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April 5, 2024 β€’ 225 mins

N.O.R.E. & DJ EFN are the Drink Champs in this episode the champs chop it up with the legend himself, Erick Sermon!

Drink Champs alumni and hip-hop legend Erick Sermon joins us once again! Erick shares his journey in hip-hop, from his come up, changing the game with Parrish Smith and their group EPMD and much more!

Erick talks about the importance of owning your publishing, and shares stories of Def Jam, Michael Jackson, Wu Tang Clan and much much more.

Lots of great stories that you don’t want to miss!

Make some noise for Erick Sermon!!! πŸ’πŸ’πŸ’πŸ†πŸ†πŸ† πŸŽ‰πŸŽ‰πŸŽ‰

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Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
He is Drinks Chants, motherfucking podcast. Man, he's a legendary
queen's rapper. He ain't agreed. That's your boy in O
R E. He's a Miami hip hop pioneer.

Speaker 2 (00:21):
What up, It's d J E f N.

Speaker 1 (00:22):
Together they drink it up with some of the biggest players,
you know what I mean. And the most professional, unprofessional
podcast and your number one source for drunk drinks Chans
Mo day is New Year's CST.

Speaker 2 (00:34):
It's time for drink Champs.

Speaker 1 (00:37):
Drink up, mother, would it gonna be hopinges with? This
is your boy in O R E. What Up?

Speaker 2 (00:47):
It's DJ E f N And this.

Speaker 1 (00:48):
Is drink Champs. Happy hour makes now.

Speaker 3 (00:54):
Now when we talk about this brother right here, we
talk about icon. We talk about a legend. This is
has had three or four or five careers.

Speaker 1 (01:03):
It was a part of one of the most legendary
groups of all times.

Speaker 3 (01:08):
Classic album after classic album, then he went on for
his own career, classic after classic. At the classic then
he can turn off his producer hat and produce the
ship out of you and had you sounding right on
the streets. The people are still sampling him and his being.
My checks are crazy to this day to this day.

In case you don't know who we're talking about, we
talking about the one only we was on one of
the most one of my favorite flights that was legendary,
like it was rock excuse me, Big Daddy came to

the left y'ah ruh in front of you.

Speaker 1 (01:59):
Me and you Red Man.

Speaker 2 (02:02):
Should have had. That was a real.

Speaker 3 (02:04):
Version of soul plane like in my opinion, Leo called
me like, how do you like the plane?

Speaker 2 (02:10):
The plane is the hotel.

Speaker 4 (02:11):
That's people was. They thought we was really like on
something crazy, like what are you on? Everybody can asked me.
I'm like, it's a plane. But again it was big
though what I'm saying so, but slick Wick was in.

Speaker 1 (02:21):
The back slick house.

Speaker 2 (02:23):
Let's be clear. Slickick bullies us.

Speaker 1 (02:24):

Speaker 4 (02:24):
Yeah, yeah, he came in there and he cleaned.

Speaker 3 (02:27):
His bed like like a foul, like like like.

Speaker 1 (02:30):
You in jail, like you walk in jail.

Speaker 3 (02:32):
You're like this man, Peter, And nobody said no, this
sick Everybody, like.

Speaker 4 (02:35):
I told you, he's from London, which is also raalty.
So his eyes from the beginning, we all the crumbs
ship here, He's like crumbs.

Speaker 2 (02:53):
So the talking was minimum.

Speaker 4 (02:55):
It was worse when he was younger, like no type
of vision, like not looking whatever. Because again, the coolest
nigga you ever. You know, Mitch Slipper one of my
favorite albums, know what I'm saying when you listen to
the records like that. But Rick's mentality was like that,
He's way friendlier now but then not really packed the weapon.

Speaker 3 (03:13):
Stories about Slipper around. Yeah, did you see him now?
He's like cool, calm. I feel like he always has
a cane in his hand.

Speaker 4 (03:23):
He's just He's just one of those. But you're right,
you see, he had the whole back of the the
whole back of the plane.

Speaker 3 (03:28):
He did share what But Redman was on the camera.
I'm sitting back and I'm looking at these pictures and
I'm like, these shits are really really dope. You think
from the experience of us being in front of the
camera's easy for us to turn over and flip like that.

Speaker 4 (03:45):
Yeah, maybe I think that. Reggie Listen, when I first
met him, When I first met him, he was always
a person where remember being an apartment with sunglasses on
when I first when Redmen first came here in a
yellow suit, yellowed two pieces, some shades Okay, I'm like, yo,
the two piece ill like too, like the the you know,

the jacket with the pants but yellow though you know,
the Iller ship though crazy. But Ressie was always always
like a person that even now with technology, whatever the
new ship came out, whatever new technology game, whatever he
had it, he bought his mind whatever he was so
whatever he put his mind to, he can do it.

So I wasn't even shocked about him doing cameras and
doing his own videos whatever like that. He always had
the vision to do whatever, you know what I'm saying,
So I wasn't shocked by it, you know what I'm saying.
And that's the part that's really ill though to the
sky driving part, the sky diving which which we asked
him and he says, like the freedom that he gets,

which is crazy because is if you know, to jump
out the plane because he started with the people where
they hold now it's just him rocket the freedom that
he got to do that because Dougie Fresh asked him
like is it a fifty to fifty chance? You know
what I'm saying, Like you know, are you gonna make it?
You know what I'm saying. But you see, he sees
soulas and that whole ship.

Speaker 2 (05:08):
The older red man gets kind of whiter.

Speaker 3 (05:12):
He's becomes become a white guy.

Speaker 5 (05:15):
You're crazy about that, yo, But you know what, when
you speak to him, his mind is just another thing
that whatever he found, he found something else, you know
what I'm saying.

Speaker 2 (05:26):
Like I said, I don't.

Speaker 4 (05:27):
Know what type of piece that he got, but he
found it, right, So I you know, people look for that.

Speaker 3 (05:33):
But let's talk about why we was all on that
plane anyway. Uh, Leo kom Yes, who has been a.

Speaker 2 (05:41):
Great I was a great interview with Leo Cohmen, Oh.

Speaker 3 (05:43):
That's my man. But he's been a great guy to me. Right,
But I want to address something, you.

Speaker 1 (05:50):
Know, Dame Dash.

Speaker 3 (05:51):
I don't want to say it's picking on him. Dame
Dash has an issue with right. Right. I chose not
to bring up Dame Dash in a Leo interview because
I wanted to keep it possible, right, But you know,
it's something you can't avoid. Like, I don't look at
Leo as a coach of not me personal personally. He's
he's personally came to me and made me a better artist.

He told me I had a little bit more money,
and he said, if you stick with me, I'm going
to give you a career.

Speaker 2 (06:21):
So I stuck with Leo, and I got a career.

Speaker 1 (06:24):
I had a career.

Speaker 3 (06:26):
But Dame famously calls him a coach of WoT do
you think he's is that such thing?

Speaker 1 (06:31):
Can you be that when you off the culture?

Speaker 4 (06:33):
One thing that I know about Leo Cohen is the
fact that in the beginning, don't think.

Speaker 2 (06:37):
That he managed run.

Speaker 4 (06:37):
He managed Russian management, but he managed running him. See
first happened. So when rush management there, he's there from
the beginning. That's the part. It's kind of get confusing
when you hear it. See, Dame had a different experience
with him, right, because Dame is powerful. Don't think a
rocketfeller didn't really need them except for distribution. Right, So

when when start taking credit, that's when I think it
got ugly. But I'm like, you know, to Leo Kellen,
he helped me. You know again, he was the person
that showed me what it was and and but again
you can't take the hip hop from him. I watched him.
I watched him be like that shit swack. That's not

that's not fly, it's not dope like to like not
you how you know this ship? So around Russell. That's
why Russell was the man in the back. Leo was
the up front. You can't be the up front of
you on those ship. But for him to be like
that ship is horrible. I don't know what that shit is.
Get that bull shit out of it. And that's how

he how he was no hesitation, you know what I'm saying.
So we did coss Before I had coss Over, I
had the last the fourth album done right Gold think
I had did with it Dad. It was number one
the whole nine. So we had the song on the
fourth album called don't play Me play the next Man,
trying to do a course over part I mean go
to ther part two. Him and Russell. If he dropped

that record, your career was sobo. I never so imagine this.
So I'm like me and parais Is amped on the record.
So when I was in La, when I got the
tip of Silvers cassette tape, you hear b will tell
the story because again when I got the tape, I

bring the cassette, I said, Cube, I got some shit
called type of Sills. I want you to listened to it.
So I brung it to Cube, by some but another
story though. But Roger Trautman had just came out, so
I took his new album and I went through it wow,
and then I heard whatever you want. I heard it, so.

Speaker 2 (08:48):
I went home and sampled it.

Speaker 4 (08:50):
So then I went back to them and they said
that's the one.

Speaker 2 (08:56):
And then the night after that.

Speaker 4 (09:00):
Wesed in the studio all of us and I played
the head Banger beat and that's when Reggie was like negros.
We started wilding out. I started doing the honest ship
you know. That wasn't really our style with the with
the you know behind it that was that was us.
But again it felt like the record. I made the
record for Cube. I never got it to him. Head
bang yes, head bang ye m hm. That would have

been after America's most wanting yes right because because what happened, No,
you can, because.

Speaker 1 (09:31):
What happened was there. I could hear them.

Speaker 2 (09:33):
No, no, no, the hook wasn't.

Speaker 4 (09:36):
Just the beat was loud, like if it sounds like
some Lynch exactly Lynch mob also too, with keep hang
shotting them, I felt like, you know, something like loud
with the birds the day, so it was loud. So
I made that for him. I never got it to him.
So the last two songs, Course Over and Headbang was

the last two songs that was made on that, Course
on on that, But it's never personal.

Speaker 3 (10:02):
Yeah, that's crazy. I'm bouncing around a little bit.

Speaker 4 (10:06):
You go ahead.

Speaker 3 (10:07):
Did you ever get caught up in the East Coast
West Coast? Because I remember listening to our record with
you and Too Short? Remember too Short actually saying that?
He says, No, that's coach West Coast stuff to the
East Coast, West Coast stuff.

Speaker 2 (10:19):
Have you ever got caught in him?

Speaker 4 (10:20):
And I know, I'll tell you what. Yeah, your Puerto
Ricans that came out of fixedling. Sometimes you nigga niggas
porty vecan like, Yo, what's up?

Speaker 1 (10:31):

Speaker 4 (10:33):
NI say hold on, nigga, the too Short he wrung
it to me, like, yo, you know why this is
going on?

Speaker 2 (10:45):
Me and you're the only one that's doing this.

Speaker 4 (10:47):
I didn't even peep that while the world was was
going what they was doing, Me and Short was just
friends because we're in a landa so weren't you know
what I'm saying.

Speaker 2 (10:55):
We in Georgia, New York guys, right.

Speaker 1 (10:59):
West coast.

Speaker 2 (10:59):
We just enjoying Georgia.

Speaker 4 (11:02):
Not realizing what's going on with that, you know, I mean,
we know, but we ain't tripping on that because we
another whole place.

Speaker 3 (11:08):
I remember at one point death Jam would not allow
us to wear white shirts.

Speaker 4 (11:16):
No, no, no, to tell them.

Speaker 3 (11:18):
Because I think that was like trying to be neutral.
That's that's how in l A l A and l
A you were knowing that they're like, yo, don't wear
white shirts.

Speaker 2 (11:25):
That's what the East Coast and they was looking for you.
You know that.

Speaker 4 (11:28):
Okay, Yeah, I'm saying I'm a bad You got to
know what it's talking about. Reggae Tony and that that
type of beat. That's the only time he let nigga
know he was.

Speaker 3 (11:46):
You know, the first prime to the industry was Jose
Luis gotcha, I don't know, but l A l A
if you ever heard it, andbody the top was repend.

Speaker 1 (12:05):
The Puerto Rican people off time.

Speaker 3 (12:07):
Because you know they you know, I get inducted into
the Latin Heritage Month every every they mentioned me, you
know what I mean?

Speaker 4 (12:15):
But yeah, no, but that for real, that people got
to look at that. Nobody did what you did.

Speaker 2 (12:21):
Yeah, I saw reggae thing early.

Speaker 3 (12:23):
I seen I was in Puerto Rico and I've seen
you know, no, I saw no. I saw a female
dancing to it, and I thought of a Spanish reggae.
I was like, holy shit, because I didn't really understand.
I was like, and it came on after boom. I
mean it was emulating reggae. It was everybody to reggae.

And I came back home and I was like, yo
the DJ enough DJ Camillo, and I was like, yoah, yeah,
you're playing the Spanish reggae. And they looked at me
like what the fuck is you talking about?

Speaker 1 (12:54):
And I was like, all right, cool.

Speaker 3 (12:55):
It was like I was like boom, boom, and then
it was Dago had the record.

Speaker 1 (12:58):
It was I don't even know.

Speaker 3 (13:04):
I was like, oh, that's just sound like Spanish biggies
walls and I was like spins.

Speaker 1 (13:10):
And that's how the DJs.

Speaker 3 (13:12):
The DJs wouldn't with it because God bless at this time,
they would say, we can only play that at hick parties.

Speaker 2 (13:20):
I don't know if you'll know what means.

Speaker 3 (13:21):
Of course, it's kind of like a derogatory Puerto Rican Yeah,
calling him Germans to like when people says almost work.

Speaker 2 (13:29):
Is worse Quean.

Speaker 3 (13:30):
Yeah, but so that's how and you know then linked
with Dago, linked with Daddy Yankee and don't.

Speaker 4 (13:35):
Want to get that out there yet you didn't know
it was Latin know, yes, nobody.

Speaker 3 (13:43):
So how did you get Marvin gated clear?

Speaker 4 (13:45):
That said let's let's stop because you be at crime
and all the behind the post doors. He'd being fucking listen,
wanted to drink the pop.

Speaker 2 (14:01):
Keep it real food.

Speaker 1 (14:04):
What do you vodka or Japanese whiskey?

Speaker 4 (14:09):
I don't know by Japanese whisk by vodka though, so
you want me to go vodka? Yeah, okay, vodka with limit,
going vodka the limit? Okay, ask the question, go ahead.

Speaker 3 (14:17):
How did you get Marvin Gaye to clear the sample?
Because Wuma has it is if you get Marvin Gaye's
estate or to clear a sample, then you can't curse
on the record.

Speaker 4 (14:29):
Hmmm, yes, again I gotta say, but no name every time.
I can't help he did it though, you know what,
I'm sorry when Bnard stole the record, it was already
too late. It was already to radio okay and clear channel.
Oh okay, okay, yeah, so the record was already going okay,

so they wasn't going to stop it because it was
a hit.

Speaker 2 (14:51):
I was number one in Miami.

Speaker 4 (14:53):
You know when when that spring break the May twenty eight,
I couldn't get down whatever that main street was Collin Collins,
Tyson Beffett came and got me. I was on the school.
Almost killed myself, the fucking I couldn't get down there,
not knowing I was number one to when whatever touched.
But when the record was already going and it was

number one in Florida, it was too late. He's up
too fast. So when we called the state, they was like, okay,
they could stick you up, just place. Stuck me up too,
but getting another story with niggas sixty thousand dollars to react.

Speaker 2 (15:32):
That stuck me up like big time dame too. They
got me.

Speaker 4 (15:35):
But but Marvin Gaye as state, I met White, the wife,
jan And and Eric.

Speaker 2 (15:45):
B had something to do with it.

Speaker 1 (15:46):

Speaker 4 (15:47):
Eric had short arms ship gage lord. Yeah.

Speaker 6 (15:51):

Speaker 4 (15:51):
He made fifty thousand dollars up of that too.

Speaker 2 (15:53):
Oh wow, this is.

Speaker 4 (15:54):
Crazy right, I'm like, whatever we got to do with
this at the lawyer anyway, I gave it one fifty
I paid, but I knew that that was gonna get
me that four million dollars from Clive Davis. So no
matter what I knew, if I played it, and the
thing about it was so crazy, it was already already hot.

We had so Jimmy I Bean had that movie. Yeah,
it was where that can happen. That's what Daddy DeVito
and Lawrence. So we had to wait thirty five, thirty
days or forty days for that to get for them
to implement that whatever could, for Clive to sign me.
So we had to wait. But it's again, you know,
it's cool. But at the end of the day we paid.

Speaker 1 (16:35):
You knew it was a certain investment on your end.
You're like, I'm gonna get it back.

Speaker 4 (16:38):
Yes, because again, but but nod had told Tim Matola
that yo ever was getting off of two million dollars. Wow.
So once we told that to Clive, Clive was like, Okay,
I get four million dollars. And then Clive said, I'm
gonna give you fifty to.

Speaker 2 (16:56):
Fifty, So not only four million dollars, but we're gonna
go I'm.

Speaker 4 (17:00):
The only one straight partnership with that partnership, not hy cleft,
not busting, not nothing.

Speaker 2 (17:06):
Me that's that doesn't happen.

Speaker 4 (17:08):
Now your levee no to me because again he does
he again they found out though I don't know why,
you know, in the day you like me like, I
don't know why you're doing that though, but you know,
you know.

Speaker 3 (17:25):
We got to go back to that that's going around.

Speaker 4 (17:27):
I'm saying like yo, because I'm like, why you you
know what I'm saying that, I don't understand what's making
me special? But well, like I didn't know its later
on when you hold up nigga, but that was that

was a label deal, right, or imprint deal or just
it wasn't that it wasn't my regular production. Like with
that production, it wasn't. That wasn't he gave me fifty
That means when he made records sold, I made money.

Speaker 1 (18:04):
But for you as an artist, yes, oh, it wasn't
even for you to know.

Speaker 4 (18:07):
This was when I got music solo right, Okay, okay,
it's still ezy, but no, still got me money for
e p M D. And I knew I wasn't making
an EPM D album. I just got a budget for
that too.

Speaker 2 (18:19):
This nigga was I don't know.

Speaker 1 (18:26):
Why, but if you had a.

Speaker 3 (18:27):
Chance to pick one, whether it being a solo artist,
in the group or just being a producer. Which one
would you pick.

Speaker 2 (18:38):
A beat maker your producer.

Speaker 4 (18:39):
Really the reason why is because if you know, E
p m D like I did what we had to
do in the beginning, because again, the first tour was
the runs House Tour, epm D Public going to be
and Frist, Prince and uh and you know that that
was the four of us, and then we left that toward.
The next tour was LJ. Slick Rick came epm D Legends.

After that was mc hammer, mc hammer, epm dB in
the Ice. After that, ninety two came, and then the
Hit Squad came. So now we don't need nobody because
Dosa is one Reggie e pm D K solo, So
now we're doing that. So that came with the with
the whole ship, you got to tour, but that wasn't
my thing, like the road wasn't really you know, something

I like to do. That's why when you see me
now my whole solo career, I ain't tour like I didn't.
I made money off the production production, you know what
I'm saying. So even now EPMD, we probably did like
you know, ten shows a year, eleven shows a year.
I'm the only one in one of my my colleagues
who we don't do like you got Caine to do ninety,

Dougie do two hundred and something, God rest of death.
Bismal Key was one eighty. And this money to be
made there too. But before I leave my sofa, no
my college, I want. I need thirty down dollars. So
if you can do that, then I might even make
a suggestion to go do it, you know, if if
I if you want.

Speaker 3 (20:10):
Me to go do that.

Speaker 2 (20:11):
But other than that, though, I'm not coming off my sofa.

Speaker 4 (20:13):
Because again it's not beneficial to me because I'm already
making this money.

Speaker 1 (20:17):
There's a lot of words tear on the body too
after a while.

Speaker 4 (20:20):
See what met the man said when he was on here,
when he said about overseas, he said whatever like that.

Speaker 2 (20:25):
Yeah, that's how I felt too.

Speaker 3 (20:26):
It's not easy. I can't say this artist's name. But
I went to his show and he killed the stage
right as soon as he walked off the stage, like
he put on this puss face, like and I count
a face like you know one of them?

Speaker 2 (20:41):
Oh like, and I can.

Speaker 3 (20:43):
Tell like he had he had bills to pay, like
he didn't want he didn't want to perform.

Speaker 4 (20:49):
It's not for everybody. That's the majority, though it's not.
You think it's the majority that's the majority. The majority.
Aw not everybody's a showmanship. Like I said, came like it. No, no, no, no,
listen not. You know the big names right, these niggas
is living. You gotta understand, even at the minimum, if
you make ten thousand dollars a night, you do one

hundred shows a million dollars. I don't know a doctor,
a lawyer, no, no surgeent, nobody. So don't you ever
look at one of us and be like, yo, numbers
don't lie.

Speaker 3 (21:21):
You don't.

Speaker 4 (21:22):
Don't ever look at one of them and be like,
I wonder what they're doing now, No, nigga, at the minimum,
I'm only giving the minimum of what they make. It
ten thousands a night. If they're doing eighty shows, eighty
is eight hundred grand. So this is how you look
at Caine, Rock, Cam Dougie. Those people are the ones
that you know that you see all the time everywhere,

who's averaging eighty two hundred shows a year the rock.

Speaker 1 (21:47):
Basis, I don't know they got a tour right now?
Piece of easy rock. Oh now that that nineties tour
MC breathe that whole Excuse me that it makes bread.

Speaker 4 (22:01):
I don't know what they make it. But that's why
every year is pandemonium. So don't look at the when
people be like, I wonder what they do now they
get that judge or are you judging that? And I
got certain people niggas better not even look on this side.
I was at bottom and selling over seventy million records.

Speaker 1 (22:20):
That means.

Speaker 4 (22:22):
Whatever albums that was out, I was on them, right,
so you can. And then my publishing, I own it.
That's why I tell the story about too about young kids,
about having the publishing, that how important it is to
have it. That's why all our argument, with all those acts,
we gotta name them. That that was in here fighting.

Speaker 2 (22:38):
You know what I'm saying.

Speaker 4 (22:39):
Just for metro booming and the weekend sampling you a
customer for I don't want to know overg and I
get four percent in that record, right, I bring home
two hundred and forty thousand dollars every four months. That's
passive incomfort one, not from the whole only four percent.
I'most about one record, it right, And there's no cappening. This,

This is how this ship works. So so when people
look at certain things and see people out there, especially
people with the publishing that ship can feature, you'll.

Speaker 2 (23:11):
Know when it's gonna come.

Speaker 4 (23:12):
But every time I look around, But no, friend, Big Tank,
he's the one that do all the picty ship power.
You know, you know, being up the whole nine ship,
stay on there, you know you It just comes when you,
when you're able to have it. And I sput it
with parish wow wow because the EP and d stuff.

Speaker 1 (23:31):
Yeah yeah, is there a reason why you decided when
he said producer, you said beat maker instead of going along.

Speaker 2 (23:41):
I am not one of them.

Speaker 1 (23:42):
Oat maker, don't know what happened.

Speaker 4 (23:49):
And the beat maker right, A producer tells you that
beat is dope, and that beats not for you. That
paragraph is dope, but it should go third. That chorus
is ill, but it does as those paragraphs. Put that
second verse first, put that one third. I got to
create the record. A producer creates the record for the artists.
So I never claimed to be the best beat maker.

I know how to make a record. So I'm not
in that category of niggas saying yo, the nigga I
ain't never claimed to be that.

Speaker 2 (24:18):
I know how to make a song.

Speaker 1 (24:19):
Though, right, Christy Jones a't gonna say he's a beat maker, right.

Speaker 4 (24:23):
I don't know where that came from. I must sow
must to happen. You did something, blaze, you said, just blaze. Okay,
this is for React. That beat went around had to beat.

Speaker 1 (24:38):
This is a rumor I was supposed to be on React.
Is that a rum yes, not a room, that's yo.

Speaker 2 (24:45):
So because it fit you.

Speaker 4 (24:49):
What happened was we couldn't I really couldn't find nobody
to be able to understand where I was coming from.
Brether Meth had to be. But since since that that
lady was saying the sample, what do you say on
top of that? So my ship was like whatever she
said that, I'm that. So that's what what made it
able to be a record, because I found a way

to use it. They all had to be. But again, Reggie,
I took an old verse of Reggie's like I kind
of like, you know, like devoted it gosh. And then
I played it for the label and I said, Reggie,
they like it whatever, So he did it over.

Speaker 2 (25:27):
Wow, But but he wasn't there. I just made ith do.

Speaker 1 (25:32):
We ever find out what she was saying.

Speaker 4 (25:35):
Somebody was saying that she was talking about, you know,
the rumors like she was talking about suicide, and you
know that's the rumors.

Speaker 2 (25:40):
You know people they were trying to kill me out there.
So we never found out officially what she said.

Speaker 4 (25:47):
Somebody, one of the somebody said something that she said.
But that was one of the main things. She was
talking about, suicide.

Speaker 3 (25:53):
Because when you perform it, do you let the crowd
say that work?

Speaker 4 (25:56):
Okay, they do that too, They do the whatever said
they do again at the end of the day. It
was so crazy because me having Marvin Gaye and then
they then again You're looking like, okay, well damn, I'm
this record is too big. I can't come behind that.
But I was able to come right behind it with that.
That's the part too. Had his hands on me like,
oh shit, you give me another career, you know. So

at the end of the day, so you know, again,
I think just blazed two because they was hot, right,
and I heard the rumors that that they was mad
that he gave me the beat. They was upset, Wow,
because they give records away, you the beat. They can
all say that. But you don't know if it's going
to be a hit because you had the record.

Speaker 2 (26:38):
This happened to hit.

Speaker 4 (26:38):
And now you're saying, okay, what sixty thousand that was
just places. That's the most money he ever got for
a record in his life.

Speaker 3 (26:46):

Speaker 1 (26:47):
And did he stay there?

Speaker 2 (26:48):
No, that's he never got that no more, never again. Okay, gee, Louise, geez.

Speaker 1 (26:56):
Did you did going back to the beginning of EPMD,
did you ever see yourself as a so orders from bag?
Then nah, this is listen. Man.

Speaker 2 (27:03):
Parish was the one that.

Speaker 4 (27:06):
Had experience because his brother was in the business, and
Paris was in a cool called the Rock Squad. He
just didn't rhyme. He was a DJ. But when he
heard when I went to his neighborhood, moved my grandmother,
I used, I was already had two rhymes. I had
the bunad Get story and I had Jane. So I

used to spit those for his friends and him. So
he was like, you know, one day we're gonna go
to the studio. So I'm like, this can't be happening.
You know what I'm saying, Like, you know, you don't kid,
you don't know. So he went to college because he
played football, So we skipped eighty five. Eighty six we
kind of went in, but we skipped that too. Then
eighty seven we went in and made the first demo

and that's when November of eighty seven, it's my Thing
and your customer came out. Now, you guys wasn't on
depth jam then, No, we was on teating back records
are independent sleep Yeah, first record, so team Bank Records,
right man Tron. That was the group that they had.
And they had Joyce Simms, a lady that was you

know you oh my ole, they really do. You had
that the press was kind of crazy. And then they
signed Nicer Smooth and then they had Craig Matt with
the zoom zoom zoom. So again we they was moving,
you know. But but I walked in the in the
in the spot one day, I saw a new computers,

a new desks, new cars outside, and we broke figure.
I signed for fifteen hundred dollars. That means seven hundred
feet dollars for Paris, seven hundred dollars for me. But
I was I was a minor. So when Russell went
in for the audit, he was able to get it.
So and then because they was in an illegal contract

with you that too, and they were just robbing you know,
this wasn't right. So Russell came with it was like
one point six million dollars and after that was on
definitely by the whole third album is I'm mad Man
slaughter fucking you know the old type.

Speaker 2 (29:05):
Of you know this, you know, angry titles.

Speaker 4 (29:09):
You know, when you signed the Depth cham because of
what was going on with Seambag, you.

Speaker 3 (29:13):
Know, and the rumor was like, which I didn't really
know to so recently the rumor or the rumor was like,
uh that you thought it was Parish at first because
he had the cars and he had the houses and
you didn't. Oh that's just as far as the e PMD.
How it got sour. Yeah, that was everybody.

Speaker 4 (29:30):
I mean we watched it and everybody was saying, you know,
the neighborhood talking. Same with the EPMD Rock and Beef.
It's the neighborhood that talks, you know what I'm saying.
So at the end of the day, again, I wasn't
on my business, you know, That's what it boils down to.
You know, you I did think that that count Bow

and Bert had all of us everybody so but the
end of the day, bird kind of helped me to right,
you know, after a while, like when I started seeing things,
I started learning ship too. But again, at the end
of the day, when you're young or you're thinking, is
the negative part, like you know, it's somebody getting me,
you know what I'm saying.

Speaker 3 (30:11):
So why do you think that's mentality? Like I got
drunk my first contract too. I got I think five
grand when the Avera Rex and the cowboy hat and
gor text books, I thought I was rich, so I was.

Speaker 1 (30:24):
I went to the tunnel.

Speaker 3 (30:25):
You couldn't tell me ship five grand magic? But but
why do you think And I'm gonna tell you something.
I knew my contract was shipped, right, but I was.
I was under the impression. I was like, yo, let
me just get into this game and I'm gonna make
it work. When when do that generation stop and say

fuck that. I'm gonna get a good contract first, not
get into this bad ship.

Speaker 1 (30:54):
Because I listened to your.

Speaker 2 (30:55):
Story and.

Speaker 3 (30:59):
That was research and research and researching, and it was
like you learned the business. After that you kind of
got and I'm like, damn, that's that's fucking my story.
Like I had to learn publishing after I sold it,
You know what I mean. I had to learn about
points after I gave it away.

Speaker 1 (31:14):
That everybody, you know what I mean.

Speaker 3 (31:16):
What I'm saying is like your experience, from your experience.
I shouldn't have went through it. From my experience, the
next person shouldn't google.

Speaker 1 (31:23):
When do we stop this ship? When do we tell
these artists that what they were?

Speaker 4 (31:27):
This is what Kiss was just talking about the last interview.
I just heard him saying. He's saying that again, is
he said? Him signing the contract? These days it's like
for him Robin the bank. You know what I mean,
it's you know, it's just a stupid to do. At
the end of the day, you have to learn that
all of us who went through it and saw what

it was, why would you do that? But the fame
and that checked they dingle in front of you for
that to be sixty deals. It's hard for a kid
to be like what you say about points and all
that type of stuff that you know.

Speaker 1 (32:02):
They which is coated all that stuff is complicing publishing.
They should learn they should teach a course before you
get to.

Speaker 3 (32:08):
The merchandising all of that, like they control their merchandise.

Speaker 4 (32:12):
That's the whole thing there too, which is crazy. The
major r is that you know about you haven't seen
a T shirt or nothing that they shows. They don't
own that part. And that's also all that money from
that three sixty is gone, So that's part was kind
of crazy for you to be at your own show
and your own concert and you got no merchandise.

Speaker 1 (32:32):
Even owning your likeness.

Speaker 4 (32:33):
That's what it's like right right then, and then.

Speaker 1 (32:36):
In the language saying in perpetuity throughout the universe, like
these things are what's the crazy city?

Speaker 3 (32:42):
It's so fucked up right now that they can they
can take your image and put you in a video
game that you don't even owe.

Speaker 2 (32:48):
Yeah, that was that's like.

Speaker 3 (32:49):
Yeah yeah, like like at least when we did Depth
Jam Fight for the New York we had to actually
go in there.

Speaker 1 (32:56):
Yeah, yeah, you're.

Speaker 3 (33:00):
So right now if you was just signed a three
sixty deal, your label can put you in Mortal Kombat
right seven and just had you there and you know what,
you had a good move on that.

Speaker 1 (33:12):
Oh yeah I had it call Yeah it was dead
all nor yeah life Eric, I do it.

Speaker 4 (33:21):
You know, the fucking the move was nice. I don't
know who he got though, but somebody the ship was crazy.

Speaker 1 (33:27):
If there's anything probably positive of this generation of artists,
they do have more power to dictate the type of
deals because they're self sufficient in what they're doing, at
least on yes, creating their own.

Speaker 2 (33:39):
Doing that revenue. If they're doing that there, if they're
doing that.

Speaker 4 (33:42):
But the majority of them too, see all that money
they generated from from them shows, right, that's why they
so rich. Either they got they got the two million
dollars for the three sixty, but the shows that you
see they.

Speaker 2 (33:55):
Torn like crazy.

Speaker 4 (33:56):
They out there in the arenas like early all is
the reasons all of them is in out there, you
know what I'm saying, Like, I don't know how many.
He's not a whole bunch, but they but they on them, right,
But they they that money that you see they got
is real. But I always tell them, I'm not hating
on you. Nobody's coming to watch you in the future.

Speaker 3 (34:18):

Speaker 4 (34:19):
And the scary part they don't understand that when they
hear it, that means that you see how we can
rock or the people from the seventies and sixties make
Jack's one hundred and thirty six years old. This is still.

Speaker 1 (34:31):
You know.

Speaker 4 (34:33):
You can perform the four hundred and forty million dollars
when you step on the on that stage for that
year that tour, meaning that he made records, that's going
to always be able to people for this show up.
So when when this error has to go to work,
how we can go to work if you want to
go to work and you can go get some money

whatever they can because when I when I knew when
they or get forty and they're gonna be talking about
dick fuck suck pus. See whatever, it.

Speaker 2 (35:03):
Won't match, right, it won't match. No longevity in that right,
it won't.

Speaker 4 (35:08):
Match is no longer you won't. So I want to
figure out, how are you going to be able to
earn money? Nigga? If you didn't save or have some
type of situation, you won't be able to do what we.

Speaker 1 (35:19):
Do past virality, past going viral.

Speaker 4 (35:22):
Right, this is this quote, and this is what I'm
saying is so fucking letho, and I wish they could
hear this, like the fact that when that time comes, right,
are you going to You're not going to be able
to work?

Speaker 3 (35:36):
Right, It's real. You remember what I always say, like
That's why I love Europe because like you just said,
there's a time, well, you just can't book a show
in America, right, Europe don't get to see you like that.

Speaker 2 (35:54):
Europe That's kind of saved my life. You know what
I'm saying.

Speaker 3 (35:57):
I always say, I always say dudef Germany, he always
last at me. But I was frequenting dudes in Germany.
I was like, fuck that they paying my quote. I'm
going That's how I learned about miles and all that.
I started sucking with the plane tickets because you can't
be paying that first cast flight and then and they
get it all in all, if it's all in so

I would use my points still get that first class
flight and you put me onto that.

Speaker 1 (36:22):
But Europe, Europe, Europe, you know.

Speaker 3 (36:25):
Part Russia at times, Japan they held me down, They
helped me down where I didn't have to like take
these little.

Speaker 1 (36:36):
Because you know that's how they start doing. You didn't
he go twenty.

Speaker 3 (36:38):
Five, You want me at twenty five, and then you're
just like, yo, how you doing sh Let me let
me go, let me go, grab, let me grab that.

Speaker 1 (36:48):
But Europe hold us down, and it almost feels.

Speaker 4 (36:51):
Like they held this they still holding, They still still
in Europe, getting ready. I see the resund there, said,
I just saw it fucking goes underd just alcoholic.

Speaker 2 (37:00):
I've seen it right there out there.

Speaker 3 (37:03):
Do you think hip hop lives in Europe more than
it lives in.

Speaker 4 (37:06):
The well now it does, even though the new stuff
did infiltrate. I never thought it was going to infistrate.
But again, kids, come now, you know whatever, whatever you know,
let me flash back to you, because you flashed back
a while ago, but you got a mate back outside.

Speaker 2 (37:20):
So I don't know what.

Speaker 4 (37:23):
Year you're talking about. You know what I'm saying, What
year was that overseas? Because that's a long time.

Speaker 2 (37:28):
That was in the early two thousands, early two thousands.

Speaker 3 (37:30):
This is this is like right before we do, Right
before we did, I was what I called let me,
I was what I call a hip hop purgatory. Like
I wasn't dead, but I damn sure it wasn't a lie.
Well like I was in that tough, tough space. And
you know, Joe was there with me, you know what
I mean. I had lunch with Joe yesterday, right and

he said something very interesting to me. You know, we
always say when we in the studio. This is this
is our best look, right, it's our best fight. So
you know, we all think like that. I don't give
a what you say. So Joe looks at me and goes,
I think I'm making the best music of my life.
And I somewhat laugh because I'm like, Nigga, you say

that every year, right, And he says to me, it's
because I don't have no pressure no more. And I
was like, and it's like, so what he's saying is
when it's no pressure to me, the record label standing
to me. To me, they are what is that ship

schedule or whatever?

Speaker 1 (38:36):
And you just make the music.

Speaker 2 (38:37):
And I was like, holy shit, I had.

Speaker 1 (38:39):
Never looked at it like and it goes against our
argument of indie versus major too, oh, because.

Speaker 2 (38:45):
The major puts that pressure to Okay, good lue.

Speaker 3 (38:51):
We always argue the verse. I said, I'm a major guy,
he's an indie guy. But does that take the offer
of you when you're in the studio and you're making
records and you're just like, yo, I'm doing it.

Speaker 1 (39:03):
I'm doing it because of course.

Speaker 3 (39:04):
It's gonna be eventually lucrative, but right now I'm just
gonna have some fun. I'm to go on.

Speaker 4 (39:10):
I'll tell you what my thing was annoying. It was
on my album too when I made Brunier. That was
what my feeling was because I didn't have nobody telling
me about no radio record or what to make. I'm
doing it because I'm doing it for the culture and
people that want to hear hip hop. And when I
did it that way, my colleague showed up. Now I've

talked about Yo, I wish I made that three hundred record,
you know, shocking them. Everybody was just snooping them. Was
just down the line saying, yo, did you get Eeric
Summon's album? So usually I would hear what the company
wanted to say. That's how we do. Sometimes they write,
sometimes we fall into it. It's been a couple of
times where I made songs. No, I didn't want to
make them records, but I'll try to depress them to

get it. But they can go out there and do
the right thing. But again, when it's no pressure at
this moment, That's why j just talking about that being
independent and being the controlled. Joe doesn't care what happens
because this is what he feels and he ain't worried
about you know what somebody else is saying if cooland
Dre says dope or no, say it's dope, and I

think it's dope. I'm coming out with it, you know.
So that's how I think that a lot of us feel.
Who's independent?

Speaker 1 (40:25):

Speaker 4 (40:25):
You know?

Speaker 1 (40:27):
Do you think a rapper ever, ever really retires.

Speaker 4 (40:33):
Maybe for not making records, but as far as them
him doing this and still you know, writing rhymes and
still now, I think you're going to keep doing it.

Speaker 2 (40:41):
But listen, okay, listen, you keep that to yourself.

Speaker 4 (40:46):
Because don't be busting niggas all that, because because because
I don't feel that way all that niggas that like
hip hop and like and like it's like Quincy Jones
at his age still loves loves this. You know people
who still loves this. I see Jermaine Dupre and see
Brian Michael Brian.

Speaker 3 (41:06):
Pre socks right now, to take them guide right them
socks is crazy, you see, don't it's Louie.

Speaker 1 (41:13):
No, I don't care. Those socks look like slave socks.

Speaker 4 (41:16):
Okay, listen, but I went too far. Yeah, but we
still like doing it as far as the music is
being made. And then I think that the question you
ask is real because again, how many people to be
tired and came back?

Speaker 3 (41:29):
Yes, like every now and then you see whole doing
Carcer pop up or something. He's been retired for twenty
years now. Uh, Joe said he's retired. He told me
he's in the studio.

Speaker 4 (41:40):
You have to again, Yeah, think about one hundred two
thousand two kills me too, because again you're not doing
no runs, but you want to kill him Mike's album.
But that's the part that bugs out all of every
other you hear the sound.

Speaker 1 (41:52):
So he did the Flu album. No, it's kind of hard.

Speaker 4 (41:58):
For people to say but that he's still rhymed and
he's still righting the top level. But he comes and
does it, so you can't say you're not rhyming, like
you know what I'm saying. Like, so, so imagine if
you got something to say on that, you got something
to say. I'm just doing being biased because I wanted

to come out. You know what I'm saying. I want
he got something to say. I think he got something
to say out there.

Speaker 2 (42:22):
I can't help it. Like this was a while ago.

Speaker 3 (42:25):
Well I'm in Carbone and I'm just sitting there and
I just start writing, just start writing. And no one
could read my handwriting. No one, not my wife, not
even my mom.

Speaker 1 (42:38):
You're not handwriting, bro, I mean though, still you just
went like this, Yeah, no one could read it, like
put it together.

Speaker 3 (42:47):
The only person who read my mind word I've read
my rhyme word for words that Kanye West.

Speaker 1 (42:52):
I knew it from him so fast. He was like,
I looked, I said, holy ship. He spit it out,
said you wrote it?

Speaker 2 (43:00):
You was like to write it.

Speaker 3 (43:01):
It was creepy. I grab my phones, give me ship.
What are y'all in carbones? Okay, so you're Kanye what's
your relationship?

Speaker 1 (43:11):

Speaker 4 (43:11):
I mean, man, that's a good sea listen at the
end of the day. I never seen nobody excited about
music like that. A few people that I've been in
the lab with, you know, that's like feel the same

way when the beat come on, in the momentum, the
whole non same way. Because again, when I started with him,
we was doing like a lot of hip hop music.
And there's a room out there saying Eric says that
the album's coming. I never said nothing like that. I said,
I was working on the album. We was doing hip
hop music. Pink Polo Kanye right. Well, the fact that

it was the beats and stuff, it was like, you know,
because again you come to get me. You know what
I'm going to get ready to make You know what
I'm saying. You come to get me, you know what
I'm saying. So, and we had a vibe, we were
the momentum was going crazy, and we had mad ideas
the whole down with or whatever. So but as far
as him and music, he don't need nobody. I just

heard consequence saying too, he don't get people to write
rhymes because he can't rhyme. Is the fact that maybe
somebody else might have something that might be illa or
your mind might not go there. People think that because
the people that are sitting there giving you ideas the
whole not meaning that you need.

Speaker 1 (44:35):
To do it. He don't.

Speaker 4 (44:36):
There was records that his man played me from twenty
thirteen that would shake this whole ground up, you know,
his production, whatever, his rhyme, all that shit his way out.
So I kind of was bugging out, like what are
we doing here? But I understand now because this is
what it is. It's the other idea that you might have.

So I did the whole lay thing. They went to Japan.
I didn't go, and then I went to Italy and
we was, you know, oh there that vibe was dope too.
When that's when I walked in, I saw Todd dallas
Sign and him and Dallas Sign had created something else,

you know that that I wasn't doing when I was there.
It wasn't mad, but still was you know, you don't
play with drums, so the whole time it's like, Yo,
make sure the drums is crazy whatever like that. Make
sure it's like that, you know. So I was trying
to do what I could do at that moment. But

in the beginning, we was making you know, you was
part of Vulture's one.

Speaker 2 (45:45):
There wasn't.

Speaker 4 (45:46):
I don't know if that was the name, you would
make it with no name. This is the beginning. This
is you know, we're just trying to set the vibe
up and see what we get ready to make. But
we had something going, you know what I'm saying. But
I guess and I saw my couple of songs on
the list when I was in Italy, I saw two
of my songs on there.

Speaker 2 (46:06):
When it came to my song was known that But
how did.

Speaker 1 (46:09):
You guys How did that relationship for you to come
and work with him?

Speaker 2 (46:12):
How did that start?

Speaker 4 (46:13):
He called, He called, He called for me, He called again,
eighty eight keys, called Bernard again and told me, yo
that oh Kanye summons you.

Speaker 3 (46:24):
Is how he said it.

Speaker 2 (46:25):
That's where I heard it like that, So it was
like crumbs.

Speaker 4 (46:29):
Well, but again it was the experience that I, you know,
being around again, the antics, all that stuff that people.
I know that fact that when it came down to
the music, this motherfucker is what you know of a
pure genius or he needs no one right, but he
just chooses to do that. You like to collaborate exactly

the ideas and see what you see where your mind
is at. Same with Dre, though, because yeah, you did
that too, Because Dre. When I first got to Dre's
I did and one night he did three records of
mine this rhyme, one after the other.

Speaker 2 (47:11):
I'm like, damn this nigga.

Speaker 4 (47:12):
Dre just did three songs back to back by two
thirty three in the morning. I come back. The next
two days, he we do another record. But you call Snooping,
So Snoop is doing the jay. I'm like, damn, this
is four songs. Now full of your production. Right the
next couple of days, he's doing this song, so I
rhyme on that. Oh my god, nobody's never going to

hear this is.

Speaker 1 (47:37):
It's not you don't think it's a part of this
joint Snoop drap project.

Speaker 4 (47:41):
Not me and his no no, And when I mean,
I can't even tell you the record.

Speaker 1 (47:46):
This is is how many records somebody got to kidnap Dre.

Speaker 3 (47:52):
I'm just somebody got to kidnap him and let him
hear his own ship. But yo, man, this song was
exciting and this belongs to the world in the fact
of yours. That the the nw A e pm D thing,
the Eric Simons Dre thing like it would have been
something to talk about. It's just like when the ship
went viral without I was there, you know. But this
record was fantastic. You take us back the epmdnw A thing.

Speaker 2 (48:15):
That's what people saw us as.

Speaker 4 (48:17):
It was always a comparison, not rivals, though not just
the caparison of of what we did and the music
they made was almost the same.

Speaker 1 (48:27):
Because they wasn't you was working with y'all were doing
funk before them the same time, same time.

Speaker 4 (48:33):
Yeah, it was because when you go back to easy,
he was already on Parliament and I was doing the same,
doing that too, would doing it right, well exactly, but
again not knowing though, you know what I'm saying. But
when you go back you can hear the similarities. So
it's very close. Yeah, well no, you're saying, it's the
same time, yes, right, So I can't really say who

had what? You know, I know that in nineteen eighty seven,
it's my thing. You A customer came out cubas me
and Cuba was tight. That's why you hear Cuban when
he's speaking about me too. I used to he used to,
you know, I used to pick him up, take him around.

Speaker 2 (49:10):
You know what I'm saying.

Speaker 4 (49:11):
It's crazy because again he's to check in with you.
He can't you know. Cube came to records. Can't make
it up. Cube came to my house one time, right Atlanta,
New York, New York. Okay, I ain't have no ac
in my new home. I just got it.

Speaker 3 (49:29):
He got to Jerry Crow, Jerry Curl, Jerry Kruk, continue
the a C Jerry Carroll take it him there.

Speaker 4 (49:36):
He goes to the backyard, jumps in the pool, fully
clothed because he was hot.

Speaker 1 (49:46):
He was hot.

Speaker 4 (49:49):
What happens to the to the Jerry curR I'm saying,
I'm telling you what figureways now, I ain't look at
all that the fact that he jumped in the pool
fully clothed.

Speaker 2 (50:01):
Okay, what happens after that?

Speaker 4 (50:05):
Back because we were shooting the sat na's commercial winding?
Oh okay, so you know he just again came over.
But he must have been hot because you know, you know,
when you see a pool looking quenching the Knights to
blue like, it makes you you know what I'm saying,
when you see it. So that's he jumped in.

Speaker 1 (50:22):
What kind of money is you getting back then you
had a pool? Yeah?

Speaker 2 (50:26):
Your money?

Speaker 4 (50:31):
Fact that Jesus nineteen ninety one, that's.

Speaker 3 (50:38):
That long money, yo, that's that longevity. You gotta understand.

Speaker 4 (50:42):
Though we was we didn't know he was producers, So
don't forget we making the records. We don't know that
we produce this. So again we already a step aheaded game.
So so whatever royalties that you was getting over the
advanceage you was getting, it was still more than somebody
who was just doing this, you.

Speaker 1 (50:58):
Know what I'm saying.

Speaker 2 (50:58):
So but how did you not know you were producers already?

Speaker 4 (51:01):
I thought that the records you heard, the people made them.

Speaker 1 (51:04):
That they were already making their own records.

Speaker 4 (51:06):
Everybody who I heard, I thought they made their records.
So me and Paris went in and did what we
thought everybody did not knowing, well, then god, you didn't know.
And then Will Smith was like, stop the show on
stage one night and said, yo, e pmgs number one
and Billboard, we'll know what Billboard was neither never forget

we children. He's like number one in Billboard?

Speaker 3 (51:29):
What is that?

Speaker 6 (51:30):
You know?

Speaker 4 (51:31):
Afterwards Leo told me, oh, yeah, this is the Billboard charts.

Speaker 2 (51:35):
They're number one.

Speaker 6 (51:36):
You know.

Speaker 2 (51:37):
So Will been fucking up the stage for a long time.

Speaker 4 (51:39):
Will yeah, said Will was already run DMC talk. But
the most the seller is fresh Prince theys two point
five million records. So they but they just don't understand
that's it. Will used to be backstage saying, yo, I'm

about to be famous. It's like you're already famous. He
was talking about being on TV way before it happened. Wow,
this nigga's so strong, you know. Me, I'm about fifty
pounds bigger now. But I was still two hundred. Then
Nigga picked me up and turned me upside down at eighteen.

At eighteen, all right, I never and I'm like, I'm like,
first of all, I'm kind of confused, but why are
you doing this? That's what we were doing it because
because we're boy you know. But for some reason that
must something must have happened. And Nigga just you know whatever,
like it was nothing snatched me whatever eighteen.

Speaker 2 (52:46):
Have you ever been starstruck?

Speaker 4 (52:50):
Jewish serving Julius Irvy doctor J I saw him at
the Cleveland All Star Awards back in ninety five or
whatever like that, and I shook a hand, but nothing was.
I couldn't speak, nothing came out because my whole time,
all I was thinking about when I was a kid
was was Irving. When I play basketball, when I shoot
up like Irving all the time. My family number is

number six, my lucky number. To me, it's number six.

Speaker 3 (53:15):
The time when you just did like that, you look
like you you can't play ball at all. Okay, now
that's the myth. You just did that, you know, embarrassed
a little bit.

Speaker 4 (53:26):
My boys in there they're telling you.

Speaker 1 (53:30):
That's not.

Speaker 2 (53:33):
Might not any time when you want to shoot. Yeah
at this age.

Speaker 3 (53:37):
Okay, we got the weekend. We got to have a
back game and we have a handball. Nice and handball.
That's awesome, water we can side awesome.

Speaker 2 (53:46):
You just selling the truth.

Speaker 4 (53:48):
He was hot and ship.

Speaker 3 (53:50):
You sid trying to.

Speaker 1 (53:52):
Make a handball off national sport in the Olympics.

Speaker 4 (53:54):
I seen your golf outfit, Nigga with the strikes, with
the fucking I seen you play golf. I don't play golf.
You have to go off outfit nigga with not the
handball outfit. Okay, we'll make.

Speaker 3 (54:05):
Yeah, I'm trying to bring handball back. Is the time, Thomas,
let's do it. Okay, you want to play him in
the game.

Speaker 4 (54:13):
You're not asking enough question because again you're gonna edd
this for two hours.

Speaker 1 (54:18):
You don't.

Speaker 4 (54:21):
Okay, so what so where's the stuff that I read
the drama that you can drama drama? No, you're not
acting the whole you know, you ask everything.

Speaker 1 (54:31):
We this is this is just the middle of the
we get this is the part. This is everybody. Then
we go off. By the way, I love this, but
you gotta pick a designated drinker for yourself.

Speaker 4 (54:43):
Nobody drinks.

Speaker 2 (54:44):
Yeah, you can pick Sonny D.

Speaker 1 (54:47):
B T right here.

Speaker 4 (54:47):
Okay, Sonny, you got it.

Speaker 2 (54:49):
Okay, he got a E P M D shirt on. Hey, Sonny,
you know what.

Speaker 4 (54:53):
Time is right so so so if you go out
there drunk right now? Oh yeah, he's gonna go my drunk.
He's already drun two at two pm? Who's driving? Who's
driving you? Okay, he got it. He got a horse
and carriage because it's two pms. Okay, yeah, so the

little guys twelve and thirty, well, he's gonna be fucked up.

Speaker 2 (55:21):
The rules is this is the rules. We're gonna give
you to two different things.

Speaker 1 (55:24):
I got from Yes, you say you picked one that,
we're good if you say both or neither.

Speaker 2 (55:30):
Do you know that everybody named mother this show?

Speaker 3 (55:34):
You saw I got to argue. Someone on Twitter was mad, You're.

Speaker 1 (55:37):
Like, why nor we gotta keep saying the same start
I said, he's.

Speaker 2 (55:39):
Not talking to you, talking to the guests.

Speaker 3 (55:41):
Yea, all right, this is a good one. You want
this one, I'll take this.

Speaker 2 (55:47):
One now, I'm gonna do it.

Speaker 4 (55:48):
Okay, we're a drink at.

Speaker 1 (55:50):
I'm get another one.

Speaker 2 (55:51):
Get my mama, Juan and uh the.

Speaker 1 (55:54):
Shots to him.

Speaker 2 (55:54):
Make sure you just you can't move in here.

Speaker 1 (55:57):
That's alright ready, du Parker, d MX, how to get.

Speaker 3 (56:00):
Another drinks, DMX and if you got any stories.

Speaker 2 (56:05):
Yeah yeah, stop And this is the part where we
get into things. You got it?

Speaker 4 (56:10):
Oh yeah, you know DMX and Solo, Oh that's right.

Speaker 1 (56:16):
Case his first record is no.

Speaker 4 (56:18):
But as far as them jail together, so I don't
know who had spellbound first. I know Solo was nice
as fuck, but DMX for him to argue.

Speaker 1 (56:28):
Like that for twenty years, to be like, yo, I
did it.

Speaker 4 (56:31):
Like you niggas A're gonna argue like that the whole time.
But again, either way, we don't know. We don't know
to prove it. But DMX was he was adam adam
in about his so too. But Solo was so dope
at DMX.

Speaker 2 (56:44):
And he didn't do it.

Speaker 4 (56:45):
He need to because X is so nice. He said,
fuck it, I't got to do that ship right whatever,
but anyway, get out me. Dog was being made right
and they they called me and said, yo, you know
we this in your man, you know, no irv Gotti
and DMX like you know you want me to take

it out. I'm like, you gotta do what you gotta do.

Speaker 3 (57:09):
That's not what I got.

Speaker 6 (57:09):
You know.

Speaker 2 (57:09):
What I'm saying was whatever, So I've.

Speaker 4 (57:11):
Never heard so so when it came out, they still
bleeped it.

Speaker 2 (57:15):
Oh that's the bleep. But everyone knew that's what he said.

Speaker 4 (57:18):
Though I'm not gonna lie. I didn't know that case
the concept, but whatever, whatever, they bleep it. Even though
I said to them, do what you gotta do, they
still bleeped it. So that was the DMX little story.

Speaker 3 (57:30):
Oh wow, that's that's you ever met ta? Yeah, I
got picture to be in my rim shot. Man, it's
the New York Tupac Atlanta, Atlanta, Atlanta. Okay, because everybody
was they always did.

Speaker 4 (57:45):
Man, you gotta watch the you gotta watch the Freaknick movies.
That's a h right, yeah, okay, I'm telling the story
in there.

Speaker 3 (57:53):
Okay, okay, okay, that's right.

Speaker 4 (57:54):
I'm gonna start now, man.

Speaker 3 (57:59):
Doing what I can see the Magic City tear it
up original Magic City short.

Speaker 4 (58:05):
It's another nigga with some bread that yeah, he hold it. Okay, good,
go ahead.

Speaker 2 (58:10):
Next one big pun or big L not or big
pun big L. See that's man, you wild now shot.

Speaker 4 (58:21):
See you take a shot because that's sasse. Two different dynamics,
but both of them lyrically is lyrically nobody never seen
heard before. See mefore that you can't do that. You
gotta take you gotta get jokes resting piece of both
of them.

Speaker 1 (58:37):
And imagine if both of them would have been here today,
And the same with Pocket and next.

Speaker 3 (58:42):
You always always wanted to see what Big Pun would
be like with a Twitter account.

Speaker 4 (58:49):
What made you say that?

Speaker 1 (58:50):
Or easy, he says Instagram they would have been sucking
up because an extension of personality.

Speaker 2 (58:59):
Yeah, Like, I'm gonna be honest.

Speaker 3 (59:02):
The first time I kind of like really really knew
that Fab was a real funny person was when he
when he ranked on the ray J When he did that,
I was like, fabist funny, like you get around Fab.

Speaker 2 (59:13):
Like if social media helped Fab in.

Speaker 3 (59:16):
My opinion, like like it helped him because people started
to say, holy shit, he's kind of funny, Like you know,
because he didn't talk much. He didn't talk, office would
speak for him. It wouldn't be him, you know what
I mean. So, but then he didn't have to do
a dope interview or nothing. Fab would just be funny
on on the ground and then everybody, and then people
started to gravitate to us. Yeah, so okay, so we

want the next one. L L or Kane, Oh.

Speaker 4 (59:47):
You got again, you gotta you gotta look at ship man.
This is elo coolja whatever the criteria for lyrically, this
is you gotta take a shot.

Speaker 3 (59:57):
You gotta take a shot. I thought you was gonna
now I was, But the dynamics is, you know, because
I did have cuts in my eyebrows trying to be
like that.

Speaker 2 (01:00:09):
He can't.

Speaker 4 (01:00:09):
Those are friends and people are this mad sensitive now
too when you're just like, you know, you say my name,
you know, Oh, niggas be acting like that, they like you.
Niggas you mad at that Primo or Pete Rock? Oh
what's warm with shoes man Dominican in the Columbian Man,

it's twelve thirty. Niggas like, right, we drinking. You gotta
drink that. You gotta drink that Mano Sip Sippy sip.

Speaker 1 (01:00:45):
Who have you worked with more out of those two
who Premore or Pete Rock?

Speaker 3 (01:00:49):
Pete Okay, me and.

Speaker 4 (01:00:51):
Pete got records from nineteen ninety one and heavy these
basement wow wow peace because his historia wasn't heavy these
basement because Heavy had the records. This stuff is down
there at Heavy de Scrip.

Speaker 1 (01:01:03):
Rest of Peace.

Speaker 3 (01:01:04):
That's another when we lost it.

Speaker 2 (01:01:06):
Uh, slick Rick or Biggie Smalls, Yeah.

Speaker 1 (01:01:11):
What is it? Yo?

Speaker 4 (01:01:14):
On purpose?

Speaker 2 (01:01:15):
Biggie Smaller, slick Rick.

Speaker 4 (01:01:17):
It doesn't Yo, just these sister has never been this
hard for nobody. I watched this ship. Just ain't you
put these shows together?

Speaker 3 (01:01:28):
But they making it personally for you.

Speaker 1 (01:01:29):
That's why they want.

Speaker 4 (01:01:31):
But you know the storytellers like the biggest small than
one too, boy, where they come from. This nigga want
to junk. Okay, I feel sorry for you.

Speaker 2 (01:01:41):
You finished.

Speaker 4 (01:01:43):
They fucking you up.

Speaker 2 (01:01:44):
Any any stories with Biggie, Yeah, tell us.

Speaker 4 (01:01:50):
I'll tell you what. I gotta go again, Okay, but
not brung Biggie Smaller to a barber shop right, No,
this is in Brooklyn to meet me.

Speaker 2 (01:02:05):
But I don't remember that was getting.

Speaker 1 (01:02:06):
Your haircut in Brooklyn. I'm getting all that money.

Speaker 4 (01:02:10):
I'm a Pink Houses nigga Niggs New York. Yeah, okay,
so I didn't never, I never. I don't remember that story.
But but he's adamant and people are confirming the story anyway.
E P. D Breakup. I do Hitting Switches my first single.

It's directed by Puffy and Hight Williams. First, whatever on
the set is Notrri's b I g the whole entire time, right,
So when when I go do a set, I see him,
you know, he was like, you know, just following now.
I don't know why he in the video because Puppy
had the whole mont Vern in my video, you know.
At the time, So Biggie Small's tells Tracy Waples, I

need to be on Eric Sermmon's album, right, But me wild,
I had my own crew, you know. Then I had
met this regally talking about this kid named Joe Sinister,
which Je Mester j had and I heard him. So
that was the only special guests I had on the
CD at the time. But I never heard in the
tories big you know, I want to I can shoot

myself now at at the end of the day. But
again that's my story of somebody who was looking at
me in the way, like, yo, was this nigga? I
needed to be on this nigga's album CD and he
was brought to me, I don't remember.

Speaker 1 (01:03:32):
And that's before he had any records, no record party, bullshit.
Before he was onvd's Blue Funk Nowhere.

Speaker 2 (01:03:38):
He wasn't No, he didn't do nothing yet.

Speaker 4 (01:03:42):
Wow, but he was signing the Puff but I don't
know that.

Speaker 2 (01:03:46):
I don't know that he was around.

Speaker 3 (01:03:48):
But yeah, he's with him because Puff the video. You said, yes,
but wild of Diamond D.

Speaker 4 (01:04:03):
I gotta go with Diamond because again I played the
first album and the tour bus. We put that every day.
That was dos the FIXT player with the album though too,
but we heard that every day. So I say, like
that first LP, that's the stump Blunts, no Salary, one
track mind album, that whole ship.

Speaker 2 (01:04:23):
Yeah, Leo Cohns and Russell Simmons, they're both same people.

Speaker 3 (01:04:27):
So they're taking a shot for that. You do.

Speaker 4 (01:04:30):
You have to because they're both the same people.

Speaker 1 (01:04:33):
You're saying that one person saying saying bothoth Oh yeah, okay.

Speaker 4 (01:04:39):
I'm not Maybe that smokers get me because I'm not
even doing anything.

Speaker 3 (01:04:42):
It's just crazy n w A or Wu tang Klan,
God damn.

Speaker 1 (01:04:55):

Speaker 4 (01:04:56):
Are you sure nigga you're gonna be cool?

Speaker 3 (01:04:58):
Gonna be cool?

Speaker 2 (01:05:00):
Are sipping? Okay? So that he said sane?

Speaker 3 (01:05:03):

Speaker 2 (01:05:03):
He said both?

Speaker 1 (01:05:04):

Speaker 4 (01:05:05):
Both because you know man because n W A Man
was just like you to about Q Wren Dre and
and then you're looking at the Wo Tang clan and
all nine of them came and shocked the planet.

Speaker 2 (01:05:20):
You cannot they both those both of those crews shocked
the plant.

Speaker 3 (01:05:23):
Don't forget the DC.

Speaker 4 (01:05:24):
And that would have been if he didn't imagine what
he would have been had.

Speaker 2 (01:05:33):
Yeah, yeah, it's coming out.

Speaker 4 (01:05:35):
People realize when you play and hear the lyrically what
he was. He was incredible because he sold a million records,
though they like he didn't come out and do whatever.
This of the lyrics Texas lyrically insane.

Speaker 3 (01:05:47):
It was similar to like you guys, you had Doc Effects,
you had E P M D and you had I
forget who else I forgetting waste red man and they
had n W A Easy E and d O CEO
same time, H D O C.

Speaker 4 (01:06:04):
Very dangerous, very like even though I come beget He
wrote the chronic though.

Speaker 1 (01:06:08):
To his paying game was crazy. He was that near
like the Nods of the West Coast before now he was.

Speaker 4 (01:06:15):
Yeah, you're right, you got to give him that. People
don't talk about, not.

Speaker 3 (01:06:18):
Even West Coast because he's from Texas.

Speaker 4 (01:06:19):
But I mean he made give it to him because
they don't know him and he only had the one situation.
But again, if you go back and you play it
or watch the video, his.

Speaker 2 (01:06:28):
His his delivery, all of it. Like he knew his
game was wild, right, And you know we asked him.

Speaker 4 (01:06:38):
He was yeah.

Speaker 2 (01:06:39):
We said him, you know, how how fucking for?

Speaker 3 (01:06:41):
What is uh? What name of the hit?

Speaker 6 (01:06:45):

Speaker 1 (01:06:46):
No, no, no, We were asking him, Yo, where did
the patchwak come from? He said he just made it up?
Like we thought, you know, maybe he had some Caribbean background.
He's like, no, he just said he's one of the
shock you wanted to shock dra Studio.

Speaker 2 (01:06:59):
Did you see his documentary?

Speaker 3 (01:07:00):
You got to see this documentary because when they talk
about it, right, they all everyone's like and then doctor
Dre looks up and goes, I still to this day
don't know what the fun He says over really he's
not that ship.

Speaker 1 (01:07:16):
No, that's such an ill record and the whole album
album's crazy.

Speaker 3 (01:07:20):
Get the next one.

Speaker 2 (01:07:20):
Biz mark here o dB uh bis monkey.

Speaker 4 (01:07:29):
Digital or analog analog all fucking day, analogm analog all day.

Speaker 2 (01:07:36):
To Cuba scar face. This is a highly debate debatable
one here. Yeah you can go on that though too.

Speaker 4 (01:07:44):
You can say whatever to but I feel they're the
same from different parts.

Speaker 3 (01:07:49):
They are the same.

Speaker 4 (01:07:50):
But you got one person that is radical and one
dude who tells stories that's insane radical. Yes, whatever, like,
but when you play America's most Wanted Nigga, like this
is life changing. And the certificate too, I think that's
certificate too. You playing record and you're playing funking and
and and jack and for beats to fucking.

Speaker 1 (01:08:13):
The e P.

Speaker 2 (01:08:14):
He said, God your record.

Speaker 4 (01:08:15):
I'm saying my back to back to back and when
I'm saying that, run and I don't want to do
that because niggas is for real?

Speaker 2 (01:08:28):
Can you say my name?

Speaker 6 (01:08:29):

Speaker 2 (01:08:30):
But Face is one of them.

Speaker 4 (01:08:32):
He's listen man, but listen you. Face is my friend
because I produced this nigga, so he's my that's my boy.
But when you go back to n w A in
the writing America's most Wanted, the certificate and the.

Speaker 3 (01:08:52):
And the.

Speaker 4 (01:08:55):
Just that with you that I want to say it,
but you got to drink.

Speaker 2 (01:09:00):
That's what that was. What argument was that run is crazy?

Speaker 1 (01:09:04):
I know, okay, I had it built.

Speaker 4 (01:09:07):
Up, getting ready to say give me that I was
going ready to go.

Speaker 2 (01:09:10):
There, but you guys are while for this one.

Speaker 3 (01:09:13):
You got to say that, I guess Puerto Rican food
or Jamaican food Spanish, Like how you said Spanish instead
of Puerto Ricans.

Speaker 4 (01:09:23):
Is a Puerto Rican.

Speaker 1 (01:09:28):
I don't know why I thought recipes of Hurricane g
but I thought she was Cuban at one point for
some reason, because you was out.

Speaker 4 (01:09:33):
Of line that twin that you CARDI b got. She
had it first card Dominican, but the strong Puerto Rican sat.

Speaker 1 (01:09:43):
Yeah, Hurricane Dominican, though, listen.

Speaker 4 (01:09:50):
Got you right about that, because that's because I'm Dominican. Listen,
you know what, because I listen because because the green Eyes, right,
I could pull it listening listen.

Speaker 2 (01:10:09):
Hey wait, wait wait, let me put my story my story.

Speaker 4 (01:10:15):
I had a rapp named team Hot Up and watch Heights, right.
They look just like us, So I'm like, damn, I
look like y'all. You know, maybe I can pass through, right,
Because again, Dominicans go up that that bus on seventy
second Street. All anybody said, I'm parked outside, it's gonna

come with.

Speaker 1 (01:10:41):
And be like I'm here, I'm looking.

Speaker 2 (01:10:42):
For now English.

Speaker 4 (01:10:45):
But she's bad as I'm just waiting to see what
I can fix that. You know that bust that come
up on broad Wait they busted come up English call
anybody go get her. I'm gonna talk to her, and
my boy gonna translate. I got money for you. I'm

gonna give your apartment papers, say, and some food and
some clothes and a visa. What they was doing.

Speaker 2 (01:11:17):
I mean, look, you're not saying I.

Speaker 4 (01:11:20):
Didn't know about the culture to whatever. I'm just here
trying to see what's going on. Washed Heights was was
new to me, and Dominicans was was heavy. Now Washed
Heights is fire with restaurants in the hold off all that.
But at that time is what they did. We parked
outside seventy first seventy sixth Street, Mida.

Speaker 1 (01:11:40):
And listen, mister, need to get your Starburst for you.

Speaker 4 (01:11:46):
You left, you know, but the good back to the
Dominican with the CARDI b You're right, Dominicans and Puerto
Ricans wants you to know they're not that.

Speaker 1 (01:11:55):
Yeah, everybody's at the Cubans Puerto Ricans like we all.

Speaker 4 (01:11:59):
I don't unders stay in the same way.

Speaker 3 (01:12:01):
If I said you from Brooklyn and you was like, nah,
I'm from Long Island because you have their own.

Speaker 2 (01:12:08):
But that's the difference.

Speaker 4 (01:12:08):
Though, Why is this? Why are they saying that to
knowing that they it's stupid to me. It seems like
they're close, but I don't know that.

Speaker 1 (01:12:15):
No, it's not right, it's not, but it is the
thing is, that's colonial bullshit in all of our minds.

Speaker 3 (01:12:22):
You're correct, that's what it is a difference. Not eat
my fu from my portoy, different land, different But what's
funked up about that? You can't even base it on
the food. I went to my favorite Porto Rican restaurant
for damn there six months actually meet the goddamn chefs
and the chefs was Dominican.

Speaker 1 (01:12:39):
I was, I was, this is not But what different
is my fungal from Mongoul? How difference? It's the same ship.

Speaker 2 (01:12:47):
But we have the same ship too, It's all, you know.

Speaker 3 (01:12:51):
But but there's certain people might say Coca cola, and
also all of that comes from that.

Speaker 2 (01:13:03):
It's all a mix. Huh, Why why not mister?

Speaker 3 (01:13:07):
One is Puerto Rican and one is Dominican When you
eat it?

Speaker 1 (01:13:11):
What wait, it's all based on planting, bro Relax man.

Speaker 4 (01:13:20):
This is the part too. It's because argument because because
I don't do they is again different with Puerto Ricans
and Dominicans. Some of them put olives in there in
it right and what and what and yeah, I don't
do that the rice and beans.

Speaker 1 (01:13:39):
And some people put in right all of in the
the ground beef to.

Speaker 4 (01:13:43):
Some people I went that to Dominicans don't do the
same way that Puerto Ricans do.

Speaker 1 (01:13:49):
Yeah, that's there's there's the differences. That's why they that's
their it's the same name.

Speaker 2 (01:13:56):
No, that was just not that.

Speaker 3 (01:13:59):
That's no. And then you don't understand. This is called
what exactly?

Speaker 6 (01:14:04):
So that.

Speaker 1 (01:14:06):

Speaker 2 (01:14:08):
But then this is the thing to be hungry. The
difference is shoes divine.

Speaker 1 (01:14:14):
And then the South American and Central American those start
to change, you know, because then it's colonialism. How long
Spain was there? How long this was here? Like main
not a part of us. Spain is the reason why.

Speaker 2 (01:14:26):
We talk Spanish guy Spain.

Speaker 3 (01:14:27):
Let me just tell you some bro then that Spain
is the whitest You're not a Titano, you are not
a Spain is the whitest Latino country, the.

Speaker 2 (01:14:35):
Color in the world.

Speaker 1 (01:14:36):
They are the reason why we are Latinos. Unfortunately, colonialism, bro,
and we all gonna take that ship all the same question. Yeah,
we're sucking up right now. You picked, you picked, you
picked port Weekond pick colonially to forty sure, Hammer over them.

We got to talk about you was on that tour. Yeah,
so how did you feel what everybody like? Was it
around ever the time when third base was dising Hammer,
when when people were disinhammered.

Speaker 4 (01:15:07):
Their base in come they came at ninety one, but
they wasn't out yet. They was probably they copy came.

Speaker 1 (01:15:11):
When we got But how did you feel about people
disin hammered being that you was not?

Speaker 4 (01:15:15):
Because because I had don't forget, we had to. We
had beef with Hammer, so we it wasn't so you
guys started that then what you mean you had beef
for Hammer?

Speaker 2 (01:15:23):
E PMD on the tour? Yeah, oh remind us listen.

Speaker 4 (01:15:28):
Me and Paris put it to We gave it to everybody,
like I said, for I was like I said, six
two and a half, heavy set, chocolate brown, hell of
a jab gift together. It didn't matter. People thought they
was they was like that and we had to show
them that you wasn't like that. So you open your
mouth up, you're catching it. That's what Keith Murray was
a problem though too. Everybody was trying to calm Keith

Murray down, but you they was fucking the fire on him.
So he couldn't sit back and just say whatever he
had to go. He was gonna cut you.

Speaker 2 (01:15:57):
So the same thing too, when you on this road,
you on this thing.

Speaker 4 (01:16:01):
Always artists, you know, they want to get the certain
position I want to go on before you, or this
and that or take your spot, the whole nine. And
anybody that was trying to get that, they had it coming.

Speaker 2 (01:16:11):
So I'd never heard about the EPM DMC.

Speaker 4 (01:16:14):
I mean I think I I vaguely remember I said
on somebody else's thing, but you know you want to
hear that. You want to hear what happened. Yes, okay,
So we had the dancer called Findy. Findy was a
good dancer. He's from the Brooklyn No, he's from the
Rockaway right, so he's he was He was all over

the stage. Hammer comes out to speakers and riders, so
you know you want to be like, stay off the speakers.
You know what I'm saying. Because the Hammer's people told
EPMDS dancers stay off the speaker, right, So so okay,
so we on tour whatever like that and that, that
and this. But when you and the when the mow

and the crowds hype, you get amped. So maybe in
my dance's mind he remembered, but he probably didn't remember it.
So that one night Vanila Ice opens up matter of fact,
when the lights wanted to go on tour and dance
with Findy be on toy EPMD. It's crazy, but he
that night got on the speaker dancing. So we get

off the stage. I think it was Hammer's brother, not Lou,
but another one came and was barking at Findy, so
we don't know this is going on hammer pants, I
don't know. I didn't look at all that everybody in
his crew maybe maybe the his the stat I mean
everybody that was on stay. But anyway, they was talking right,

so we here like yelling. We see the dancer going
back and forth. So Paris comes over. Here is it
and then boom busts this nigga glasses and everything, yes,
all of it, all of us, the practice, cook, the blow,
then the door punt first quickly, so once he hit him,

we see like a whole fucking sea of people.

Speaker 2 (01:18:15):
Can you imagine him? And got thirty on stage. Anyway, so.

Speaker 4 (01:18:20):
The people started coming and there was police officers. You know,
I can't make this up. So after a while we
ended ended up moving towards the wrong way. So now
we're in this corridor where you go backstage and change.
Now it's me, Solo, Alvin God by the Dead, and
I and some other person against all these people and

we're like, oh, Ship, And one of the god was like, yo,
I want him to chubby one.

Speaker 2 (01:18:49):
So I'm like God, damn, I'm like Ship.

Speaker 4 (01:18:54):
So now I get to him karate.

Speaker 2 (01:18:57):
I don't know, no comfortable.

Speaker 4 (01:19:10):
Dance, nothing whatever. So Solo is a golden glove boxer,
so at least I know maybe he can be able to.

Speaker 2 (01:19:18):
Take two or three one on one. But I know
Alvin is he's dangerous.

Speaker 4 (01:19:23):
But again, it too many people for some reason, the
police were the sheriffs had it didn't get to that point,
but it almost got there. So then the next day
we get a call from Leo and Russell because they
had called him and said we want no parts with E. P. M. D.

We want no parts of them. And that's that's how
it it ended.

Speaker 3 (01:19:48):
The tour ended, It's like, wow, did you ever connect
with Hammer? After that?

Speaker 2 (01:19:54):
He didn't even show up to the next show. This
in his hometown. He didn't show up. Ok because of
that if and he didn't come.

Speaker 1 (01:20:05):
To Oakland.

Speaker 2 (01:20:06):
No, that's crazy.

Speaker 1 (01:20:08):
Yeah, mister fab where you'll ave.

Speaker 3 (01:20:12):
Too Short?

Speaker 4 (01:20:13):
Nobody Short came Short, came Short was my that's still
my boy? Like Short was like like really kind of
like holding me down.

Speaker 1 (01:20:20):
Kind of Oh okay, you know, because they all cool now.

Speaker 2 (01:20:25):
Yeah, but they was cool with him and now too.

Speaker 4 (01:20:27):
I was cool with him him then, Like so for
when people talk about him, I'm like, man, you got
to be crazy. Motherfucker sold ten million record You cannot
take nothing from him. And I was and I was
also an advocate to to like where was he at
for Hip hop fifty? You cannot do that. He was
like the big quart of it, like whatever, that's why
he never came.

Speaker 2 (01:20:46):
You'd be like, yo, what happened to him?

Speaker 4 (01:20:47):
But again the time whatever, everybody, listen, you're young, norry
out there in the nineties. Ain't know none of these phones,
none of the other ship this and that whatever. They
just got busy, you know, many these shootouts. We was
in Jesus like apartments, you know, North Carolina, fucking Callium,
fucking Rochester, upstate. I mean, these these people didn't play

you coming to their town, right, because don't forget you
you in the town. The girls is you look at
the whole Nimes and now whatever like that, and they're
doing the shit that happened the puppy at the club. Yo,
I got money too, you know that's the type of
shit that that was going on back then. Man, we
in fucking Ohio, right, we in one of them shits whatever,

one of arenas, and I put I have my EPMD jacket,
put my jacket down. Somebody stole my jacket. So somebody said, yo,
I got Eric Simmon's jacket, right, making a whole big deal.
I'm like, damn man, the niggas got my jacket, so
we know you all know who has it. But anyway,
twelve Detroit niggas, it's eight thousand people in there, they
tearing this areena the fuck up? Right now with me

is Jalen Rose, no ship right, I'm the only one
with a pistol. So now it's like, okay, we got
to get because these niggas are now as shooting so
I'm telling you right now, kim My mother died eight
months ago. Jalen Roses outside in the moving van. He

had to jump in because it was that hectic out
in that part. But we got this basketball niggas. We
gotta make sure that he's safe.

Speaker 3 (01:22:27):

Speaker 1 (01:22:27):
And this is when he's in the NBA or winning.

Speaker 4 (01:22:30):
Yeah, this is this is this is Maybe it might
you know, maybe because this is this is ninety ninety,
ninety or nineteen ninety.

Speaker 1 (01:22:39):
Because isn't at the time five isn't that the Fab five?
It might be five?

Speaker 4 (01:22:45):
Yeah, it might be because don't forget if you watch
some of his documentaries, you see on the sofa with
pirates like him and Harry Paris had got cool. But
but again the Fat five had to because it's ninety
so so had to moving banduck crazy and I'm like, yeah,
imagine that ship didn't go right?

Speaker 1 (01:23:04):
Thank got it? Okay, Cypress Hills on the Fuji's.

Speaker 4 (01:23:11):
They got to go with withis because it was my boys,
even though it's people too, because I was mad cool
with Lauren in the beginning of me. People don't know
that about law. Lauren used to call the studio. We
used to talk a lot, like talk a lot on
the phone, you know what I mean. But but again,
but you know Cyper Stills, they changed the whole fusih
ain't escape too.

Speaker 2 (01:23:31):
But for niggas like that Hardcourt ship. That was problem
with them.

Speaker 4 (01:23:38):
That's the word.

Speaker 2 (01:23:40):
The first video.

Speaker 4 (01:23:41):
I was like, but you got to talk about you
said you got the tape to Cyprus. We had the
same Sony rap. So when I when I got up
the playing me and past in the car with the
Sony rap, he had the Cyper Skills tape. Whatever I heard,
I'm like, this is crazy. I just happened to call
Cube because I wanted Cube to hear it. I don't
know why I called them, but I said, yo, meet
me at He said, no, me me such and such.

So I brought him to tape when I came home.
He in the video. Yeah, so you really like the
you know cyber steals when he when he heard him
and he's in the video in New York. That's what
I'm saying in New York. That's the ill part. And
he will says when he looked up and saw him, like,
ohly ship, that's cute.

Speaker 1 (01:24:19):
That video has mad cameos. Yeah, that's a crazy A
lot of New York cameo.

Speaker 4 (01:24:23):
Yeah, yeah, yeah, he said that they did label. The
label wanted him to. They wanted them to shoot that
to get the New York because again not knowing that
LA was going to play the record. But it's a
New York sounds, it's a jam, so they're like, yo,
let's shoot it there.

Speaker 3 (01:24:36):
Except got me, got me? You're still going with that? Yeah, yeah,
We've got another one. A deaf squad or his squad
his squad. Okay, Metro Boomer or Murder Beats, metro Keith
Mary or Redman.

Speaker 2 (01:24:55):
The way are you doing that? Drink Man?

Speaker 4 (01:24:59):
Look that's said, got to take a super peepiece in
a second.

Speaker 3 (01:25:05):
Just Blaze or bank they hate each other by the way,
f y Yeah no, see from what.

Speaker 4 (01:25:13):
I guys see, I say it's just because he did
the record for me too. But but bank Dog style
is just insane. I think that I think that people,
I think he might be the father of it. You
know of a couple of people's styles on on the
on the low because if you play the songs that
don't because he was there first. So you play the

records and see some of the technique of it.

Speaker 3 (01:25:38):
You said he was there first, my Rockefeller, the style.

Speaker 4 (01:25:42):
Of the style of the beat. When you hear people
that came after him, you know, I'm just hey, man,
God damn it.

Speaker 2 (01:25:49):
That's big coming for you. So you say, I'm just
giving the father.

Speaker 4 (01:25:53):
The factual, the timing history of the history of it,
like when you see the stuff that he was doing.
And you know, you gotta put Rockbill in there too,
because again some of the styles are similar, but he
was first before the other one, you know. And but
again we all take from ship, you know what I mean.

But you know, just Blase is incredible. You gotta you
gotta sit man, because because both of them is ill
at what they do. I know, I'm sorry, order youngsters illegal.
Come on, Both those groups are dope.

Speaker 2 (01:26:35):
Though rock him okay, restaurant.

Speaker 4 (01:26:39):
Rockim is my mentor Chris is my man doing too.
But I gotta go for my partner who's down the
block from me, you know, Long Island. I'm gonna have
to take a people got you gotta take a dookie.

Speaker 3 (01:26:55):
So he picked him.

Speaker 2 (01:26:58):
M j Or Prince.

Speaker 4 (01:27:00):
Yeah, you know, Michael Jackson. Even though Prinson is still
a genius because he produced his own music.

Speaker 2 (01:27:05):
And the whole one.

Speaker 4 (01:27:05):
But I just watched him Michael Jackson just before about
what they said that Michael Jackson when he did the
Oprah Winfrey interview, right, it was one billion people that
watched it.

Speaker 2 (01:27:22):
No, five hundred, five hundred million.

Speaker 4 (01:27:24):
Right then when he did oh no, when when he
passed away, it was one billion people that watched it. Yes.

Speaker 1 (01:27:39):

Speaker 4 (01:27:39):
So when you talk about the people like I'm the
next Michael, none of y'all, no way in the world
his whole ship about him. Chris don't have that neither.
But you have to give it to Michael. He was
something that we never ever, ever ever seen before.

Speaker 3 (01:27:57):
You heard you ever hear the stories of the beefing No, yeah,
like the more and more interview people.

Speaker 2 (01:28:05):
Yeah, yeah, I don't think they like each other.

Speaker 4 (01:28:08):
Mike said.

Speaker 3 (01:28:09):
He showed up to a couple of the shows, but
he was there to shut him down. He wasn't there
like okay, he wasn't there to like he like. Mike
would come up to some Prince shows and know that
these people ain't gonna tell him, no, he's fucking Michael Jackson.
And he would go on and try to perform before
prints from certain things and real, Yeah, like this is

this is like we have multiple stories from different people,
and Mike was Mike was kind of the more and
more you kind of see it and you like kind
of see him like.

Speaker 2 (01:28:38):
With gang members.

Speaker 3 (01:28:39):
You're like, that didn't make sense, Like he I almost
thought I saw him throw up a side but I did,
I did, and I did but and beat it. No, no, no,
like all that. It was always like certain things and
then you hear like his affiliation, like it's different.

Speaker 1 (01:28:58):

Speaker 3 (01:28:58):
So I always said, or those stories. This is my
favorite stories. Michael Jackson and Prince stories. Have you ever
met Mike.

Speaker 4 (01:29:06):
Let me tell you a story with Mike. So I
got a call to go do Black Street Teddy Rally.
So me and my cousin ride down to Virginia again.
N all right, cool, well yo, you you're mentioning there
one more time when I'm stopping. I know, but this

is too much.

Speaker 1 (01:29:29):
Let's go. Let's go because let's take this to this.

Speaker 4 (01:29:32):
I'm already in every he's already in every interview. He's like,
did you say my name again?

Speaker 1 (01:29:38):
We're talking about So I.

Speaker 3 (01:29:40):
Go to Virginia and and I see you're speaking to
see Teddy Rally.

Speaker 4 (01:29:45):
No I go see he called me okay, so so
because don't beginut, I did Booty Call the first single
when they first something right, that's right? So after I whatever,
I walk inside for real. So I walk inside there
the first person I meet is Pharrell Wow right. It
is a producer there him Chad and a singer named Mike.

So he's like, yo, I wrap like you do?

Speaker 1 (01:30:12):
Yes, it's his shirt tight? What's what's true?

Speaker 6 (01:30:16):
What like?

Speaker 4 (01:30:17):
I'm not looking at people like that I do.

Speaker 3 (01:30:20):
I have to describe the situation ahead continued.

Speaker 4 (01:30:22):
So if you go on the internet, there's a song
with me and Pharrell called boot Monocalization that we made
in nineteen ninety three. Boot what I know?

Speaker 3 (01:30:33):
It's crazy ninety three?

Speaker 4 (01:30:35):
Yes, because I put them on two records.

Speaker 1 (01:30:37):
Are trying to say you discovered the Neptunes before?

Speaker 4 (01:30:39):
No, I justspect that.

Speaker 3 (01:30:44):
Tell you had them.

Speaker 1 (01:30:45):
It's very true.

Speaker 4 (01:30:46):
He had in the studio. That was the producers. I
let him rhyme on the records that I was doing.

Speaker 1 (01:30:55):
You let Pharrell run before anybody else, let him ryme right.

Speaker 2 (01:30:58):
I always take those prospects. Fuck you, Eric, I din't
know that. You gotta go on the YouTube and you
go that.

Speaker 4 (01:31:05):
I didn't know that. Anyway, I'm already amp up because
I'm there with Teddy outside of the tour bus, right,
Michael Jackson on tour bus. So Mike goes to the bathroom.
I miss him, right, So I don't know that part.
Teddy says, Eric, Yo, you want to be Michael. I

was like, not now you said not? Now, I know
what's wrong with you? Were you nervous?

Speaker 2 (01:31:37):

Speaker 4 (01:31:37):
I was there with Teddy? No, I was there with Teddy.
Wasn't like this is what I was here doing for
some reason that was that wasn't more important than what
I was doing. I know that's the illly ship. I
told Teddy. Not now crazy. I could have walked on
that bus, shook hands, maybe, could have building a record, anything, anything.

My mind was someplace else.

Speaker 2 (01:32:02):
And let me guess that Michael float out of there.

Speaker 1 (01:32:05):
No, he he is.

Speaker 3 (01:32:07):
You've never seen I never saw. So your one chance
to be one chance you blew it.

Speaker 4 (01:32:14):
Take a pictures the whole that I could have had,
all that ship.

Speaker 1 (01:32:16):
Yeah, man, you ain't even take a flick for the ground.

Speaker 4 (01:32:20):
Tell you to collaborate, Tell you would collaborate the story, nigga,
Like yo, the bus is sitting out there.

Speaker 2 (01:32:26):
He said, you want to meet him?

Speaker 4 (01:32:27):
I said not. Now he must have thought Teddy must
have thought he was was I don't know what he's doing.

Speaker 1 (01:32:34):
Well, I know Michael thinking he was told, oh, yeah,
if he.

Speaker 2 (01:32:37):
Were Teddy, yeah, Michael, he would have been like crumbs.

Speaker 3 (01:32:44):
And then Teddy went back and say, man, he'll be
He'll be a little while.

Speaker 4 (01:32:48):
Yeah. But but but at the end of the day,
Michael Jackson, nobody was bigger than him.

Speaker 2 (01:32:52):
Nobody, nobody. I'm not gonna lie Chris Brown right now.

Speaker 4 (01:32:55):
Very close what I told you, nigga, very close though,
five hundred millions, Michael's one billion international. He goes to
the shows, there's one hundred thousand people a shot, no
matter what outside.

Speaker 2 (01:33:10):
When he goes somewhere, he got to shut down.

Speaker 4 (01:33:12):
The whole Christmas would tell you neighborhood everything. We never
seen that from no individual that that that was it.

Speaker 1 (01:33:22):
That's why I said close, like damn shape, political everything internationally,
probably helped the Cold War everything.

Speaker 4 (01:33:28):
People that have stopped to see it. When he show
up somewhere, what they got to do. They have to
shut down the neighborhood. This is just proof of the
millions and millions of millions of people. You never but
no individual. He's bigger than anything we have ever seen.

Speaker 2 (01:33:43):
Who come on, you just left field right now to
this question? Is crazy? A couple of those.

Speaker 1 (01:33:51):
Ahead? Yay? Or for real?

Speaker 2 (01:33:55):

Speaker 1 (01:33:56):
We did that already. No, no, no, we just brought
up for we just brought mom. You said who you say?

Speaker 4 (01:34:01):
You said Kanye even though Parrell's ill, but Kanye again,
when he came he kind of whatever. I know when
I was, like you said, from when you sit there,
you kind of dormant. But when he when I heard
the ship that when he came out, it kind of
woke me up as a producer.

Speaker 1 (01:34:19):
Yeah, okay, that's that's that's that's a compliment.

Speaker 4 (01:34:22):
Radio podcast. Oh it's podcast.

Speaker 1 (01:34:27):
Good Cam or Mace, you.

Speaker 4 (01:34:38):
Gotta sip it.

Speaker 1 (01:34:39):
Yeah, big up to Cam and makes too man very
proud of.

Speaker 4 (01:34:44):
Because they both to me, is almost kind of the same.
Though kind of though too because because they both spit
the that that that dollar that they both what they're doing.

Speaker 3 (01:34:55):
Cheers love what they're doing.

Speaker 4 (01:34:56):
Uh, Chris Rock or Dave Chappelle, I got the biggest
list ever. Yeah, it's your niggas wold out with that. Yeah,
so Chris Rockert, Dave Chappelle.

Speaker 1 (01:35:12):

Speaker 4 (01:35:17):
No, because I know Chris One, I know Dave Funny.
Now I'm just saying that just Chris say PMD fan.
So I'm saying I don't you know. And I watched
everything he did, and I watched anything Dave did too, And.

Speaker 2 (01:35:30):
They're both just hip hop heads, like heavy hip hop,
bolt of them. Yeah, and both of them legends.

Speaker 4 (01:35:36):
And yeah, yeah, gotta drink almost you know you too, man,
you gotta drink I don't know, but you got to
cool out too, like you gotta cool out this ship
right here is a question.

Speaker 2 (01:35:48):
They sucked it up and got your good No, yeah,
we're not good.

Speaker 3 (01:35:54):
Man, oh man.

Speaker 4 (01:35:58):
Yeah, way point is ill, but I'm gonna give it
to him to method man. Okay, kick a pri or
DJ red Alert, Yeah, but they they do different things.

Speaker 2 (01:36:17):
Kick a pre is like that's the point.

Speaker 3 (01:36:19):
Yeah, it's whatever, it's whatever your category, whatever whatever, you could.

Speaker 4 (01:36:23):
I guess say both, yes, both they both because they
both impacted, hugely impacted, usually because that mixtape game was
something insane.

Speaker 3 (01:36:34):
Doctor Drake or Puff Daddy, Well you stop, go ahead
because it's Dre.

Speaker 2 (01:36:41):
You said, Yeah, Molly, Ma or large professor, but Molly Ma,
he would be he's invented sampling.

Speaker 4 (01:36:50):
You got to give it. There's nothing to say about that.
You're still going.

Speaker 3 (01:36:56):
You got only a couple more, a couple more your
own TV raps or video music box?

Speaker 2 (01:37:01):
Rough me, Daniels, I like that kiss or fabulous?

Speaker 3 (01:37:06):
What did you say?

Speaker 2 (01:37:08):
Why did he say?

Speaker 4 (01:37:10):
He wrote it in Spanish sweak fluent speak fluent, mister Lee.
They knew that you was not represented. They put that
in there.

Speaker 1 (01:37:22):
You put that.

Speaker 4 (01:37:28):
Have him say it because he because he's gonna say nothing,
have him saying, yeah, wow, fab turned out to be dangerous.
He did yeah, man, kiss was always dangerous.

Speaker 2 (01:37:52):
Yes, you know you gotta you gotta sick.

Speaker 4 (01:37:54):
You know why? Because again, because fab turned out to
be something dangerous.

Speaker 2 (01:37:58):
I mean, we don't have to know.

Speaker 4 (01:38:00):
Yeah, you got it, Sonny, New Jack City or King
of New York if a nickel baggers throw in the park.

Speaker 3 (01:38:18):
M Frank White, but you know brown, you know Brown
brung thus skin niggas back to life?

Speaker 2 (01:38:30):
What was Homegirl?

Speaker 1 (01:38:31):
Rock saved me?

Speaker 4 (01:38:32):
That was the New Jack City? Yes, but even though
King of New York was fucking crazy.

Speaker 3 (01:38:38):
The what's my man name and Chris. He was Wessey Snipes.
Wessey Snipes did such a good job that when I
met him in real life I was still scared of him.

Speaker 1 (01:38:50):
And Bro, he was a cop.

Speaker 2 (01:38:52):
He did such a good job.

Speaker 1 (01:38:56):
I knew he wouldn't have Copper.

Speaker 2 (01:38:59):
This is the first time he's him as a cop.

Speaker 4 (01:39:00):
It was.

Speaker 1 (01:39:02):
Yeah, that's a fact. That's the fact.

Speaker 3 (01:39:04):
What I'm saying is my first time encountering I see
course of that role. I wasn't him, but when I
you were scared him as yeah West, I saw Nino.

Speaker 4 (01:39:15):
Yeah look at your funky black ass.

Speaker 3 (01:39:17):
Yeah yeah, Chris, you picked blue Jack City. This is
the last one that we could get back to the interview.
Loyalty or respect.

Speaker 4 (01:39:31):
I got to go on with was it was?

Speaker 3 (01:39:33):
It was it.

Speaker 4 (01:39:36):
Holy Ship?

Speaker 2 (01:39:37):
Who would you have up here?

Speaker 3 (01:39:38):
Snoop no said love.

Speaker 4 (01:39:40):
I know, yes, Snoop Stead though too, but also I
think it was bleak Memphis.

Speaker 1 (01:39:46):
Everybody has a different take. I think they kind of
they kind of you need both of them. I think
both is the most logical answer.

Speaker 4 (01:39:53):

Speaker 3 (01:39:53):
It's the only question that we've both people.

Speaker 1 (01:39:56):
Come in with one and they going with this crazy
dire tribe.

Speaker 4 (01:40:00):
So respect and loyalty right, yes, me, respect might be
a little bit more bigger though, because the reason why
is like the loyal is dead too. But I feel
like you if you don't got to respect, you can't
get that. You don't want both, you do, but respect

is a big one. So you rather that than both.
That's the thing I'm going to respect because the nigga
ca you catch because that's goes a long way because
I can see what's what's happening. Loyal for me is
not how I'm still here. Respect is how I'm still here.
Niggas respect me. So this is why I'm saying that
to the loyalty, I don't really have to be lord

and nobody like that. You know that I know about it.
Be like yo, damn you niggasayer a nigga no but respect.
No to respect got me where I'm at.

Speaker 3 (01:40:51):
So you're going respect, yes, But let me just I'm explaining.

Speaker 4 (01:40:55):
The way niggas didn't play it that way. Like respect
you can't buy it. Your niggas can't get it. If
you respect is it's always earned, exactly always.

Speaker 1 (01:41:05):
But let me just chatting on you. You not only
have respect, you have love.

Speaker 3 (01:41:12):
That's the beautiful thing about you, like you don't just
have features because people, you know, are looking to get
a check or looking to know.

Speaker 2 (01:41:19):
People respect you.

Speaker 4 (01:41:21):
That's what I'm saying. That's that's why I'm here.

Speaker 1 (01:41:23):
It respect is you.

Speaker 2 (01:41:24):
But love is loyal too.

Speaker 3 (01:41:26):
Loved though right and to me love, love is loyalty and.

Speaker 2 (01:41:28):
Love is Lord.

Speaker 4 (01:41:29):
You're putting three together, you gotta. I'm trying to choose
love the Lord to you? Have you said loyalty and respect?
The love is something different.

Speaker 1 (01:41:36):
You can't just add the love is loyalty in my
add another word.

Speaker 3 (01:41:40):
I know he said loyalty, and say.

Speaker 4 (01:41:43):
Love, loyalty and respect. Love he's added another word. You
can't do that.

Speaker 3 (01:41:48):
I think love loyalty is the same, not not really,
not really someone can love you. Take a shot for
that anyway.

Speaker 4 (01:41:55):
For me getting it wrong, You trying to add something
into the new contest.

Speaker 1 (01:41:58):
This is love you I do you dirty? That's facts exactly.
We don't want you to say ship just playing. You've
been drinking from you deserve. Ain't no camera on you
or not. I ain't got no love for you. Bad
bad Huh.

Speaker 2 (01:42:17):
Everyone's road is your you know this nigga drunk some
people might go on a dirt road.

Speaker 4 (01:42:26):
Wait wait wait wait wait, you.

Speaker 3 (01:42:30):
Know your role.

Speaker 1 (01:42:31):
Everybody started off with loyalty.

Speaker 2 (01:42:33):
Because you're still here too.

Speaker 4 (01:42:36):
Respect And that's why I'm saying that exactly.

Speaker 3 (01:42:45):
I don't understand what you takes.

Speaker 7 (01:42:47):
I just told you you did not understand what inspect
comes first. He said like this, He said, like broad
you come back to me.

Speaker 1 (01:43:00):
Well, let me tell you something, Eric Sherman.

Speaker 2 (01:43:03):
It's just about giving people.

Speaker 3 (01:43:04):
They flowers where they could smell them, they thought where
they could tell it.

Speaker 2 (01:43:07):
We didn't get it.

Speaker 3 (01:43:08):
They drink, get drinking, they thoughts when they could think
of them. And we need to give you your flying away.

Speaker 1 (01:43:16):
We need to get you up. We wound up doing
this back then when the first time he came up.
The first time was hold on, let me say so.

Speaker 4 (01:43:22):
Let me say so, y'all mad bows that was empty on.
We drank them because there was twenty sixteen though, y'all
in the hotel with a bootleg and the whole type
of ship.

Speaker 2 (01:43:36):
It was different times. Man, Well, listen.

Speaker 3 (01:43:40):
Ya dance.

Speaker 2 (01:43:45):
We will figured that out. We figured it out exactly,
said this is right here is yeah, nope.

Speaker 1 (01:43:51):
This is figuring it out. So so let me just
say something. They're real would this be if it wasn't
an E P M D.

Speaker 3 (01:43:59):
They wouldn't be a component oriega, It wouldn't be a
component in oreega.

Speaker 2 (01:44:02):
It wouldn't be a drink. Absolutely.

Speaker 4 (01:44:04):
So did you watch the the fucking Ship with with
with Mark Wilbourne talking in the addition say it won't
be a Backstreet Boys or in sync. You got to say,
it's the truth. It's the truth, the evolution.

Speaker 3 (01:44:26):
And we all got to the two men, to the
two man groups, from Smith and Wesson, to mob Deep
to m O P to.

Speaker 1 (01:44:33):
All of us. We all owe it to y'all.

Speaker 4 (01:44:36):
I appreciate that that two men.

Speaker 2 (01:44:39):
And I know I always say this word wrong.

Speaker 1 (01:44:40):

Speaker 2 (01:44:42):
That's the Spanish coming out of me.

Speaker 1 (01:44:44):
Camarerie, camaraderie. You know what I mean? The Commodore's you
motherfucker's invented that.

Speaker 4 (01:44:51):
Well, we robbed run DMC for it for it.

Speaker 1 (01:44:55):
See the three people though, still so why y'all say that?

Speaker 2 (01:44:58):
I understand that though, but too, but it's still two rappers.

Speaker 4 (01:45:02):
They had a d J too, Yeah, but no, no,
no jams J is the two rappers back and forth.
We listen when you look at the E P M
D logo. Oh LEO, did that? Russell said, did this? Russell?
I said, E P D was E P E E
M D E E is long. Russell was like, do

it this way.

Speaker 2 (01:45:26):
I said, Russell, you can't take your because the.

Speaker 4 (01:45:30):
Red. You can't take run DMC's logo because all it
is is just chopped up line. Run DMC is.

Speaker 3 (01:45:36):
Well, y'all had the same motherfucking logo.

Speaker 1 (01:45:38):
Look at it now. I never.

Speaker 4 (01:45:41):
And we told Russell. He said, don't take care, don'torry
about that. I take care of that.

Speaker 2 (01:45:53):

Speaker 4 (01:45:53):
You look right at it.

Speaker 2 (01:45:55):
Not a secret, not a secret.

Speaker 1 (01:45:57):
But if you didn't know, you didn't know.

Speaker 2 (01:45:59):
I know, I didn't know today. I mean I just
thought the death cham we.

Speaker 4 (01:46:02):
Had different colors, and then they had the nerve to
put the red.

Speaker 2 (01:46:05):
And the white like them on.

Speaker 3 (01:46:06):
This one because these were the color right right, and
god damn it, it worked. And because of that from
if you're going to give it to run to you.

Speaker 4 (01:46:21):
Guys that you guys, well the style, change rock him,
change the style. Then our new style came in. So
that's when we started doing the gun talking. So that's
where again the mob's coming. Mattha let me get a
plug real quick, because I called you though to you
you he was busy. I don't say that your why
on the projects not called okay two man's right. So

when you're bringing that up and you said less dynamic duels, right, you.

Speaker 2 (01:46:48):
Did the whole album. Capon't even called me for that.

Speaker 4 (01:46:51):
Dynamic duels is something that I did because the way
y'all did drink champs like okay, well, which I heard
the story I off is true that y'all did the
because to interview people like us.

Speaker 2 (01:47:05):
So when COVID was going on, even.

Speaker 4 (01:47:08):
Though they had the idea before, I was like, you
know what, I got to do this for hip hop
and for these for my colleagues who feel they can't
make records no more. Who told you to stop making records?
Like how you doing this? I'm like, fuck all that.
So I called the people you know, DM them. I
mean I ain't really called nobody, but I d M

them and I made records on them. So when I
have Run came to the studios, but the Run DMC
dynamic because they wasn't making no ship. Both of them
was this adamant it ain't happening. So then I made
I called storm Pepper because I didn't have no girls.
So that's why the sworn Pepper's on the now though two.
But on the album who you Have Pepper mab D

from Heaven No, probably I got vocals. I got you
got vocals, okay, Hell the Skelter he got vocals. Dog
Pound okay, m O p mm hmm brdan F not
cnn E P M D bum B and U g K.

But you can't say you gotta say bumb petureman pimp
c Okay, you have to say it leally. You can't
say U g K that some iss like some in
the medical So that's some ship, okay, right, Snoop Dogg
and Nate Dog okay. And Biggie Smalls and Biggie Biggie

Smells and Biggie Yes. And when you hear yeah, I know.

Speaker 2 (01:48:50):
What is Biggs and Biggie.

Speaker 1 (01:48:52):
Early, Biggie Smalls is in notorious.

Speaker 4 (01:48:54):
All of it is early, but it's not something that
was like vaguely familiar. And the way that I did it,
it's fucked up because a I came out right, so
people ain't gonna look at me and be like yo, nah, Eric,
but no, it's me This is how I made it
if I the biggest small than Tupac was together. This
is how we hit them together rocking. So I was

doing my ship to make it seem like they was together.
How I said with me and Marvin was like I
was answering back and forth with him like he was
with me. I made a song like that too, to
make it seem like those two were together.

Speaker 2 (01:49:26):
Which two.

Speaker 4 (01:49:29):
The biggest moll in PC. You didn't say that, he said, big?
Oh yeah I did.

Speaker 2 (01:49:35):
Yeah, And you know there was that guy that suited him.
That's why he changed biggie small. That's what you meant.

Speaker 4 (01:49:45):
Yo, I said, biggest, small than bigger. You're looking at
my confusion. I said, I'm like, no, that's all, and
you got clearance. Well, I guess Puppy cleared his quicker.
The two pacing stage is kind of again. They're taking

a long time, but nobody said no so to me
to let go.

Speaker 3 (01:50:12):
I don't think anybody's gonna tell you no. You know,
I think that's you're one of those let me get
your flowers. Please don't cut me off because you don't
guess to be coming. He deserves to. No, no, no, no,
it's cool. You are one of those people that no
one can actually say no no.

Speaker 4 (01:50:32):
It says that all the time.

Speaker 1 (01:50:33):
I'm just being honest.

Speaker 3 (01:50:34):
You you, your genuineness, your humbleness and your realness and
his legacy. I'm not even the legacy is like number seven,
but the realness and how you you you are as
a person. I don't think there's anybody on this earth.
There's certain people who have that you. I see it.
In fact, Joe I can't tell Fat Joe no, and

I can't tell DJ Collin no, even though I be
knowing it's wrong, I'd be like, damn, I don't know
Colin asked me to do anything.

Speaker 1 (01:51:05):
I'm like, what the I do it?

Speaker 3 (01:51:06):
I'm like, I don't know why where like?

Speaker 1 (01:51:09):
But but it's real.

Speaker 4 (01:51:12):
It's so crazy because now realness ship, it's the.

Speaker 3 (01:51:16):
Realness who you are. It's the humbleness and like you
just all said, the legacy. You're a super super legend.
You're an icon. And I don't think there's anybody on
this planet that, if you call yourself, is going to
say no to you.

Speaker 4 (01:51:32):
Why you say that, because now he gonna look like
he's a fucking genius.

Speaker 2 (01:51:36):
He is a genius. You're honest with you, man.

Speaker 4 (01:51:41):
But how do you know that that's not something that
you wouldn't I can see him saying, but you're saying
that too.

Speaker 2 (01:51:46):
I don't listen, man, I don't know no other ways.
You're never going to see that in yourself.

Speaker 4 (01:51:50):
That's right about that. And my mother used to be
so upset, like, yo, what's wrong with you? Because I'd
be like, I guess what I saw last night? He
was like, so, like, you know again, but this is
just me. I just I know that the humblest I'm
humble to a fault. So that's why I mean, like,
I really can't say it's the position that I'm in.
I never was able to even though I got the status,

I never was able to get to you know that part.

Speaker 1 (01:52:18):
But it's the long game, and you are reaching that part.

Speaker 3 (01:52:21):

Speaker 1 (01:52:21):
Maybe the people that you at one point saw.

Speaker 2 (01:52:23):
That part, they're not here anymore.

Speaker 4 (01:52:25):
And that's the part that's that's that I'm gonna go
on that as far as still being here after thirty
six years, to be able to still be.

Speaker 2 (01:52:36):
And then to be able to say, okay, you know
what a I went.

Speaker 4 (01:52:39):
To a party doing the Grammys, and I went to
the warning party because I'm on Warner right and I
walked in there. I was feign because it was all
young people and I'm the old head in there, you know.
But I'm like, I'm here with a project getting ready
to come out in them like three hundred with all

that shit they got over there, and and I'm over
there getting ready to come out. So it kind of
bugged me out a little bit that how the fuck
I'm doing this this long and still be able to
And then like like I gotta I got announcement. I
can't make it right now though too. But about the
about the shock the world because because because my label

is going to be with somebody who did this before,
and we are getting ready to make another impact. You know,
as far as this, somebody's missing the boat with talent.
When we signed Nori, we knew he had ten years.

We're not signing that. Now we signing what's popular. So
now you see why the music business is not doing
so well. Seeing why you see the mirage of what
you think is doing well. Nobody's signing no talent. And
I'm not saying that these everybody that's out it's not talented,
but the talented people that don't have to worry about you.

Was there, no you hosted this ship. Leo was like,
fuck the algorithm, f the fucking likes. You come in
front of me with this bullshit, smeaging shit, all this ship,
It don't matter. He told every major person in there,
sign some fucking talent. All right, he did so, So
this is where we're at at this particular moment. Can

you rap nigga save says some bars? Okay, now rhyme
regular but not behind that record? Okay?

Speaker 2 (01:54:35):
Can you sing sing regular? Sing sing now?

Speaker 1 (01:54:39):
A lovedes in the computer as far as talented people,
and that's what somebody just said that the major label killed.

Speaker 2 (01:54:47):
The superstar damn used to be the radio kill.

Speaker 4 (01:54:52):
So we don't have that. So where is the fifty?
Where's the where's fucking all these people that you see
that came out every five years? That was youmongous? Where
where's them? Where's the snoop?

Speaker 1 (01:55:01):

Speaker 4 (01:55:01):
Where are they? We got the same people circling like.

Speaker 2 (01:55:04):
This and they're there though.

Speaker 1 (01:55:06):
There's droves of talent, but nobody, nobody doing that.

Speaker 4 (01:55:09):
That's what Leo was saying. He told the people know
they said, he said, sign some fucking talent and for
the only labels. He said, Look at hip hop did
made on y'all motherfucking millionaires. Leo was wild on that day.
Oh y'all sitting down there. Hip hop did this for
y'all very well. So that's what I'm saying. I got
that part. Damn, I forgot that far. Yeah, you were

talking about that ship because because the only way he
don't call him don't fuck with him.

Speaker 1 (01:55:39):
That dame.

Speaker 3 (01:55:44):
Me because I was like branking the crowd and ship.
Jay didn't want to be pranked, and I did not
break him either, but they told him to do it.

Speaker 1 (01:55:55):
Break everyone around.