- il y a 7 heures
[Entretien réalisé en anglais et à retrouver traduit en français sur l'appli Radio France]
Havoc, moitié survivante de Mobb Deep, gardien du son de Queensbridge, producteur, MC, porte seul l'héritage d'un duo qui a redéfini le rap new-yorkais des années 90. Actuellement en tournée européenne, il est l'invité de Mehdi Maïzi sur France Inter.
Retrouvez "À la régulière" sur France Inter et sur https://www.radiofrance.fr/franceinter/podcasts/a-la-reguliere
Havoc, moitié survivante de Mobb Deep, gardien du son de Queensbridge, producteur, MC, porte seul l'héritage d'un duo qui a redéfini le rap new-yorkais des années 90. Actuellement en tournée européenne, il est l'invité de Mehdi Maïzi sur France Inter.
Retrouvez "À la régulière" sur France Inter et sur https://www.radiofrance.fr/franceinter/podcasts/a-la-reguliere
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NewsTranscription
00:10Bonsoir à toutes et à tous, bienvenue dans la régulière, l'émission de toutes les cultures.
00:14Ce soir, on va du côté de New York, Queensbridge plus exactement, un quartier qui a redéfini les contours du
00:19rap mondial,
00:19notamment grâce à un groupe Mob Deep et aussi à un architecte sonore, un producteur qui a transformé quelques centres
00:25poussiéreux en classique intemporel,
00:27un rappeur aussi, moitié d'un des plus grands duos de l'histoire du hip-hop.
00:30Cette personne, c'est notre invité ce soir, il s'appelle Avok et c'est tout simplement une légende du
00:34rap New York.
00:35Et alors qu'il était en concert au Cabaret Sauvage à Paris ce lundi, qu'il a sorti l'excellent
00:39album de Mob Deep, Infinite, l'année dernière.
00:41Avok est de passage dans notre studio pour discuter de son parcours du rap des années 90,
00:45des classiques ultimes que sont les alumnes Infamous ou Hell on Earth des années 2000,
00:48de la période J-Unit et de ce que ça représente d'être l'un des producteurs les plus influents
00:52du rap américain.
00:53Je suis très heureux de recevoir Avok qui est avec nous ce soir à la régulière.
00:57France Inter
01:00À la régulière
01:05Medi-My-Z
01:29On est à Avok donc, avec Avok ce soir pardon, Avok, how are you ? And thank you for being
01:34here.
01:34Thank you for having me.
01:36Avok, we just were listening to 2Quan's Part 2, which is an iconic track, of course.
01:42Are you fed up with this track or is it still a pleasure to listen to it ?
01:47I'll never be fed up with the track, you know what I'm saying ? I love the track. It's the
01:52reason why I'm able to come to places like this and you know, interview.
01:56It's funny because, of course, this track was, we will talk for later about your, like the last album, Infinite
02:03and what you've been doing lately, but this track of course has been a classic in the 90s, but I
02:09have the feeling, I don't know if it's the same in the US, that it has another life with a
02:14movie, Eight Mile, you know, when Eminem just was freestyling on this beat in the movie. Did you notice that,
02:22like, it made a change for the track and for you when Eight Mile got out around 2000.
02:262004, something like that ?
02:27Definitely, because at that point, Shook was had already been out for, like, almost 10 years, right ?
02:33And then a new generation comes, Eminem comes, and he brings more life into the track that people had never
02:39heard it before.
02:40Yeah, yeah. It was like it was a new track for a new generation.
02:43It was, it was.
02:44I think you started to rap and to make music, like, in the late 80s.
02:49I think you met Prodigy at the High School of Art and Design in Manhattan.
02:53Or was it to just start doing rap back in the days ?
02:57Because now, when a young cat is starting to make rap, is imagining doing a career and stuff like that,
03:05and earning money.
03:06Back in the days, it was not the case. So, how was it to just start doing music ?
03:10It was just a dream, right ? Like, it was a dream that we started. It seemed impossible.
03:15We didn't think about money. We just wanted to, you know, just rap. You understand what I'm saying ?
03:20So, um, it was definitely different. We didn't, we didn't think about, like, money, making all this big money.
03:26We just wanted to get on, become famous. You know what I mean ?
03:30When did it become a job ? Like, something serious ?
03:33Ah, man. When we first went gold. You know what I'm saying ?
03:36When you, when you go gold, it becomes a business. They go, hey, congratulations. You just became a big business.
03:43So, with Infamous ? Infamous, yeah. Infamous.
03:47But, before Infamous, there was an album, Juvenile Hell. And we can, because this, this album is maybe someone, some,
03:54sometimes, like, underestimated by people, because it didn't really have a lot of success.
03:59But, there is some great tracks on this album, and we can hear, like, just some seconds of Eat It
04:04From The Back.
04:27How do you ? What's your look ? What's your take at this album now ?
04:32You know what my take is on that ? I would tell, like, other artists that's, like, trying to come
04:37out, like, will be artists, don't never give up.
04:40Yeah. Right ? You know what I mean ? It's, it's our humble beginnings, and we tried, and we tested
04:45the waters, and I think it was, it was necessary.
04:48I think also, like, around this time, you are already had, like, some proposals from, from Label. I think even
04:55Bad Boy tried to sign you.
04:57Like, when, how did you choose, like, the label you wanted to sign do ?
05:02Because we wanted to go with a label that we knew would fit our, you know what I'm saying, our
05:08character.
05:08Yeah. You know, so that kind of made the decision easy.
05:12Okay. What is interesting also is, of course, you're a rapper, but you're also a producer, and Avoc as a
05:17producer is something in the history of rap.
05:21It has been a lot of, like, you have a lot of copies, even in Europe, in France.
05:25How did you start to make music? Like, was it something in your family ? Was there musicians in your
05:31family, or were you the first one to use machines ?
05:33I was the first one to use beat machines in my family. I think I started making tracks out of
05:39necessity, because all the producers out at the time charge too much money.
05:43Okay. So, you know, I was already creative artist, so I was like, make my own beats.
05:47And how did you define your style ?
05:51Through my surroundings, through my environment, and that's how I found, you know, my niche.
05:56Okay. And it's funny because a lot of people wanted, like, the Avoc sound, even in France.
06:02And you produced for a great French rapper. I don't know if you remember that.
06:07Remind me which one.
06:09I will play the track.
06:10It's this one.
06:29So, this track is called Ave Cousin, and it is by Ruff. Ruff, in France.
06:34Yes, yes, yes.
06:35One of the greatest French rappers.
06:37And it was on the album Odelad Me Limit.
06:39Did you remember how did it happen, this collaboration ?
06:42Absolutely, because I always wanted to produce for, like, you know what I'm saying, a French rapper.
06:48And the opportunity came, and I just, like, sent all my dope beats to Ruff.
06:53Okay.
06:53What, back in the days, did you have a look at, like, European rap, or not really ?
07:00Because now, it's more open, you know, like, we can even, like, in France, like, in France, back in the
07:04days, we were just listening to, like, American rap and French rap.
07:07And now, we have Italian rap, German rap.
07:09Some rap from Africa, stuff like that.
07:11Right.
07:11Were you open to that, back in the days, or not really ?
07:14Nah, we wasn't exposed to that, because we only could get whatever, when we came over here, that anybody presented
07:20to us, you know.
07:21So, we wasn't exposed, just like, y'all.
07:24Yeah.
07:24Yeah, yeah, okay.
07:25And, when you produce, like, especially beats on In Famous, because you're the main architect of the Mob Deep Sound,
07:33you came with something, like, special.
07:36And also, I have people in mind, like, Reza from The Wu-Tang.
07:39I think you often compared to Reza, because you were two of the most influential producers from New York, like
07:46in the days.
07:46Was there a competition between you and Reza, DJ Premier, guys like that ?
07:51No, no. At least to me, it wasn't no competition, because I looked up to those guys, like, you understand
07:57what I'm saying ?
07:58I was just trying to be just as good, at least, you know what I mean ?
08:03So, in my mind, it definitely wasn't no competition, and I definitely appreciated them being around.
08:09Like, I used to listen to them and be like, oh, wow.
08:11Yeah, okay.
08:12I want to do that too.
08:13Who was, like, your most important influence in terms of production back in the days ?
08:18Were there a producer, like, you are looking for, like, Marley Marl or guys like that ?
08:22I don't know if there was one that you really loved his work ?
08:24I would have to say Marley Marl.
08:26Okay.
08:26Yeah, definitely, because he lived in my same projects, you know ?
08:29Yeah, yeah, yeah. And it's often, a lot of people say that it's one of the best and the first
08:35to really have a song that has been really influential for a lot of people.
08:39I mean, of course, I mean, it's Marley Marl, look at the Juice Crew, Big Daddy Kane, Biz Marky, Roxanne
08:46Chanté, a whole list of people.
08:48Is this the golden age for you ?
08:50For me, I would say yes. I would have to say Marley Marl is definitely the golden age for me.
08:55Okay. I would like to listen to a track, a track from your last album, the last Mob Deep album,
09:01Infinite, that was released last year, actually.
09:03And it's interesting because, of course, it came on Mass Appeal, the NAS label. And, you know, people are often
09:10afraid when a legendary group will release a new album, especially with Prodigy not being here.
09:18And it has like a lot of positive reviews. I think a lot of people love this album.
09:24Were you like, I also have the feeling that you really wanted to do something proper, respectful, and not just
09:32throw an album with like some hidden tracks or lost tracks.
09:36I think we can feel that it was really important for you to have a proper album like that.
09:40No, it really was. And, you know, I didn't just want to put any kind of music out.
09:44Yeah. You know what I mean? So I took my time, teamed up with Alchemist, you know, and we really
09:51was critical about everything.
09:53that we was trying to do is like, ah, no, not this one. OK, yes, this one, this beat, that
09:58beat. No, you know what I mean?
10:00So we took our time and we didn't want to just put, hurry up, let's put the music out. No,
10:05no, no, no, no. We took our time and you can hear it.
10:07Yeah, of course. Absolutely. Do you see like now, Alchemist is like another Mob Deep member?
10:12Of course. Yeah. Like big noise. Like he's part of the Mob Deep family now.
10:18For sure. I mean, you know, and we got lucky, you know what I mean?
10:21I mean, you know, Alchemist came into the fold in the late nineties with us and he's been with us
10:26ever since.
10:27And you see him, he got his own, you know, he's a legend. Absolutely. Yeah. Of course, he became a
10:33true legend.
10:34I think we can listen to this track. Clear Black Knights, maybe my favorite tracks of this great album.
10:39Well, of course, Mob Deep and with Rayquan and Ghostface Killah. So Mob Deep and the Wu-Tang on the
10:44same track,
10:44which is, of course, legendary. Clear Black Knights from Mob Deep.
10:49Look for me. Just look up in the sky of them clear Black Knights. You see me?
10:59Scorpio, child. It was written in the stars. I will be the one with 900,000 bars. Tape wrapped in
11:06back and right back there.
11:08Over and again. This is so not fair. You got a gun. So those we don't fear. You got an
11:14army. Well, pardon me. I'm not scared.
11:16Out my way. I'm getting a piece of paper out there. You in denial if you think I'm not top
11:21ten. You just a dirty pussy, nigga. Papsh man.
11:24I'm a dirty New York who love to crack veg. Over your head. I'm over their heads. I'm over being
11:30angry and just focused to bread.
11:33Magnify my brand. Larger than life. That's how we living. Like I'm fresh from a thousand nights.
11:38In that prison box. Hot pot. Five minute rice. And I'm Germany. Baiting, baiting. Tossing the dice.
11:44Gemini, child. It was written in the stars. Born guard body. You are looking at a guard.
11:50Went to A&D. Met P. Formed them all. The rest's history. You know we took it mad far.
11:55Rap dude. Traveled the world like Nat Geo. Worked myself through the matrix of Black Neo.
12:01Shit got real. Had to pack torpedo. No fuck shit. Break bread with your own people.
12:07Made peace with the shit that I couldn't change. And took responsibility instead of passing blame.
12:12Anything less lame. Set your five dollar ass down for a nigga make change.
12:18Got sharper with the aim. With a product you can trust. Stand on anything I put my name.
12:24Marked a life in that symphony. Never switched up even though I'm on that difference.
12:31Ayo 32 bar scribes. Tablets imprinted with mean darts. You can see the verse come alive. I'm a gel like
12:37petroleum.
12:38Bigger diamonds. Nairobi and drunk jury. Waving woo flags at the podium. Harvest the freshest grains.
12:44Gelato strains. I modeled the best bangers and wallows out of four main. Blasting stylistics. Dinosaur rings.
12:51My tongue spit hell fire. Gets scorched from the flames at your favorite. Rapper show with backstage passes.
12:57Jump out gun aiming with ball barker masses. If the price is right I'll snatch a life.
13:02Had cracked so many times and had cracked up dice. Call up the monkeys. Sick honey badgers and gorillas.
13:07Executive suite meetings. We piling in with killers. The disco bull spins and alligator villas. New year's four million. It's
13:15falling out the ceiling.
13:16Neo. Pico green. The Zeke's on some crane. Blow shots. It's like the 90s. Keep the dream.
13:22Leather pants. Stan Smith. Some blings. 850 a rag on it. Be kings. Ran every project. They know us. The
13:29clothes up.
13:30Slang came out of apartments. Toats and rollers. This shit's a gift mark. My word worth the soul off.
13:36Never a myth. Rhymes get harder than a crowbar. Similar to Ozark. All niggas in it. D-Boys the soldiers.
13:43Soldiers then lieutenants.
13:44Generals the flow wash. You white thugs in minutes. Some of y'all lost limbs. My mind's no repentance.
13:50All winners we mintin'. Eat club. Where's your mittens? Mine they clumpy. Get funky like chitlins. Siblings. The streets is
13:56horrid. Tomorrow we shrimping.
13:58Let's get it together. Just us one and meet me.
14:01Either you with or you against. Is you a simple or you stand on ten. Trying to separate the mice
14:08from the men. Real shit or bop it again. Make me axe you again.
14:24C'était donc le morceau Clear Black Nights de Mob Deep avec Recon et Ghost Fescula. C'est présent sur
14:29album Infinite. Dernier album en date de Mob Deep.
14:31France Inter. Medi Maizy. A la régulière.
14:37Su harmless haute.ались
15:01un de vos motants. Además
15:05de Itamar.
15:06C'est le premier album classique, Infamous, mais avant ça, on écoutait Clear Black Knight et c'est drôle parce
15:11qu'aujourd'hui, tu as un cap avec Suprem Clientel sur ça,
15:14qui est un album classique de Ghostface Killer.
15:18Je sais que dans les temps-là, on ne savait pas si tous vous étaient amis, il y avait une
15:24compétition à New York,
15:25il y avait toujours une amie entre Mobb Deep, Tribe Called Quest, parce que je sais que Q-Tip jouait
15:31un rôle dans votre carrière,
15:33et Wu-Tang, c'était toujours ami, ou comment c'était ? Parce que nous avons beaucoup de fantaisies sur
15:38vous.
15:39C'était toujours une amie, une camaraderie, ils étaient comme nos camarades, même si je n'en ai jamais vu
15:46avant.
15:48La première fois que je les ai vu, c'était comme « Yo, what up, Hav ? »
15:51Tu sais ce que je veux dire ? C'est comme que nous connaissons l'autre.
15:54C'était toujours une très forte amie. C'était vrai.
15:58Quand le Wu-Tang s'est entré dans les 36 chambres, c'était, bien sûr, quelque chose.
16:06En tant que New Yorkers, c'était aussi quelque chose qui te donnait la force de mettre à New York
16:12sur la map,
16:13et être encore au-dessus du jeu hip-hop ?
16:16Oui, bien sûr. Tu sais ce que je veux dire ? Parce que tu veux toujours représenter New York.
16:19Et quand tu vois des artistes comme le Wu, des groupes comme le Wu,
16:23qui viennent et se représente fort pour New York,
16:26ça fait que tu veux le faire. Parce que tu dois te rappeler,
16:28parfois, dans ces temps-là, d'autres régions étaient vraiment au-dessus.
16:33Surtout en Los Angeles et dans l'Ouest.
16:35Oui, dans l'Ouest. Et puis dans l'Ouest.
16:38C'était vraiment important de représenter New York.
16:41Oui. En Famous, bien sûr, nous l'avons juste dit, c'est un classique.
16:46Après Juvenile Hell, le premier album que nous avons parlé avant,
16:50était-ce que c'était votre motivation de faire un album classique ?
16:53Ou vous n'avez pas vraiment pensé comme ça ?
16:55Parce que c'était quelque chose de très grande,
16:58et ça a changé le face du New York rap, mais juste du global rap, en fait.
17:04Qu'est-ce que c'était votre state de l'esprit quand vous avez fait ce album ?
17:07Juvenile Hell, non ?
17:08Non, non, The Infamous, sorry.
17:10Oh, The Infamous. Oh, mon Dieu.
17:12Vous savez, nous avons juste fait un album qui n'a pas fait tellement bien.
17:15Exactement.
17:16Donc, maintenant, nous sommes confrontés avec ça.
17:18Steve Rifkin, le propriétaire de Loud Records, nous a donné une autre chance.
17:22Et il a dit, écoute, je ne vais pas essayer de vous contrôler,
17:25juste faire ce que vous faites.
17:26Il avait confiance en nous.
17:29Donc, c'était vraiment... Oh, man.
17:30C'était un peu drôle.
17:32Parce que c'était comme, ok, si on a fallé maintenant,
17:34c'est votre fault.
17:35Tu sais ce que je veux dire ?
17:37Et donc, nous venons là,
17:39avec un peu de help de Q-Tip.
17:42Il est venu comme notre grand-brother.
17:45Et nous avons fait ça, tu sais ?
17:46C'est drôle parce que j'ai l'impression
17:48que beaucoup de gens dans la histoire du rap
17:51disent ça sur Q-Tip.
17:53J'ai l'impression qu'il a aidé
17:55beaucoup de personnes talentueux.
17:59J'ai l'impression que Q-Tip est important dans sa histoire,
18:03il est important dans ta histoire,
18:04il est important dans ta histoire,
18:05il est important dans sa histoire de Kanye West.
18:06C'est funny.
18:07Il a aidé beaucoup de gens, actually.
18:10Parce que Q-Tip,
18:11si les gens connaissent ou pas,
18:12il est un connecteur.
18:15Tu viens à lui,
18:16tu demandes pour lui,
18:17si il ne peut pas,
18:17il va vous connecter avec quelqu'un qui peut.
18:19Ou il va vous aider.
18:20Il est juste un de ces gens incroyables.
18:23Qu'est-ce que c'est le secret
18:24de Queen's Bridge ?
18:25Comme, oh,
18:26ce quartier produit
18:27tellement de talentueux rappers.
18:30Comment ça ?
18:31Moi et mes amis
18:32jolent,
18:33nous disons qu'il doit être dans l'eau.
18:36C'est drôle,
18:37en fait.
18:39C'est drôle,
18:39parce qu'il est derrière l'eau,
18:41en Queen's Bridge.
18:43Je pense que
18:44Marley Mall et Jusku,
18:46ils ont beaucoup à faire avec ça.
18:47Ils ont créé l'inspiration avant.
18:49C'est drôle.
18:50On a parlé de...
18:51On a parlé de...
18:52On a dit que le dernier
18:52Moab Deep album
18:53a été créé sur Mass Appeal,
18:55le label créé par Nas.
18:57Nas, bien sûr,
18:57c'est un important
18:59Queen's Bridge rapper.
19:00Il était sur The Enfamous.
19:01Vous avez collaboré
19:01très souvent avec lui.
19:04Qu'est-ce que ça veut dire
19:05qu'on a créé cet album
19:07sur son label ?
19:08Infinite.
19:09Vous savez ce que ça veut dire ?
19:10Ça veut dire que
19:10je ne pouvais pas faire cet album
19:12avec quelqu'un d'autre.
19:12Ou quelqu'un d'autre
19:13que je peux penser.
19:15Donc,
19:16quand j'ai voulu faire cet album,
19:18je me suis dit,
19:20qui mieux faire ça
19:21que quelqu'un que je sais.
19:23Et c'est Nas.
19:25Qu'est-ce que c'est votre relation
19:25avec Nas ?
19:26Parce que
19:29nous avons vu que
19:30vous avez collaboré
19:31partout sur votre carrière.
19:33Il a été écrit
19:35Il a été dans The Enfamous.
19:37Et je pense que
19:38vous êtes les deux
19:38plus importants
19:40de Queen's Bridge.
19:41Donc,
19:43quoi est votre relation
19:44avec lui aujourd'hui ?
19:45Il est comme un frère pour moi.
19:47un autre membre de famille.
19:50Nous ne pouvons pas
19:51voir les autres
19:52pendant 3 ou 4 ans.
19:55Mais si je le vois
19:56encore,
19:56c'est comme
19:57j'ai vu l'aujourd'hui.
19:59C'est le type
19:59de relation que nous avons.
20:01Avoc est avec nous
20:02jusqu'à 23h.
20:18J'ai vu que
20:20je ne peux pas
20:21que j'ai vu
20:21de chien.
20:23C'est le truc
20:24C'est le truc
20:28qu'on a vu
20:29et le nombre
20:30de rappeurs
20:32partout
20:32avec style
20:33sur cette beat.
20:34Je pense qu'il a
20:35été l'un des
20:35les plus usées
20:36des rappeurs.
20:38Et après The Enfamous,
20:39Tu l'as fait de nouveau avec Hell on Earth, ton troisième album qui est aussi considéré comme un classique.
20:47Ou est-ce que c'était difficile de donner un bon follow-up à The Infamous ?
20:53Oh mon dieu, donner un bon...
20:55Un follow-up, un bon sequel à The Infamous.
20:58Oh mon dieu, tu sais combien c'est difficile ?
21:00Je peux imaginer.
21:01Comment peux-tu le faire comme ça ?
21:04Mais tu as réussi à le faire.
21:07C'est ce que certaines personnes disent.
21:09Pour moi, tu sais ce que je veux dire, j'aime The Infamous un peu plus.
21:13Mais la plupart des gens, mes supporters, ils disent que Hell on Earth était super.
21:18C'était difficile, mais...
21:20On l'a fait.
21:22Comment était le secret ?
21:23Parce que tu penses que cette époque, tu étais dans un certain mood,
21:26ou que tu as expérimenté quelque chose qui t'a donné la force pour faire ce problème ?
21:32Je veux dire, c'était un peu de malheureux.
21:36Tu sais...
21:37Certains de nos amis mûrent.
21:39Tu sais ce que je veux dire ?
21:40Et des choses de cette nature.
21:42Donc...
21:42Pour être honnête avec toi, dans ma tête, j'étais comme...
21:46Si The Infamous était dark, j'ai dit qu'on va darker.
21:49Ok.
21:50Et le titre s'appelle Hell on Earth.
21:52Donc...
21:52Tu ne peux pas faire plus de darker que ça.
21:56Et aussi, à cette époque...
21:58Et je ne sais pas comment tu as expérimenté ça, comme un rappeur et comme un homme.
22:02Parce que les médias disent beaucoup de choses sur la guerre entre New York et Los Angeles.
22:08Et bien sûr, certaines personnes, des grandes personnes, ont disparu.
22:11Mais...
22:11Tu, comme un rappeur, comme un homme,
22:15Est-ce que c'était vrai pour toi ?
22:17Parce que bien sûr, il y a eu des feuds avec Tupac et des choses comme ça.
22:21Mais parfois, avec les entrevues, les gens ont pensé que c'était plus des médias.
22:25Comme des gens qui orchestrantaient ça.
22:27Plus que des guerres entre les gens, en fait.
22:29Je dirais que c'était plus des médias.
22:33Mais je dirais aussi que nous savons qu'il y a des fans ou des supporters qui sont sur les
22:39fringes
22:39qui peuvent acter sur les médias.
22:41Donc, c'est ce qui a fait ça réel, dans ce sens.
22:45Oui, ok.
22:47Après ça, tu as fait aussi un très bon album.
22:50Parce que j'adore l'America's Nightmare.
22:53Je pense que c'est un bon album.
22:55Comment tu vois cet album maintenant ?
22:58Je vois cet album comme un point de tournée dans Maude Deep's carrière.
23:03On s'est quitté loud.
23:04On a essayé de nous trouver et mettre des musiques.
23:08Je pense que c'est un album bon.
23:09C'est un bon album.
23:10Je pense que c'est un bon album.
23:11Je pense que c'est un bon album.
23:12Je pense que c'est un bon album.
23:13Je pense que c'est un bon album.
23:14Je pense que c'est un bon album.
23:16Je pense que après les 90s, les 2000s et ce truc,
23:18c'était plus compliqué pour les New York rappers ?
23:21Parce que c'était aussi l'époque où Atlanta
23:24became like the new biggest place in hip-hop.
23:27How hard was it for New York rappers like you
23:30to just maybe exist in this environment ?
23:33It was really hard because when you have New York DJs
23:36now just playing nothing but other music or southern music
23:41while you living in New York,
23:43it can't get no more difficult than that.
23:45You know what I mean ?
23:46So it was hard.
23:47And look, rap was growing.
23:49It was expanding.
23:50And that's kind of hard to see your baby leave the house.
23:55It was something like that actually.
23:56Right, right.
23:57Did you instantly like the Atlanta sound
24:02or how did you feel back in the day with the Atlanta sound
24:06and all these rappers ?
24:07Because personally, I had troubles at first.
24:09to William.
24:10First time I heard T.I., I was like, wow, I don't like it.
24:13Now he's one of my favorite rappers.
24:15But at first, I had some troubles to understand it.
24:18Were you familiar with it ?
24:19It's the same thing, right ?
24:21It takes a second, right ?
24:23You try to understand it because you don't understand it at first.
24:26Because it's new.
24:27Exactly.
24:27And that's why it's emerging.
24:29That's why it's coming up because it's new.
24:32And it took me a while to understand it.
24:35But you know, I'm a music lover.
24:36And I understood it for what it was.
24:39And it was really something that probably was needed to hip hop.
24:43Yeah, yeah.
24:43To just have something.
24:44A variation, you know, a variety for sure.
24:47Yeah.
24:48And of course, you signed to G UNIT back in the day.
24:50Yeah.
24:50And you did some great tracks.
24:53Also with 50 Cent.
24:55And we can just hear some seconds of Outta Control
24:57because this track, it's crazy.
25:00It's my favorite.
25:00Yeah, it's crazy.
25:01Man, I get it popping in the club.
25:03Everybody show me love.
25:05Let's go.
25:05You know, I got what it takes to make the club go out of control.
25:11Good plan, turn the music up a little bit.
25:13Bounce with me now, shorty, let's get into it.
25:16You know, I got what it takes to make the club go out of control.
25:21Good plan, turn the music up a little bit.
25:23Bounce with me now, homie, let's get into it.
25:27I remember, from a French point of view, when you signed to G UNIT,
25:31there were a lot of critics, people did not understand that
25:34because 50 was like the biggest pop star in the world,
25:38even though he was a true rapper.
25:40Right.
25:40And you were, I think maybe you incarnated something more underground,
25:45even though you had success.
25:46and how did you, did you live like this?
25:49How did you feel about these critics back in the days?
25:52For me, you know what I mean?
25:53I welcomed it.
25:54I didn't care because I just thought about it like this.
25:57Mob Deep was this underground group, like you said,
26:00and 50 was this pop, big pop star.
26:03And it would bring Mob Deep a little bit more attention.
26:06And he was also someone who were like caring about New York
26:09because he was the maybe king of New York at this time.
26:13The one who were selling the more CDs and stuff like that.
26:15So I think signing people like you, like I think MOP also signed.
26:19MOP, he signed MOP.
26:21It was also something like mean something for New York.
26:24Right.
26:24I mean, you know, at a time when things was starting to try to change,
26:29you know, he signed, he signed his favorite groups.
26:31Yeah.
26:32You know what I mean? Basically.
26:33Yeah.
26:33And he put a spotlight on them.
26:35You said just before that your favorite Mob Deep album is The Infamous.
26:40Do you have a favorite track of The Infamous?
26:42A famous track on The Infamous album?
26:44I'd have to say Temperatures Rising.
26:46Okay. Sorry. I plan to play Give Up The Goods.
26:49Is it okay for you?
26:50That's fine with me.
26:51Because that's my favorite.
26:52That's one of my favorites.
26:53Okay, great. Mob Deep, Give Up The Goods.
26:55Classic track.
26:56Nice.
26:57What up, man? You know what I'm sayin'?
26:58So I be tellin' these niggas, man.
27:00Shit ain't a game, man.
27:01Shit ain't real, kid.
27:02Tell them done, man.
27:02Let them niggas know, man.
27:04Know what I'm sayin'?
27:04Shit is definitely real, man.
27:06Yeah.
27:06I'm tryin' to get this loot anyway.
27:08Ay, yo, Queens get the money.
27:09Long time no cash.
27:10I'm caught up in the hustle where the guns go blast.
27:13The fool retaliated so I had to think fast.
27:15Pull out my heat first, she pull out her seat last.
27:18Now who the fuck a nigga's livin' to this day?
27:20I'm tryin' to tell these young niggas crime don't pay.
27:23They looked at me and said Queens niggas don't play.
27:25Do your thing I'll do, my kids stay out of my ways.
27:28Tight car tryin' to survive in New York State.
27:30I can't stop till I'm eatin' off a platinum plate.
27:33Po-po comes around and tries to relocate me.
27:36Lied me up forever, but they can't deflect me, cuz.
27:39Having cash is highly addictive,
27:41especially when you used to have the money to live with.
27:43I pour a step back, look at my life as a hoe.
27:46Ain't no lovin' seen, the devil done stole my soul.
27:48I'm out for Delphia, Delphia, P's not helpin' ya.
27:51I'm tryin' to get dyslexus up, plus the cellular, your big noise.
27:54What up, cousin?
27:55I can't cope with all these crab niggas tryin' to shorten my rope.
27:58Yo, it's the R-A-Double-P.
28:00E-R-N-O-Y-D, niggas can't fuck with me.
28:03Comin' straight outta QB, pushin' to infinity.
28:06You ask, can I rip it constantly?
28:08Mentally? Definitely, to the death of me.
28:10Come and test me, trust me.
28:12Nigga couldn't touch me if he snuff me, so bust me.
28:14You gonna have to, cuz I'ma blast you.
28:16My liver goo like a miracle, ill-spiritual.
28:19I'm booin' with it, I'm gettin' on with it.
28:21And I'ma have it till I'm fuckin' dead ain't goin' with it.
28:23Cuz I'ma what? Compose a far-core.
28:26I'm a liver goo destructor.
28:27Don't make me buck ya, cuz I'm a wild motherfucker.
28:29You know I float, you know my steelo.
28:31Even pack my gap when I go to see my P.O.
28:34Jump out my hootie, pass my gap in my loopie.
28:36To my shorty, against my P.O.
28:38Try to troop me to the island, I know if I start wildin'.
28:41Flippin' on niggas, walkin' around with the nice gold medanions.
28:44But she didn't violate me, so I escaped.
28:46See, back to Queens, pumpin' the fiends.
28:48Make it more cream, know what I mean?
28:50I'm a natural-born hustler.
28:52Won't try to cut ya, pull out my phone, phone, and bust.
28:54Yo, ain't no time for fake attacks.
28:55Cuz brothers that fake jacks can link it on their back.
28:58These treats are real, can't roll without steel.
29:00I feel how I feel, cuz I was born and killed.
29:03Do what I gotta.
29:04They ain't a decent meal, brothers are starvin'.
29:06I'm tryin' to find a job, son, it's all about rockin'.
29:08So don't be alarmed when we come through.
29:10We supposed to, if you opposed to, get your face blown, dude.
29:13Off the map, cuz I react and check.
29:15My brother was a blessing wealth, so I act like that.
29:18Drug dealing, only messing shorties that's appealing.
29:21I'm fretting all the world once I start four-wheeling.
29:23Cuz back on the 41st, I be doing right.
29:26Tiffany and Jay getting bent all night.
29:28Yeah, who that?
29:29I've never seen him in my whole life.
29:31Step to his business, cuz it's only right.
29:33Ho-po ain't around, so I grab my pound money.
29:36Retaliated, so I hit the ground.
29:38My life was on the line, gotta hold my projects down.
29:41Can't see myself getting bodied by a clown.
29:43Ass nigga that ain't even from my town.
29:46Hit him up in the chest, now he's laying me down.
29:48Jetted up from under the benches, I started hearing sirens.
29:51I stopped firing, they cut ash like a diamond.
29:54Jetted to the crib piece, what a relief.
29:56Stashed the heat, then proceeded to pee.
29:58Out the window, call my son, yo son, we got beef.
30:01But no question, money had a problem, so I solved them.
30:04I got my mind on the stick, but that was time to get paid.
30:07Thinking of ways to take food already made.
30:10There's crime in the air, ain't no time to be afraid.
30:13Give me yours and get laid.
30:15Give up the kids and get sprayed.
30:19I got lots of love for my crew, that is.
30:23No love for them other crews and rival kids.
30:25All them out of town niggas know what time it is.
30:27And if they don't, they need to buy a watch.
30:30Word up, caught up in the crossfire, get they self heard up.
30:33Well I'll be sipping gin straight in a plastic cup, on a par bench.
30:36On 12th street, my whole crew's famous.
30:38You try to bust a gat and keep it real, but you nameless.
30:41First of all, slow down, you on the wrong route.
30:43Let me put you on your feet and show you what's at all about the street life.
30:46Ain't nothing to play with, no jokes, no games kit.
30:56Give up the goods, morceau classique présent sur album.
31:00The Insay Moose de Mob Tip.
31:03France Inter.
31:05Made in my easy.
31:08À la régulière.
31:19C'est un peu de courage, ils ont peur d'oser.
31:20Et dès que je rappe, ils veulent copier.
31:22Mon abdomen crache, comme le bar qui est d'un canon scié dans un parc, sur le dos d'un
31:25noir.
31:26Car dès que je rappe, ils veulent se sauver.
31:28Personne n'a envie d'avoir Dan sur le dos.
31:30Bouteille de chanpe dans une main et dans l'autre poigne un micro.
31:32Car j'écarte le QDM, c'est pire qu'un trap, c'est un gynécologue.
31:35Pour me battre, il faut un criminologue.
31:37Les mecs, là, je des cris de baleine.
31:39C'est un peu de mon france frère, il s'appelle Danny Dan.
31:44Et en fait, ce show, il s'appelle A La Régulière,
31:46et c'est grâce à lui, parce qu'il s'est toujours dit.
31:48Et il freestyle sur cette belle beat.
31:53Donc j'ai juste envie de jouer.
31:54Parce que je sais qu'il est un fan de Mobb,
31:56donc si il regarde ça, il sera heureux de te voir sur ce freestyle.
32:03Donc, on parle d'Infamous,
32:06d'Infamous, d'Infamous,
32:07ou de ce qui s'est passé pendant les années 2000.
32:10Mais tu as aussi des projets solo.
32:12Je pense que le premier album était en 2007.
32:17C'était appelé The Kush.
32:20Est-ce que c'était difficile d'aller solo ?
32:24C'était difficile d'aller solo, mais...
32:26Tu sais ce que je veux dire ?
32:28People are more familiar with me being with Mobb Deep.
32:32So, it's kinda tough when you try to promote it.
32:34They're like, okay, what's this ?
32:37So, it's kinda lackluster.
32:40You know, people don't really pay attention to it enough.
32:43But, as the time goes on, you know, people look at it like one of those hidden gems.
32:48Like, oh wow, it's like a solo album.
32:51Exactly.
32:51And there were some great tracks on it.
32:52And we can play a little bit of New York for life, of course.
32:58Right.
32:59Now pour that handy, don't worry about me.
33:02I'm right where I'm supposed to be.
33:04Mad at me, cause they not where they think they should.
33:07I'm here, I'm there, I'm in your hood.
33:11Late night creepin' cause you know I could.
33:13And if we get it on, then it's meant to be.
33:17I'm smiling at the judge when they sentence me.
33:19My IQ high ain't no test to bleed.
33:23Straight and wide nigga, every breath from me.
33:27I have the feeling also that now, over the last few years,
33:31a lot of people pay also more tribute to your song, to the New York song.
33:36Though sometimes, there was a time when it was not fashion anymore, you know, maybe.
33:41And now, with people like Griselda, like Conway the Machine, like West Sidegun,
33:45and of course Rock Marciano, I have the feeling that now it's more cool, you know,
33:51to say that this song has been influential.
33:54Do you feel the same?
33:55I mean, I do feel the same, you know what I mean?
33:57Like I said, what goes around comes around, right?
34:01You know what I'm saying? New York, we're this, other music starts popping and coming out.
34:07But then you got artists like Rock Marci, Griselda bringing more attention back to it.
34:14And it's always been there, it didn't leave, it didn't go nowhere.
34:18But you know, thank you for all this like that bringing the attention back.
34:22Yeah.
34:22Avok, l'un des plus grands producteurs de l'histoire du rap américain, est avec nous.
34:36Avok, I would like to play some of your most iconic, not often iconic,
34:42but often maybe some production that you forgot, and we'll discuss about that.
34:46Because you produce for a lot of people, and we can say about an iconic one.
34:50It's called Last Day, and it's on the album Life After Death by Biggie.
34:54All y'all niggas out there got a problem and shit.
34:57Can I live to my last day? Hittin' money's happy last day.
35:01Hittin' money in the fast way, and I only care halfway, but I still can't let you.
35:06So of course it's a classic, but it was on Life After Death.
35:10So for people who don't know this album, which is a shame, it's the second album by Notorious Big,
35:16after the first one that is a classic, Ready To Die, and it was like a blockbuster,
35:20double album with all the best producers from New York and stuff like that.
35:25Reza was on it, of course. So what was the challenge when you're called to rock on an album like
35:31that?
35:31I mean, you have to deliver, so how was it?
35:34I mean, for me, you know what I mean? I guess maybe call me cocky or arrogant.
35:38I mean, if you know, if they ask me to do some beats for Biggie, I'm like, all right, cool.
35:43I'm just gonna do like Mobb Deep, like if I'm making a beat for me, you know,
35:49I'm just gonna give it to him, and that's what I did.
35:52Okay. It's a classic, of course, this album.
35:55How do you, is it important for you to just be present on an album like that?
35:59Is it possible? Well, no, you know what I mean?
36:03I mean, I appreciated when they gave me, when Diddy gave me the call.
36:08And you know what's so crazy about it, that's not even the first beat I gave him.
36:13He took a beat already, and the beat got lost, and I had to make a new one.
36:18Yeah, because back in the day, beats could be lost, and it was lost forever, actually, yeah.
36:24Yeah, they lost. I think somebody did it on purpose, but...
36:29Okay, another production, maybe less iconic, but interesting, this one for Shaquille O'Neal.
36:35I represent Newark, New Jersey. No digging. Put this down for my fam in the future. Into my center, pull
36:41our size, do, do, do, do, do, do.
36:42And I'll boot you. Age 24, y'all gonna see me in history books. Omega Sci-Fi represent, throw up
36:48them books.
36:48And yo, I'm trying to get this money.
36:49Because there was a time when legendary basketball player Shaquille O'Neal released some albums.
36:55Yes. How was it to work with him?
36:58It was crazy because, first of all, I didn't even know that Shaq rapped.
37:02And then he contacted us, like, yo, I want more Updeep on the song.
37:06So he flew us out to his house in Orlando when he was playing for Orlando at the time.
37:10Yeah, Orlando at the time, yeah.
37:11Right? And we did the song. It was just crazy.
37:14And it's funny that you played this song because yesterday, last night, this sample came on on the radio, I
37:20guess, or they were playing it in the car.
37:22And it was this sample, and I said, oh, I did this sample for Shaq.
37:26This for Shaq, yeah. Do you remember every track that you sampled or you forgot stuff?
37:31Not at all at all. Okay.
37:33But this, it's interesting, like, how do you feel about...
37:36Because now, there is less sampling because it costs expensive service, stuff like that.
37:42Like, do you regret that people don't use samples anymore or not often as it used to be, or are
37:47you okay with it?
37:48I'm okay with it because it just make it better for me. You know what I'm saying?
37:52It makes what I do different than the next person.
37:55But is it more difficult to sample than it was in the 90s?
38:00I don't know. It depends on how much the originator is going to charge you to use the sample. You
38:05know what I mean?
38:06How good you chop up the sample, how creative you are with it, you know?
38:11Okay. Another production from Prodigy on his first solo album, H&IC.
38:16Let niggas bring them down in the day they cool, after six they don't want a nightgown, loud sounds, expected
38:23after sundown.
38:24Man down, have crowns, get shot down and right now.
38:27Wanna beat thugs, is this sugar in the tank? Wanna beat thugs, no cash in the bank?
38:32Wanna beat thugs, up north get rape, wanna beat thugs.
38:36So because we, of course Prodigy, may he rest in peace is a fantastic rapper, one of the best who
38:44ever do it.
38:45And he was your brother. When he did this solo album, H&IC, for I think it's truly classic New
38:54York album.
38:56How was it for you? Because it's not a Mobbip album, but you're still on it.
39:00How did you feel about like P doing his thing on his way?
39:05I felt real good about it because, you know, Prodigy was one of those artists that I would love to
39:10see him spread his wings.
39:12Right? Not just be, you know, stuck here. Like, no, you one of the dopest MC's out there, go ahead
39:18and let them hear you more.
39:21You know what I mean? So I always loved it.
39:22Okay. And this album is great, H&IC. It's really great.
39:26And the second one also is great, H&IC. It's really like great New York album.
39:33And it really smells New York. Even when you don't know New York, you feel New York in this album.
39:39Another collaboration with Eminem.
40:01Eminem, of course, one of the best rappers ever. And we talk about it when we talk about 8 Mile.
40:08When you collaborated with him, I think it was on Recovery, on this album, which was a lot of success,
40:14this album.
40:15How was it to work with this genius?
40:18I mean, it was really dope, man. I mean, to be called upon by one of the greatest MC's in
40:23hip hop.
40:23I mean, it really kind of put a little bit of pressure on you. But at the same time, it
40:27makes you feel good.
40:29I got to meet him, one of the most down-to-earth rappers you could ever meet. I was surprised.
40:35I was like, wow.
40:36And I have the thing, he's a big fan also. And he says it. Like, he's not ashamed of saying
40:40he's a fan of EPMG, of MobbD.
40:43Right. You know what I mean? So you could tell from artist to artist that he appreciates the art.
40:48So it kind of made it easier to work with him.
40:50Jack, you saw a lot of great rappers in the booth. Who was the one that impressed you the most?
40:57Nas.
40:58Nas, okay.
41:00Acuity?
41:01Yeah, just hands down. You know what I'm saying? One of the dopest MC's I've seen going to the booth.
41:08You know what I mean? And Prodigy, of course.
41:10Of course, of course. And yeah, two of the best rappers ever. But it's great also because, like you mentioned,
41:16Nas,
41:16and I have the feeling that he released one of his best albums, like four years ago.
41:22You know, like he's still doing, of course, Ilmachi cannot be topped and we know how great it is, but
41:27he's still like relevant and doing like great albums.
41:31He's active, you know what I mean? And he is like, was kind of like the blueprint of older artists
41:38being able to still put out music.
41:41Exactly, exactly. Another collaboration, I think, it was in 2016, Real Friends.
42:08Real Friends from Kanye West, it was on Life of Pablo, classic album also.
42:13Or was it because, you know, on this Kanye album, you have a lot of people in your credits.
42:19And I think it also, it was with this album that he was changing tracks and stuff, you know, even
42:24when the album was supposed to be already released.
42:27So was it hard to work on a track like that? Did you know your role? Of course, I know
42:31when he called Avok, he called Avok for a reason.
42:33But how was it to work?
42:35You know, working on that album, Kanye is unpredictable in a good way, right? Like, so you might be making
42:43beats for that album, but you don't know if it's going to make it on the album or not.
42:48And you don't know who else is going to produce on it. So when I say unpredictable in that way,
42:53it's like, he's like the mad scientist, you know what I mean?
42:57And so, you know, I like working with him because you never know what you're going to get in the
43:01end. And then when you finally hit the final product, you're like, OK.
43:07Is there someone you never produced for and you still would like to produce for?
43:13Hmm. There's a couple of people I got on my list, but I'm not going to let the cat out
43:17the bag. I'm going to let it happen.
43:19OK, great.
43:19I don't want to jinx it.
43:20OK, it's OK. I would like to play a track for you. It's a track for a French rapper.
43:25It's called Jewa Lusen. It just released a track which is called Ikebukuro and it's great. I will play for
43:33it and you let me know if you like it or not.
43:35And we will be back with you, Evoque, just after this track from Jewa Lusen.
43:59Yes.
44:01We paid what it costs. If our lives don't look like it, it's that I've achieved my career. I'm in
44:06a Ikebukuro.
44:07Jeter Hurtzcon, les ruts, assisant sirent ailleurs et le sirop cool. Ils laissent des silences courts, pour mieux gaver des
44:14types malléables. Depuis sans album, tu la ferme quand t'as rien à dire.
44:18C'est plus facile pour baiser
44:20Et je sais joindre l'utile à l'agréable
44:22C'est toujours qui dans la réale
44:24On veut sortir la tête de l'eau comme tous les amphibiens
44:27Regarde comme mon flow épouse la prod
44:29Je connais des gens qui auront pas le luxe de se marier aussi bien
44:33On fait pas le même usage de plateforme
44:35J'écoute pas la musique qui plafonne
44:37Tous ces rappeurs te disent la vérité
44:39C'est des mecs du milieu
44:40Parce qu'ils sont pas nuls mais sont pas forts
44:42Je leur réponds pas, crois que j'ai pas de faune
44:44En vrai c'est délicat, je connais des rêves qui ont la vision
44:46J'en connais qui sont pensés tellement riches
44:48J't'ai dit 4, les 3-0 sur ton chèque
44:50J't'ai dit 4, avec les places que j'grave sur ma pochette
44:52Que j't'ai dit 4
44:54Je supprimerais beaucoup si j'devais trier
44:56Leur langage est soutenu
44:57Comme Endaron après la perte d'un fils
44:59Ou un flic meurtrier
45:01Vos MC meurent pliés dans l'ostude
45:04Et les corps finissent sous pente-lette
45:06Check, ils font que bavés
45:07J'ai à croire qu'ils viennent seulement de naître
45:10Y'a toujours un nouveau snake
45:11Tous les jours un traître
45:12Tous les jours un jig
45:13Et sans plante-lette
45:39C'était, je vais le dire en français, Jiro Lussen avec le morceau
45:42Ike, Bukoro, qu'est-ce que tu penses, Evoque ?
45:44J'ai ressenti ça
45:45J'ai toujours ressenti le flow
45:49J'ai essayé de voir où il a lancé avec ses flows
45:52Et le sonneau
45:53Et le sonneau était fou
45:54Oui, c'est vraiment bon
45:55Je pense que c'est pour un gars qui s'appelle Besso
45:56Merci, Evoque
45:58Et on revient tout de suite avec Evoque
45:59Dans la régulière
46:04Evoque, j'ai encore des questions pour toi
46:05J'ai beaucoup de questions pour toi
46:07Mais nous n'avons pas beaucoup de temps
46:08Mais tu as fait un remix
46:10En fait, quelques semaines
46:13De George Smith
46:14Qui était sur le dernier album de Mobb Deep
46:16Et tu as fait un remix de un track classique de George Smith
46:19Qui s'appelle Blue Lights
46:20On peut l'écouter
46:32Sous-titres par Jérémy Diaz
46:56C'est drôle parce qu'on connait tous le track classique de George Smith
47:00Qui est un peu ancien, il y a 10 ans
47:03Et ce n'est pas une version totalement nouvelle
47:06Est-ce que vous aimez faire un remix comme ça ?
47:09Une nouvelle version de ce que vous connaissez ?
47:11Oui, parce que j'aime les challenges
47:12Tu sais ce que je veux dire ?
47:14Mais je veux dire...
47:15C'était difficile d'être plus près au top de l'original
47:19L'original est tellement de classe
47:21J'ai juste eu l'occasion d'être un part de ça
47:25Sur un remix
47:27Elle était présente sur le album de Mobb Deep
47:30Qu'est-ce que vous avez avec Georgia maintenant ?
47:32Parce que quand j'ai joué sur un album de Mobb Deep
47:35Je n'ai pas vraiment envie de avoir Georgia sur ça
47:37Même si tu as fait une collaboration avec les chants et les chants des chants des femmes
47:41Mais c'était une surprise et ça a fonctionné
47:44Qu'est-ce que c'est le secret de la chimie ?
47:48Vous savez...
47:51Je ne sais même pas ce que c'était la chimie
47:53Mais je sais juste qu'une chose c'est que Mobb Deep
47:56Un artiste légendeur
47:59Et puis vous avez Georgia Smith
48:02Un artiste iconique dans son propre sens
48:05Elle a apporté son énergie
48:07Et c'était juste un match parfait pour cette chante
48:10Sur ce dernier album, Infinite
48:13Les beats, étaient-ils tous les nouveaux ?
48:16Comment avez-vous travaillé avec Alchemist ?
48:18C'était des beats de quelqu'un de 10 ans ?
48:23Comment avez-vous réussi à avoir des choses cohesives à la fin ?
48:27Non, c'était tous les nouveaux beats
48:29Tu sais quoi ?
48:31J'ai apporté les verses de Prodigy
48:34Et...
48:37Enfamistise-les
48:38Si c'est un mot
48:38C'est ton mot
48:40C'est ton mot
48:42Et tous les verses que tu as de Prodigy
48:45Tu l'as ajouté dans ton bas
48:48Tu l'as gardé ?
48:50Non, beaucoup de les verses sont de la famille de Prodigy
48:53Ils m'ont envoyé des verses
48:55Et je me suis dit « Ok, merci ! »
48:57Et puis on a travaillé sur ça
48:58Donc ça veut dire que tout le monde
49:00vraiment voulait que cet album soit ici
49:02Pour existir
49:03Et même, Peet Family
49:05Tout le monde voulait un nouveau album d'album d'album
49:08Je veux dire, c'était le temps
49:09Mais tout le monde a d'accord
49:16Parce que c'est important pour la famille
49:21Ils étaient dans le processus de nourriture
49:23Comme le reste de nous
49:24Donc, c'était pas quelque chose que nous pouvons rassurer
49:27Et tu as aussi fait un projet en 2020
49:32Dans le nom de Prodigy
49:35Donc, c'était aussi quelque chose que tu voulais protéger ?
49:40C'était un projet fait par un autre artiste
49:44Et il m'a demandé de le produire
49:46Et puis, son nom était M. Flea
49:49M. Flea
49:50Il m'a dit « Yo, je veux que tu le produire »
49:52Et je me suis dit
49:53Et c'était comme un de Prodigy's best friends
49:56Tu vois ?
49:56Tu vois ?
49:57Donc, je suis vraiment heureux de faire ce projet avec Imp
50:01J'encourage tout le monde à écouter cet album
50:05Parce qu'avec l'album, quand quelqu'un n'est pas encore là
50:09Il peut être compliqué et ça ne peut pas soundre naturellement
50:13Mais tout le monde l'a dit
50:14Je ne suis pas le seul à le dire
50:16Donc, je pense qu'il est très important
50:18Même pour les gens qui veulent découvrir Mob Deep
50:19Ou juste pour les gens qui sont fans de Mob Deep
50:22Et qui sont peur de jouer
50:23Je pense qu'il est très important
50:25Même pour comprendre le monde de Mob Deep
50:27Légacy
50:28Évoque, j'ai une question final
50:30En français, il s'appelle « La question qui tue »
50:33Donc, peut-être qu'il s'appelle « La question qui tue »
50:35Je ne sais pas
50:36Oui, la question qui tue
50:43Évoque, pour toi !
50:44Ok
50:45Ok
50:45C'est ton personnel personnel
50:49Quel est le meilleur New York rap album ever ?
50:54Le meilleur New York rap album ?
50:56Le meilleur album de New York
50:58Le meilleur album de New York
51:00« 36 Chambers »
51:02Oh, ok
51:02By Wu-Tang
51:03Vous n'êtes pas dit « Enfamous »
51:05Je donne Wu-Tang l'adresse sur ça
51:08Parce que j'aime l'album
51:10C'est trop évident pour moi pour me voter pour moi
51:13Oui, oui
51:13Vous savez quoi ?
51:14Mais si ce n'est pas « 36 Chambers »
51:15Ce sera « Enfamous »
51:17Ok
51:17Vous vous souvenez où vous étiez
51:19Quand vous écoutez ce album de Wu-Tang
51:21La première fois ?
51:22Absolument
51:23J'étais frais du rencontre
51:25Avec Steve Rifkin
51:27Je suis rentré
51:27Parce qu'il m'a donné
51:28Le tape
51:29Le cassette tape
51:30Et je suis rentré
51:32Au projet de Queensbridge
51:34Et je l'ai écouté
51:34Et c'est là où je l'ai écouté
51:37Vous ne connaissez pas ces gens
51:38En fait ?
51:39C'était juste un nouveau groupe ?
51:41Je ne les connaissais pas
51:42Je ne les connaissais pas
51:44Steve Rifkin dit
51:45C'est un de mes groupes
51:47C'est Wu-Tang
51:48Je n'ai aucune idée
51:50Qui c'était
51:51Ou d'où ils étaient
51:52Mais j'ai écouté
51:53Et j'ai eu
51:55Et j'ai eu le plus fou
51:56Comme tout le monde
51:56Et c'était parce qu'il y avait tellement
51:58Ils étaient tous
51:59Ils étaient tous
52:00Ils avaient tous leur propre style
52:01C'est vrai
52:02Ils avaient tous leurs différents styles
52:04C'était différent
52:05C'était nouveau
52:05C'était quelque chose
52:06Que le rap avait besoin
52:08Parce que
52:10Le West Coast
52:11Il avait pris le temps
52:12C'était nouveau
52:12C'est parti
52:15C'est parti
52:16C'est parti
52:18C'est parti
52:19C'est parti
52:24C'était parti
52:46Ce qui est intéressant est le flow.
52:48C'était vraiment libre.
52:49Même si la production de Résar
52:51c'était pas vrai
52:54mais c'était bien.
52:57C'était bien.
52:58Tu as parlé de
52:59que l'Ouest était
53:02le plus grand place dans les années.
53:04Tu as aimé ces albums ?
53:07C'est l'un de Dr Dre,
53:09ou c'est l'autre ?
53:10Je suis de New York et je ne veux pas écouter ça.
53:11Je l'ai aimé.
53:12Je l'ai aimé.
53:14Je l'ai aimé.
53:16Je l'ai aimé.
53:18Nous l'ai aimé.
53:19Mais nous l'avons aimé.
53:23Nous devons faire quelque chose.
53:25Nous devons faire un bruit.
53:26C'était inspirant
53:27de voir que l'Ouest fait leur chose.
53:30Comme un artiste, c'est comme ça.
53:31Tu n'as pas l'honneur.
53:33Ok.
53:34Tu as dit que Marley Moore
53:37a été la première influence pour toi.
53:43Après ça, dans les années 90s ou 2000s,
53:46pour toi,
53:47les producers qui influencent vous le plus ?
53:49J'ai demandé le rappeur.
53:51Est-ce qu'il y a des producers qui disaient
53:52qu'il faisait ça ?
53:54Dans les années 90s ?
53:56Je devrais dire
53:57Pete Rock.
54:00Pete Rock avec quelqu'un
54:01que j'ai regardé.
54:03« Man, ces beats sont incroyable ! »
54:06« Comment tu fais ça ? »
54:07Oui.
54:08Merci beaucoup, Evok,
54:10pour être ici aujourd'hui.
54:12C'était vraiment un plaisir et un honneur pour toi.
54:14Et un rêve pour moi.
54:15Juste de rencontrer toi.
54:16Parce que tu es vraiment important pour
54:18« Hip-Hop Heads »
54:19dans la France,
54:20et en Europe,
54:20et tout le monde.
54:21Merci beaucoup.
54:23Pour que les gens puissent écouter
54:25« Infinite »
54:26Je vais changer en français.
54:27Le dernier album de Mobibu,
54:29c'est « Infinite »
54:29qui est disponible partout.
54:30Le remix de George Smith
54:31qui est disponible aussi.
54:33Le remix de « Blue Lights ».
54:34Merci beaucoup, Evok,
54:35d'avoir été là aujourd'hui.
54:35Merci à toutes les personnes
54:36qui ont participé à la fabrication
54:38de cette émission
54:38qui a été préparée par Alexia Lacour,
54:40Redouane Tella,
54:40réalisée par Gaëtan Kouli,
54:42la programmation musicale
54:43dessinée par Jean-Baptiste Odibert.
54:44La Technique ce soir,
54:44c'était Laurent Beaudoin
54:45et Gaspard Guy Bourget.
54:46Merci aux équipes web et vidéos.
54:48On se retrouve demain
54:48avec NASA.
54:50Thank you, Evok.
54:51Thank you.
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