 a manager called his own artist music trash on a public forum. As a matter of fact his artist music was so bad to him that he sued him over it. We're gonna talk about what makes music objectively trash or objectively quality. Can't you really check some boxes to determine one or the other? This is a court case by the way. In my opinion this could dictate a lot of things coming up in the future of the music industry and we're going to tell you why you should be threatened by this as an artist. If you don't know what we're talking about we're about to get it to it today on this episode of No Labels Necessary. Let's get it. We made a post about it on No Labels Necessary Instagram. Make sure y'all follow us during the conversation on IG if you aren't already. But in a lawsuit against Chance the Rapper, Pat Corcoran, Chance the Rapper's ex-manager alleged that Chance only took five months on his debut album, The Big Day, and this resulted in poor commercial performance with the bulk of the music being primarily freestyle driven. The lawsuit called it a freestyle driven product of sub-par quality and a complete deviation from the meticulous writing process that brought Bennett fame for his wordplay and wit and cited multiple incidents of Chance ignoring Corcoran's management advice which allegedly led to his firing. We'll stop right here. First point, it only took this man five months to create your project and you put it out there and it's not good. You didn't really put that much time into it. Let's get straight to the artist rebuttal. We're going to talk about it. Rush D says blueprint was made in one session as Jay-Z's blueprint. Legendary project. Johann Lennox, shout out to Johann, another artist, said great albums have been made in a couple of weeks. Hadassah said, bro, this is dumb as fuck. There is no rules to art. It can take 15 minutes or 15 months to make a masterpiece. An anonymous source sent us a DM with a link to top 10 music albums recorded in a very short time. Machine head, Deep Purple, Black Sabbath's project Black Sabbath. According to Tomi Yomi, it was recorded in a single day and the session lasted 12 hours. It was mixed the next day. There you go. It's crazy. Kind of Blues by Miles Davis. It was recorded in only two days on March 2nd, 1959 and on April 22nd, 1959. One of the best selling jazz albums of all time and one of the most influential albums of the 20th century. Led Zeppelin, self-titled Led Zeppelin. According to Jimmy Page, it took 36 hours spread out over several weeks and we're getting into fishy territory. That's weird. Are y'all literally clocking in when you create your project? I don't know, man. Why y'all doing that? Ramones, self-titled Ramones. There's a pattern here. Their debut album was recorded over seven days and it's also a very influential album. Bob Dylan, self-titled Bob Dylan. Bob Dylan's debut album was recorded in two days. Come on. We could keep just going and going and going. The time period does not seem to be something that makes and breaks whether he put the right effort in or not or whether it's quality or not. You said five months, there have been greater albums that have been created in shorter periods of time. Yeah. I'm sure there have been terrible songs that took a long time to make. That is a good point. People have worked hard on bad music. I'm sure they have. However, I think the idea of essentially clocking an artist in and that way where you say, oh, it has to take this period of time and it has to have all of these specific circumstances does take the artistry from being art to assembly line work as if they're in a like legit traditional job. And that's just not what it is. Yeah. So I want to play devil's advocate here a little bit, right? And I would say if I am this artist manager and I have been your manager for a good portion of your career, I think it's fair to say that I have picked up on nuances of your work style, your work cadence and wet bags you do really well in versus wet bags I would prefer to keep you away from, right? So Pat even said in this post, he completely deviated from the meticulous writing process that brought Bennett fame. So if I'm a manager and I'm looking at man, for as long as I've been working with you, the best work that has come from you was the work that took you X amount of time to produce and actually sit down with and work on. And then you come and give me something that is outside of that timeframe, less than that timeframe. I think it's a natural response to be worried to be like, man, if every single amazing thing I watch you do took you at least seven months, and you just knock this shit out in two, I'm gonna be scared. I'm gonna be a little nervous, man. The artist will make the point of art changes and I could be trying something new and you could be wrong, right? And I could make the argument from the managerial side, the business side of like, I could be wrong. But historically, history has proven that I more than likely won't be, you know what I'm saying? And not in every artist's case, but in your particular case, because if you took the same argument to like a Lil Wayne album, you know, like Lil Wayne is an artist that is and even Jay-Z, somebody mentioned Jay-Z, right? Jay-Z and Lil Wayne were both artists who built a name for themselves off of being able to make really good songs really quickly. Like that was that was Wayne's whole thing for like five years in a row. Like, yo, like, look at me, I go in the booth, seven minutes, I'm out. Two weeks later, the label got it. A month later, it's a hit. You know what I'm saying? That was that was his whole brand. But if you're not an artist that's cut from that cloth, you can't expect us to be as favorable towards it because you have never done anything or maybe never done anything, but you haven't done enough to possibly prove it. Or like I said, I'm looking at where your best works came from. That part is fair in terms of this argument. Like the best way he framed that was following it up with saying this was a complete deviation from the meticulous writing process that brought Bennett to fame for his work place. So I'm only holding you to your standard and past behavior. Exactly. Yep. He has some sensible argument there. I'll give him nothing. All right? That is there. With that being said, Taj Keen, for example, shout out Taj says when you are a true creative, it takes time because you have to live through your music. You have to change and a few months isn't enough to reinvent yourself. Sounds like Chance was just uninspired though. So what if you are forced or tasked with dropping a project and you aren't inspired yet? So you are putting out music based on your skill set, but you aren't putting out music based on your authentic expression because you have nothing to express yet. Yeah. I feel that. I feel that. That's a good point. Somebody else said conspiracy Nick said there are phenomenal albums that were created in less time than that. However, those projects included some of the greatest producers, writers, etc. to ensure that albums were quality products. Those albums don't sound like they were made in a month or less. They don't sound like a lot of them don't sound like that. Right? But what does that really sound like? Right? The big day literally sounds like it was created the way the manager said it was. It was rushed, half-assed, no thought, not cohesive, etc. It ruined his career. The success he had leading up to his album may have doomed him low-key as there wasn't really any pressure per se since every project leading up to it, including features were fired. He let that go to his head. Now look. All right. Now there was a mouthful said there. Obviously a lot of people just don't like the project. There are a lot of people who feel like something's not hitting. I felt like it was cohesive personally. I didn't think that that was the issue. I had some issues with the project in terms of that versus what I had liked that I heard in the past. But cohesive wasn't one of them. As a matter of fact, if they were just like, I don't know, nine songs that I liked and it didn't feel cohesive, then I wouldn't be too worried about it. Right? It was just like, well, shoot, I'm still listening because I got songs that I like, but I do love cohesion the best. Five months kept. Sound like bro freestyle it all the same day. All right. So look. That's disrespectful. That is. This person said the black album was recorded in three days. I haven't heard that. But like again, this just begs the question. As an artist, all right, like, should, how much influence should your management team have on you? If you have a business, all right, and things have to keep moving, how much time should you be able to take in between projects? All right? And if you need to take more time, what does it really look like to build your business around that? Because there's so many things that a manager might be seeing in terms of your career that you might not be giving them credit for it. They could be acting in what really seems to be your best interest. But you're just like, oh, my gosh, you, you're trying to downplay the art. You don't care about the art. And it's like, no, I care about the career that protects and supports your art that could be the direction that the manager was coming from. But at the same time, there was somebody who said, well, this person, like this project in some way sounds like it was heavily influenced by the manager or restricted by the manager who is not an artist. I didn't like that quote, because they said not an artist. They should have said not the artist. You don't know Pat's background. He might have some musical background. Like it's about your project. Because just like T-Pain talked about these other artists who he shouldn't have listened to or if he did listen to them, it wouldn't have allowed him to have a career he had. It's not about being an artist. It's about being the artist and this being your work. And you ultimately being the person that this relies on not letting any outside POV artist quote unquote or not to affect you. But I think that's those two questions, right? How much should that business influence in the manager have? And then how much should the artists keep that out? And I think that's a balance that everybody has to find. Stop what you're doing. We got to interrupt you to let you know you can win $20,000 dollars by submitting your music to 2lost.com slash collab for the crown. We're looking for the best songs and we're partnering with 2lost. So if you think you got some great music, if you think you got the goods, go to that site 2lost.com slash collab for the crown. Check out the instructions for the contest. Win up to $20,000 and make sure you put in no label when you create your profile on 2lost so you can make sure you get three months completely free. That's 2lost.com slash collab for the crown. And again, when you sign up, put in the code, no label, all one word and you will get three months completely free. Go win that $20,000 dollars because you know you got the goods, you got the talent, you just got to make sure you submit. Peace. And that is an unfair criticism of this album. To your point, listening to it doesn't feel like a rush project from a quality standpoint. I think now that I've heard it out loud, I lean more towards Taj's comment. It sounded like he was uninspired pretty much. He was in a different place than he was when making the other albums. Now if you think about what this post is saying and it sounds like they were going to have some internal issues behind the scene, then that would make sense to me. That's better. I don't know man. Uninspired sounds kind of wowed of an accusation for a project that he made heavily around his wife in a relationship. Damn bro, you weren't even inspired. But I do like more the idea if you and your management team are at odds, you were probably drained. Less uninspired and more drained. Any artist that goes through the process of litigation or, and it's not just an artist by the way. We make things artist specific. Anybody, when you're going through processes of like you're dealing with legal battles or you're dealing with just the house not being in order, you know fighting going on at home, it takes away from the output you're able to put into your right work creative or whatever. And if this was going on, they were already at odds for one reason or another, which probably was behind this project and had other things involved. But they know when it comes to the legal battle, this is the only part that can be considered. Right? So that's not the whole story being told here. I guarantee it. But when you're going through those moments, it can be really hard to creatively feel safe and put out what you need to put out. Yeah, man, that's why artists got to start talking more, man. Like they let, you know, too many people like us control the narrative. Because there are times where you will hear a song and hear music and yeah, you'll think like, oh, they rushed it. They didn't care. I don't know. They got with the wrong team. And a lot of times what you hear when you hear a decrease in quality from an aspect that you hear real shit going on in the artist's life, you just hear it in a different in a different way. He didn't put it into words and the music. You now hear it in terms of like, okay, this song sounds, you know, less shiny because, you know, the artist was on tour for the last 14, 15 months. So maybe they their ear shot and they didn't hear certain things where they would have heard if they made it before they went on tour. Or, you know, you can hear that the artist was tired by the time they got to this point. You can hear that, you know, there have been times where like I've known artists personally and like I knew what was going on in their real life and you hear a song and you can hear you can hear that thing reflecting back in the music. And that a lot of times doesn't get considered when fans are critiquing the music because they don't know, you know, like this is even this, this is information that came out well, like two, three years after the album came out, you know, so now there are people who might give Chance Bennett for other dollars. Oh, maybe, you know, maybe this situation is what caused you to produce the output you put out. But, you know, it's like, where was that at the time at the time? It probably been a little bit more impactful if Chance came out and said like, hey, this is the way it is because I was doing X, Y, Z, there probably been a lot more empathy for him in the narrative of the conversation with the change, especially at that time when he was like King, Andy, you know what I'm saying, like he couldn't do no wrong at that time. Now, he could do some wrong, you know. See, I think with something that you said made me realize this, your life is going to go into your music and we period talks about I'm going to live life, right? Get these experiences, evolve, reinvent myself and put that in my music. Well, you not doing that will get put in your music. And sometimes life gets put into your music the way you want it to, through the words or this intentional expression. And sometimes it gets put into your music in terms of what's not there, the mistakes, the lack of lack of attention to detail and what that symbolizes is another piece of art, right? Sometimes art doesn't have to be beautiful, right? It shows the art that is still a symbol of that time period in your life where I was like, damn, there was that fight that I had right there. There was that day that I had to leave the studio before I even had a chance or my my my kid, you know, was in trouble at school and I had to leave whatever, whatever went on like that resulted in the outcome. It's there, right? Whether you like it or not. And that's just something that I guess most numbers every artist should be aware of because people are going to react and whatever that looks like people are going to rack and most of them aren't going to look for context to the thing they're reacting to. Yes. They're just going to say trash. It's going to be binary. Yep. Yep. It's like King of the Hill. Yep. Yep. Yep. And I do want to leave it on this. I do think sometimes working through that is a sign of a higher level artist because tell us what made it hit someone with a cold. Now, you know, I don't know if that was a stress cold. Those do happen. People get cold from being stressed out. It's a thing. Look it up. I swear on everything. Or it could have been a regular run of the mill, you know, sick cold. I don't know what kind of cold it was, but either way, she might have hit someone with it. I ain't no colds. There's different levels of stress and circumstances. Colds are stressful, bro. Yeah. Sometimes that can just give you a tonality that you're not used to having and actually working your favor. I'm not going to put that in the same category as real problems. But you know, Taylor, you got that. This is yet another episode, No Labels Necessary, podcast. I'm Raymond Sean. And I'm Corey. Oh, yeah. Peace.