 01:33.109
[SPEAKER_01]: The other one I thought about while you're thinking the other one I thought about was
01:35.507 --> 01:41.792
[SPEAKER_01]: LL, but then they kind of did work together, but I don't know that they actually work together together.
01:42.393 --> 01:48.378
[SPEAKER_01]: But if they did, it's like, it would have been interesting to hear them just the two of them on a collaboration where they're both in studio together.
01:49.168 --> 01:55.112
[SPEAKER_00]: Yeah, I mean, I, you know, I'm thinking, and I'm like a biggie, big daddy cane record would have been great.
01:55.232 --> 01:56.152
[SPEAKER_00]: Mm-hmm.
01:56.232 --> 02:01.075
[SPEAKER_01]: Um, just, you know, there was the cute tip one as the producer we mentioned that got did did it.
02:01.115 --> 02:01.435
[SPEAKER_01]: Right.
02:01.996 --> 02:02.516
[SPEAKER_00]: Yeah.
02:02.656 --> 02:08.500
[SPEAKER_00]: You know, I mean, I don't necessarily know that there's styles and meshed, but like a biggie tribe record.
02:08.880 --> 02:12.062
[SPEAKER_00]: A biggie fight record would have been pretty dope.
02:13.103 --> 02:20.227
[SPEAKER_00]: Um, you know, a biggie, you know, Mariah collaborate with everybody else, you know, maybe she should have had a biggie.
02:20.467 --> 02:22.789
[SPEAKER_00]: And I think honey was supposed to have biggie on it.
02:22.949 --> 02:23.469
[SPEAKER_00]: Oh, really.
02:24.050 --> 02:24.250
[SPEAKER_00]: Yeah.
02:24.650 --> 02:30.833
[SPEAKER_01]: If I remember that story correctly, instead of the locks, or because there was like two different versions of.
02:30.974 --> 02:32.514
[SPEAKER_00]: Yeah, instead of the locks.
02:32.574 --> 02:32.855
[SPEAKER_00]: Yeah.
02:34.255 --> 02:38.556
[SPEAKER_01]: Um, and yeah, I mean, Biggie, I mean, he worked with the Michael Jackson of all people.
02:38.616 --> 02:39.156
[SPEAKER_01]: Yeah, I guess.
02:39.196 --> 02:44.318
[SPEAKER_01]: Yeah, what was that verse recorded specifically for that song or was that verse just grabbed?
02:45.018 --> 02:46.118
[SPEAKER_00]: No, it was recorded.
02:46.198 --> 02:49.559
[SPEAKER_00]: Michael allegedly requested that Biggie be on the song.
02:50.200 --> 02:53.721
[SPEAKER_00]: And that's, you know, like there's even there's video from like the MTV Awards.
02:53.741 --> 02:57.442
[SPEAKER_00]: I think in 95, we're like Michael and Janet went in the warden Biggie presents it.
02:58.242 --> 02:59.082
[SPEAKER_00]: And, you know, Mike
03:02.959 --> 03:16.643
[SPEAKER_00]: You know, he again, for like a short period of time, like the amount of people that he collaborated with Mary and Michael and methic man and, and, and she, daddy, oh, that's right, that's right.
03:16.783 --> 03:19.444
[SPEAKER_00]: Yeah, he didn't record with shot check daddy.
03:19.464 --> 03:21.704
[SPEAKER_01]: You can, I think it was you can't stop the rain or something like that.
03:21.725 --> 03:22.485
[SPEAKER_01]: I think so too.
03:22.605 --> 03:22.825
[SPEAKER_01]: Yeah.
03:23.877 --> 03:26.118
[SPEAKER_01]: All right, let's get into our top five here.
03:26.258 --> 03:43.707
[SPEAKER_01]: I didn't really have a ton of the rock with its stop with it because I think the songs that I don't like on life after death that are like the easy ones that I wouldn't like over-sexualize like some of the more, I guess the less,
03:44.307 --> 03:44.707
[SPEAKER_01]: I don't know.
03:44.727 --> 03:45.827
[SPEAKER_01]: There's the little Kim stuff.
03:45.847 --> 03:46.988
[SPEAKER_01]: There's our Kelly stuff.
03:47.028 --> 03:48.088
[SPEAKER_01]: I didn't really like that.
03:48.108 --> 03:53.049
[SPEAKER_01]: There's the one where he and puffed out of your cruning, which is Yeah, silly song is just a dumb song.
03:53.069 --> 03:54.410
[SPEAKER_01]: Yeah, but those weren't hits.
03:54.630 --> 04:01.952
[SPEAKER_01]: So nobody really goes back to those, but the one that you had mentioned in the episode missing you
04:03.245 --> 04:04.506
[SPEAKER_01]: rock with it or stop with it.
04:05.126 --> 04:05.707
[SPEAKER_01]: South with it.
04:05.867 --> 04:06.387
[SPEAKER_01]: Me too.
04:06.847 --> 04:07.267
[SPEAKER_01]: Me too.
04:08.128 --> 04:10.769
[SPEAKER_01]: I mean, and it takes from the Diana song.
04:10.909 --> 04:11.510
[SPEAKER_00]: Right here.
04:12.070 --> 04:13.211
[SPEAKER_01]: Yeah, about Marvin Gaye.
04:13.871 --> 04:14.672
[SPEAKER_01]: Yeah.
04:14.752 --> 04:17.793
[SPEAKER_01]: And so this is specific to me.
04:18.114 --> 04:19.014
[SPEAKER_01]: And I stop with it.
04:19.054 --> 04:22.316
[SPEAKER_01]: I mentioned going back to Cali because I
04:24.657 --> 04:43.524
[SPEAKER_01]: I've always been conflicted about him going on the Elvis and JV show while the 107 before he, you know, when he came out to California, he was clearly kind of like unsure of the idea of being out here or whether it's a good idea or not.
04:43.544 --> 04:50.267
[SPEAKER_01]: You could tell he's like not super comfy and I can't not think about those moments when I hear that song.
04:54.310 --> 04:56.652
[SPEAKER_00]: I mean, I haven't listened to it in a really long time.
04:56.672 --> 04:57.874
[SPEAKER_00]: I like it.
04:58.895 --> 05:01.557
[SPEAKER_00]: It's not a song that I go back to on a regular basis.
05:02.718 --> 05:08.043
[SPEAKER_00]: And I do, there's certainly a lot of validity to what you just said.
05:08.684 --> 05:11.947
[SPEAKER_00]: There is some discomfort listening to a lot of his stuff.
05:12.007 --> 05:15.270
[SPEAKER_00]: And pox stuff too, knowing what eventually was going to happen.
05:15.991 --> 05:26.863
[SPEAKER_00]: You know, it felt like they were kind of directing themselves to, you know, kind of in an available end in a way and in retrospect, that just makes some of their songs, like, I can't really take that stuff.
05:28.885 --> 05:29.125
[SPEAKER_01]: All right.
05:29.145 --> 05:31.648
[SPEAKER_01]: Let's go to our top five here.
05:32.729 --> 05:36.053
[SPEAKER_01]: Um, why don't you go first with your number five?
05:36.963 --> 05:40.305
[SPEAKER_00]: All right, I moved a bunch of stuff around it.
05:40.345 --> 06:01.355
[SPEAKER_00]: I'm still not really sure where I landed on a lot of stuff, but my number five was unbelievable, you know, pre-mo, I think, and Biggie just made like a really good match together, and it's like this beat is so like minimalist, but Biggie's lyrics, I think, just kind of like, carry it over the finish line here.
06:03.122 --> 06:17.947
[SPEAKER_01]: uh... yet it's it's a great song fantastic song and it's and it's one that you know that they i think i think when they thought of like a hard biggie song like that was probably one of the reference points to what they wanted was i want to song it sounds like this
06:18.921 --> 06:19.121
[SPEAKER_00]: Right.
06:19.181 --> 06:36.525
[SPEAKER_00]: I mean, it was, you know, famously like it was the B side to juicy because juicy was like a kind of a a radio record and they wanted something that was really going to like resonate with the streets and, you know, it does have an archery sample and, you know, your body's calling was like huge.
06:49.729 --> 06:51.069
[SPEAKER_01]: heard juicy on the radio.
06:52.050 --> 06:53.971
[SPEAKER_01]: And we're like, oh, I need to buy this album.
06:54.271 --> 06:59.215
[SPEAKER_01]: And then listen to the opening intro track of the album was like, this doesn't sound like juicy.
07:00.415 --> 07:02.637
[SPEAKER_00]: I mean, I don't know.
07:02.657 --> 07:08.501
[SPEAKER_00]: I mean, it's definitely when you listen to the album in its entirety.
07:09.879 --> 07:30.766
[SPEAKER_00]: juicy and big pop of both kind of stick out like a sore thumb because the album sounds a certain way and it feels like maybe Puffy was like big you need one or two songs to be radio friendly and but you know winning recorded those songs but they almost sound like they should be on two different albums yeah totally all right what's number four
07:31.766 --> 07:34.348
[SPEAKER_00]: I remember fours I got a story to tell.
07:34.689 --> 07:46.819
[SPEAKER_00]: Just again, like lyrical excellence, it's funny, you know, obviously in retrospect, it's a little crass, but you know, a biggie was able to like take crass stuff like that and make it funny.
07:47.219 --> 07:54.265
[SPEAKER_00]: And you know, at the time, you're listening to this initially, like I'm 20 years old, like it's it's funny to me.
07:54.586 --> 07:56.207
[SPEAKER_00]: And again, as a piece of story telling,
08:00.873 --> 08:10.099
[SPEAKER_01]: It is like that barbershop story that that's why you go and hang out at the barbershop to hear stories.
08:10.199 --> 08:12.901
[SPEAKER_01]: That's what it feels like to remind me of that.
08:13.301 --> 08:22.888
[SPEAKER_00]: It should talking, should talking with your homies, embellishment, like all that stuff, you know, it's, you know, it's, you know, a modified version of Guy Talk.
08:24.471 --> 08:26.353
[SPEAKER_01]: Mine is more money more problems.
08:26.713 --> 08:29.215
[SPEAKER_01]: It's just it was just such a gigantic song.
08:29.476 --> 08:37.683
[SPEAKER_01]: I do have mixed feelings about the timing aspect of it, but the day and a raw thing is ridiculous.
08:37.783 --> 08:43.748
[SPEAKER_01]: Like, you know, that song was what probably over 20 years old when, when, when,
08:44.689 --> 08:46.191
[SPEAKER_00]: More money more problems in 97.
08:46.211 --> 08:47.512
[SPEAKER_00]: I'm coming out came out in 1980.
08:47.933 --> 08:48.593
[SPEAKER_00]: So okay.
08:48.613 --> 08:49.754
[SPEAKER_00]: So it was in 20 hours.
08:49.774 --> 08:52.277
[SPEAKER_01]: Yeah, but it sounds just fresh as all hell.
08:52.858 --> 08:59.304
[SPEAKER_01]: Yeah, you know that that sample and you know, we didn't talk about mace too much, but I will say
09:00.634 --> 09:18.565
[SPEAKER_01]: I think a mace, and we've said this before, mace as a solo artist is very lacking, but mace coming on as a guest artist is kind of amazing and when you hear him on this song, you're like, about this dude.
09:19.165 --> 09:19.746
[SPEAKER_01]: incredible.
09:19.766 --> 09:29.894
[SPEAKER_01]: He's about to blow up, but then when you hear Harlem World and you hear him all by himself, then you're like, okay, I could see what the problem is going to be here.
09:29.955 --> 09:37.581
[SPEAKER_01]: I don't want to hear mace mumble through stuff like on every single song, but he's kind of funny and charming and he's got an interesting voice.
09:38.002 --> 09:42.165
[SPEAKER_01]: So for, you know, for 16 bars, it's kind of fun.
09:42.365 --> 09:46.389
[SPEAKER_01]: And he may not have been any better than he was on this song, actually.
09:47.000 --> 09:51.121
[SPEAKER_00]: Yeah, I mean, give it for Mace, give me 16 bars, give me like one or two punchlines.
09:51.542 --> 09:51.882
[SPEAKER_00]: Be out.
09:52.382 --> 09:52.622
[SPEAKER_01]: Yeah.
09:53.182 --> 09:55.903
[SPEAKER_01]: And he's the, he's the young dude at the group, too, right?
09:55.943 --> 09:56.083
[SPEAKER_01]: Yeah.
09:56.103 --> 09:59.984
[SPEAKER_01]: He's, he's like, how old would Mace have been when he was more than 20?
10:00.545 --> 10:02.045
[SPEAKER_00]: Maybe 20, 21.
10:02.845 --> 10:04.826
[SPEAKER_01]: Imagine all the stuff that that little dude.
10:04.886 --> 10:10.668
[SPEAKER_00]: So I mean, Mace, I mean, actually, I think he does have a book, but who knows, like, I mean,
10:12.190 --> 10:21.053
[SPEAKER_00]: Imagine the stuff in reality that Mace has inside his brain and I guess now he does a podcast with camera on camera It is highly toxic.
10:21.213 --> 10:34.318
[SPEAKER_01]: Yeah, it's it's a version of I got a story to tell, but they talk about sports Right, and now they're 50 and it's like that shit isn't cute anymore And he kind of still looks the same though So you still see him almost through the same lens.
10:34.338 --> 10:38.880
[SPEAKER_00]: He's like just it kind of looks like he's looking to our office like a year ago Yeah
10:39.600 --> 10:48.843
[SPEAKER_00]: Um, probably looking for a deal and came in like we're in a fur coat and I'm like, yeah, and you know, all right, like I Someone needs to write a story about Jesus, maize.
10:49.703 --> 10:54.864
[SPEAKER_00]: Yes, and what what sent him down that road and what brought him back because some shit happened.
10:55.104 --> 10:58.905
[SPEAKER_01]: That story is crazy because yeah, so hard.
10:58.925 --> 11:06.267
[SPEAKER_01]: The world Mace so Then he has the group right and then
11:09.781 --> 11:36.435
[SPEAKER_01]: it's like a baby stays in all the randows could love and like people that I would not even know what they look like but then him and Puffy have a falling out his follow up welcome back isn't like until what like oh he had a second album he had a double up it was double up yeah which I remember like one song from that album
11:36.826 --> 11:50.912
[SPEAKER_00]: Yeah, and I think right before that album came out of right after that album came out as when he had his like his conversion and he was like, I'm leaving and then welcome back comes out and like, oh four something like that.
11:54.173 --> 11:55.414
[SPEAKER_00]: I don't remember years anymore.
11:56.615 --> 11:59.016
[SPEAKER_00]: Yeah, it might have been like, oh, three or four something like that.
11:59.637 --> 12:02.239
[SPEAKER_01]: And I don't even remember why he came back.
12:02.699 --> 12:08.303
[SPEAKER_01]: Like, what was, cause that song is memorable because of the welcome back collar.
12:08.883 --> 12:09.184
[SPEAKER_01]: Right.
12:10.284 --> 12:13.447
[SPEAKER_01]: But I didn't feel like it got pushed very well or.
12:13.687 --> 12:15.108
[SPEAKER_00]: I mean, that album went gold.
12:15.308 --> 12:16.469
[SPEAKER_00]: So it did okay.
12:16.709 --> 12:22.012
[SPEAKER_00]: I mean, but he came back and he was like, he came back as like the family friendly, like, clean rapper.
12:24.392 --> 12:30.475
[SPEAKER_01]: That was the, what was the song for the Rugrats movie?
12:30.515 --> 12:37.018
[SPEAKER_00]: Oh, take me there with a black street and that was my, that was a dope song for a kid's movie.
12:37.638 --> 12:37.878
[SPEAKER_01]: Yeah.
12:37.898 --> 12:41.680
[SPEAKER_01]: Yeah, but the main story was always just wild to me.
12:41.700 --> 12:44.981
[SPEAKER_01]: I was like, the student goes away, then he comes back, then he goes away again.
12:45.041 --> 12:46.122
[SPEAKER_01]: And I never saw him.
12:46.642 --> 12:50.424
[SPEAKER_01]: I mean, I mean, horse and carriage was huge with him in the camera on.
12:51.004 --> 12:56.007
[SPEAKER_01]: But, uh, and then, you know, you learned that original rap name was like murder.
12:56.047 --> 12:56.667
[SPEAKER_01]: Murder-made shit.
12:56.707 --> 12:58.108
[SPEAKER_00]: Yeah, it was murder-mason kill a can.
12:58.348 --> 13:03.551
[SPEAKER_01]: And then AB came M to the A to the Dallas sign E. Yep.
13:04.031 --> 13:05.812
[SPEAKER_00]: He's on the Jesus Walks remix.
13:06.533 --> 13:08.474
[SPEAKER_01]: Oh, I forgot about that because that was, yeah.
13:08.514 --> 13:09.634
[SPEAKER_01]: Yeah, he's favorite rapper.
13:09.654 --> 13:09.734
[SPEAKER_01]: Yep.
13:11.062 --> 13:11.382
[SPEAKER_00]: Yeah.
13:11.983 --> 13:12.803
[SPEAKER_00]: Oh, man.
13:13.444 --> 13:14.544
[SPEAKER_00]: Mace.
13:14.584 --> 13:15.785
[SPEAKER_00]: Mace and Beth a biopic.
13:16.185 --> 13:16.786
[SPEAKER_01]: Geez.
13:17.246 --> 13:18.647
[SPEAKER_01]: That he probably did.
13:18.787 --> 13:21.489
[SPEAKER_01]: He probably has lived an incredibly interesting life.
13:21.869 --> 13:22.670
[SPEAKER_00]: Yeah, crazy life.
13:22.730 --> 13:22.970
[SPEAKER_00]: Yeah.
13:23.690 --> 13:23.991
[SPEAKER_01]: Okay.
13:24.011 --> 13:24.731
[SPEAKER_01]: My name.
13:24.971 --> 13:26.432
[SPEAKER_01]: Ah, we did my number for your number three.
13:27.393 --> 13:28.634
[SPEAKER_00]: My number three is warning.
13:28.654 --> 13:30.475
[SPEAKER_00]: Uh, you know.
13:32.116 --> 13:34.358
[SPEAKER_00]: It's just the opening line of that song.
13:34.478 --> 13:34.758
[SPEAKER_00]: Oh, yeah.
13:35.478 --> 13:37.039
[SPEAKER_00]: Uh, it is just it's crazy.
13:37.099 --> 13:37.920
[SPEAKER_00]: Like big just.
13:39.662 --> 14:06.293
[SPEAKER_01]: the mental pictures of of this song that he wrote like he was so descriptive just to it's right number two it's a tone set it like it's an absolute tone setter yeah all right what is your number two oh what was your number three oh sorry minor three and I'm cheating here a little bit because I feel like the reason why I like this song as much as I do is partly because of the sample but
14:10.462 --> 14:33.532
[SPEAKER_01]: it's a little bit of cheating it's not a biggie song necessarily it's a puffy song but i think he's the best part of the song outside of the the rocky sample uh yeah i mean everything great about that i mean the sample's great biggie's great bust is great bust is great you're going to take him puff you off that record and he doesn't need to just get it yeah he doesn't need to be on it and i mean
14:34.492 --> 14:37.975
[SPEAKER_01]: You know, all about the Benjamin's is similar in that way.
14:38.696 --> 14:52.808
[SPEAKER_01]: I know there are different people on that song, but you know, I mean when it came out I I liked it, but it's like it's a posse record and you're dealing with puff daddy rather than enjoying it.
14:53.852 --> 14:54.813
[SPEAKER_00]: You're tolerating.
14:54.993 --> 14:55.753
[SPEAKER_00]: Yes, talk to her.
14:55.793 --> 14:56.634
[SPEAKER_01]: And it's his song.
14:56.774 --> 14:57.575
[SPEAKER_01]: So great.
14:57.895 --> 15:01.678
[SPEAKER_01]: And then you got to go through the rock remix of all about the Benjamin's and everything.
15:01.778 --> 15:02.038
[SPEAKER_01]: Great.
15:02.758 --> 15:04.520
[SPEAKER_01]: But yes, so victory's number three for me.
15:04.540 --> 15:05.280
[SPEAKER_01]: All right, what's number two?
15:06.441 --> 15:08.382
[SPEAKER_00]: Number two is hypnotized.
15:08.923 --> 15:20.711
[SPEAKER_00]: The beat is just, I've done DJ sets with that song and you can just play the beginning where he's going like over and over and over again, like 50 times just to build a crowd up.
15:23.160 --> 15:32.633
[SPEAKER_00]: It's, again, just, like, it's the perfect mixture of, like, pop, biggie and hardcore, biggie in, like, one song.
15:33.714 --> 15:35.957
[SPEAKER_00]: That is my number one, like far away.
15:35.977 --> 15:36.238
[SPEAKER_01]: Okay.
15:36.278 --> 15:36.939
[SPEAKER_01]: My number one.
15:37.740 --> 15:38.040
[SPEAKER_01]: All right.
15:39.362 --> 15:40.023
[SPEAKER_00]: Such a great song.
15:41.350 --> 15:44.772
[SPEAKER_01]: my number two was warning.
15:44.852 --> 15:46.992
[SPEAKER_01]: So yeah, all minor are accounted for.
15:47.313 --> 15:59.858
[SPEAKER_01]: But I will let me say some of the ones that were in the running flavor in your ear remix, but that is lesser of I couldn't even do that because of you know, I went there with victory.
15:59.978 --> 16:02.679
[SPEAKER_01]: I feel I feel comfortable doing that back couldn't go there with that song.
16:03.459 --> 16:06.361
[SPEAKER_01]: I got a story to tell was on my list to the one more chance.
16:06.461 --> 16:07.541
[SPEAKER_01]: Stay with me remix.
16:07.941 --> 16:08.181
[SPEAKER_01]: Right.
16:09.522 --> 16:19.444
[SPEAKER_01]: This is, I, I just wanted to mention this, but it wouldn't have necessarily made it, but run in with two-poch, which came out posthumously is good.
16:19.564 --> 16:29.146
[SPEAKER_01]: I think M&M produced it, like it's kind of, it's pretty interesting the way that they put it together, because they have interview segments with both of them on the track.
16:29.666 --> 16:38.308
[SPEAKER_01]: The track is solid, and then the verses are pretty decent, but the, the, the verses themselves aren't really the focus of the song necessarily,
16:39.168 --> 16:50.632
[SPEAKER_01]: But it's I thought that was one of the better kind of poshchemists put together songs was was running And then I also had Brooklyn's finest, but that's a jitter, you know, that's on there.
16:50.672 --> 16:52.292
[SPEAKER_01]: Jason the J album.
16:52.572 --> 16:59.555
[SPEAKER_01]: So we already talked about that one But yeah, so those were kind of like my ones that missed the list.
16:59.575 --> 17:00.355
[SPEAKER_01]: So what is your number one?
17:01.435 --> 17:04.957
[SPEAKER_00]: Um, but before I get to number one, I also like who left a couple of things off.
17:05.017 --> 17:07.699
[SPEAKER_00]: And the flavor near remix was definitely on that list.
17:07.719 --> 17:11.681
[SPEAKER_00]: But I'm like, that's not really a biggie song, even though to me, like Biggie's biggie.
17:11.701 --> 17:13.542
[SPEAKER_00]: Like, biggie and busta, uh, uh, everybody kind of shines on that song.
17:13.562 --> 17:15.343
[SPEAKER_00]: That's one of the few like posse songs where like, everybody gets there's off.
17:15.363 --> 17:21.286
[SPEAKER_00]: Um, um, um, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh,
17:21.446 --> 17:26.247
[SPEAKER_00]: Like even the Michael song this time around Biggie's going like he's not this isn't pop biggie.
17:26.327 --> 17:32.049
[SPEAKER_00]: This is like hardcore biggie like you know dropping in words and curses and shit on a Michael Jackson record.
17:32.089 --> 17:33.889
[SPEAKER_00]: So like that's pretty hardcore.
17:34.989 --> 17:41.571
[SPEAKER_00]: There's a song I'm born again to call Come on with him into dot X. I think that's like a great sort of early Biggie song.
17:42.131 --> 17:48.692
[SPEAKER_00]: Guinea to loot which I was listening to on my way back to my apartment this morning just such like a Brooklyn song.
17:51.894 --> 18:02.392
[SPEAKER_00]: Um, just because, again, talk about mood setting, um, like it sets a mood, like the production is dark.
18:05.247 --> 18:23.391
[SPEAKER_00]: And again, just like the lyrics, it's just an incredible song, and obviously the releasing of it was maybe not timely or not sensitive, but if I had a song that had I don't want to put it out as soon as possible, too.
18:23.492 --> 18:26.012
[SPEAKER_00]: It's just a crazy, crazy, crazy, good record.
18:26.612 --> 18:26.892
[SPEAKER_00]: And again,
18:30.291 --> 18:34.312
[SPEAKER_00]: They say people from Brooklyn talk about Brooklyn all the time because it's like the thing they're most proud of.
18:34.412 --> 18:35.012
[SPEAKER_00]: I'm from Brooklyn.
18:35.032 --> 18:36.152
[SPEAKER_00]: That's talk about Brooklyn a lot.
18:36.192 --> 18:36.592
[SPEAKER_00]: I get it.
18:37.953 --> 18:44.654
[SPEAKER_00]: There's something about Biggie in general and that song specifically that is like so so Brooklyn.
18:44.734 --> 18:46.975
[SPEAKER_00]: It's very specific to a place in time and mood.
18:48.355 --> 18:49.956
[SPEAKER_00]: And that's part of the reason I love it so much.
18:50.396 --> 18:53.016
[SPEAKER_01]: All those guys on the flavor near remix.
18:54.097 --> 18:56.857
[SPEAKER_01]: Do you think when they heard the finished version of that song?
19:00.758 --> 19:03.560
[SPEAKER_00]: I think we're a little tries to like explain the verse, I've heard him on
19:12.387 --> 19:26.173
[SPEAKER_01]: Maybe it's on Questlobs podcast where he explains it and he was like he said it's just something that he she part was just something that he used to goof off with his friends about like they used to just say that to each other a lot.
19:26.813 --> 19:26.953
[SPEAKER_01]: Right.
19:26.973 --> 19:30.154
[SPEAKER_01]: And then he was so it sounds like he's just like messing around on the thing.
19:30.454 --> 19:39.298
[SPEAKER_01]: But like on on and on a song like that like why wouldn't you want to come a little bit harder like he did on 4 through 2 1 right?
19:40.459 --> 19:50.622
[SPEAKER_00]: Yeah, I don't know, like it's weird that it kind of offset like his verse, I think it's probably the most memorable on the song because it's so strange.
19:51.262 --> 20:03.966
[SPEAKER_00]: Like if everybody else is like, you know, hitting it hard, I feel like almost a smart thing to do is just kind of like go completely left and just spit some wild shit and be like, okay, you know, when
20:07.223 --> 20:09.529
[SPEAKER_00]: Ha ha ha, a long time ago.
20:09.549 --> 20:13.059
[SPEAKER_00]: Um, Yemen, I-I-I-I-I-I-I-I-I-I
20:14.379 --> 20:22.184
[SPEAKER_00]: That verse will be talked about for years and years and years to come, probably LL's most memorable verse and it doesn't mean anything.
20:22.425 --> 20:24.466
[SPEAKER_01]: Yeah, I think Bloticious is the same thing.
20:24.486 --> 20:30.290
[SPEAKER_01]: He's like, yeah, we just, you would make up words and say them to each other because it entertained us or something like,
20:39.208 --> 20:56.027
[SPEAKER_01]: uh... we have to laugh at this because you're ll you could have just been like i'ma just make all i'ma write a whole verse has nothing but inside uh... alright uh... that was that was fun not i love i love just the reflection about the stuff because
20:57.457 --> 20:57.717
[SPEAKER_01]: ha ha.
20:58.477 --> 21:07.179
[SPEAKER_01]: Some stuff just sits in your brain for some reason what for what reason and then on a show like this, then it just all comes back.
21:07.199 --> 21:08.279
[SPEAKER_01]: Good memories back.
21:08.299 --> 21:10.840
[SPEAKER_01]: You're like, yeah, I haven't talked about this thing in a long time.
21:10.860 --> 21:13.261
[SPEAKER_01]: And who else am I going to talk about this with other than my great.
21:14.381 --> 21:16.641
[SPEAKER_01]: All right, we will be back next week.
21:16.661 --> 21:20.302
[SPEAKER_01]: Like I said, usher will do an usher top five as well.
21:20.482 --> 21:23.903
[SPEAKER_01]: I was I'm struggling with that top five for sure, too.
21:26.157 --> 21:28.259
[SPEAKER_00]: I don't know how much I'll struggle.
21:28.279 --> 21:29.901
[SPEAKER_00]: I think my top five is pretty clear.
21:30.361 --> 21:35.647
[SPEAKER_01]: I'd listen to the first four albums, and there's already space that I need to make.
21:35.707 --> 21:37.149
[SPEAKER_00]: I think.
21:37.189 --> 21:37.549
[SPEAKER_00]: Got you.
21:38.250 --> 21:38.590
[SPEAKER_00]: All right.
21:38.670 --> 21:39.371
[SPEAKER_00]: That is it from here.
21:39.491 --> 21:42.735
[SPEAKER_00]: We'll be back next week for my KMWC when we see you piece out.