Episode Transcript
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Speaker 1 (00:03):
Money, ladies and gentlemen. My name is Tank Valentine. This
this the Army Money Podcast.
Speaker 2 (00:11):
Yeah what it is the authority on all things as
all things R and B.
Speaker 1 (00:18):
Yeah, it's it's it's about to get legendary. You know
when when when you have a thing that represents an
entire region.
Speaker 3 (00:33):
Yeah, when you're born and raised. You know what.
Speaker 1 (00:36):
Listen, I've been living on the West for twenty four years.
Speaker 3 (00:42):
You are from the West, I'm from here. Would you
do the honors and introduce this thing the right way?
Speaker 1 (00:48):
You?
Speaker 3 (00:49):
Listen?
Speaker 2 (00:49):
Listen, listen, this is this is legendary music. They try
to categorize a lot of things, especially when it comes
to the West Coast. They try to do you know,
they try to put that region on us.
Speaker 3 (01:03):
But some of us, we just we got it in us.
Some of us is born with it. Yeah, yeah, you
know what I mean. Yeah, some of us is way too.
Speaker 4 (01:13):
Funky, some of us. You know, tonight, tonight we have
the man himself who is it, the super producer huh,
the super rapper, the gangster for real, for real, for real,
and most importantly the DJ Quick is his name, bro?
Speaker 3 (01:39):
That's how I get it. Can y'all come do that.
We will be there. Man. Thanks for this, bro, B
Thank you. Bro got me on Rich and Black Radio.
Rich or Rowdy and Black is RB stand for now? Man?
You never know, you never know these days ribs and barbecues.
(02:07):
We're still learn together now. So it's red and blue mixing, bro.
Speaker 1 (02:13):
And and sometimes I think it's hard to maybe frame
it yourself in terms of understanding impact and your contribution
to music. But this is the R and B Money Podcast,
and for us are our a k is is popular
(02:37):
ship time? Come on, man, like it's you know there
there are moments where you you're allowed to be humble, right.
Speaker 3 (02:45):
This is not this is like that guy that guy
nice guys finished last. This is that moment where found ship.
I can.
Speaker 5 (02:56):
Talk it, yeah, Bro, since I touched down on this
on this soil, it's all I've.
Speaker 1 (03:07):
Heard, and I heard it before I got here, but
to see it was just different.
Speaker 3 (03:15):
I make music for the atmosphere here. It's just it's
West Coast. It's an environment, so I make the music
that matches the environment.
Speaker 1 (03:22):
But I'm a I'm a musician, right, and so that's
what for me, took your music outside of a region.
Thank you, Bro, because musically, I was like, what the
fuck is that? Who's doing that? It's universal, It's universal,
thank you. So I'm starting off with flowers come from
(03:47):
the mix, to the musician, ship, to the groove, to the.
Speaker 3 (03:51):
Sample he picked than you b tupac Win Parade, Donald
Bird on the song it was called Let's Get Hired,
but it ended up being in the late night like
by You know, Don Bird wasn't clear for us, but
his music was in our neighborhood growing up. That shit
(04:13):
was fly all that blue, no shit, bro.
Speaker 2 (04:16):
Yeah, so was that your intentions early? Was that everything
you grew up on.
Speaker 3 (04:21):
I was gonna reuse it. You're fucking right. Them people
made me who I was, Like, I got swaggered from that.
You know, I was a virgin, but you swear I
had holes because I had the music. I was living
the music. Yeah, you know what I mean. I was
on that shit man fucking Curtis Mayfield and you know
Rick James. I had Rick James album when I busted
out L seven. I bought that myself. She was six
(04:43):
ninety nine, at the Sound Factory record shop on Rosecrans
off of Oleander by Matheson. I went bought that record
and played Jefferson ball and shit. I think it was
that ship as a kid, like in the room in
my bathroom like this, like I want to go his
concert and busting out L seven that said, well, I
(05:03):
write you tying to smoke. You know what I'm saying.
That we knew it was like can we smoke? No,
you can't smoke nine. But still it made he made
you want to light the joint. So that's your real
introduction into it. Yeah, all fucking Ohio players, Heaven must
be like this. I used to sing that to my
crush and ship when I was a kid. You know
what I think heaven is. I think Heaven is you.
(05:24):
You know what I'm saying. She's like s getting big
old ass. You know what I'm saying. But she's like
sister in law, shen't gonna give me no. But she
was a brick house. You know what I'm saying. I
used to sing them kind of songs.
Speaker 1 (05:35):
So what we sounds like this sounds like R and
B mode. I say this, I about to.
Speaker 3 (05:39):
Say you was an R and B singer, el believe
it or not. I wanted to sing. I wanted to
come out singing because keep Sway killed it with I
wonder that was like, and we listen to everything up
into that running and see you know everything that came
on on dann y'all Downwold Records, you know sleep Rick,
Duggie Fresh, the twelve inch, we got all of that
(06:01):
Prison records, Biz, Marquis no white beast of biz. Make
the music with your mouth, biz. But when I heard
Keith Sweat and Cheddy Rowley, I was like, Okay, that's it,
that's it. We do Jacks waing, It's enough, That's what
I want.
Speaker 1 (06:15):
Was it a combination of the temple, the musicality and
the soul that kind of all?
Speaker 3 (06:22):
Honestly, it was that pose you know whenever you cock
back and squad on the pose your record go gang
like Michael did it, Lionel Richie did it? Anybody who
do that pose when you sit down and put your
leg up that record go and keep sweat? Did it?
That was it my body because of the post ship.
But the album was called hard Yeah. It is hard yeah,
super and I had it was another record that was
(06:46):
on Entertainment that was his label at the time. I
think he did. Did he do the pee wee dance
Jokeskie love. I think that was on entertainment.
Speaker 2 (06:52):
The fact that you're that you're dialing up the labels,
the like, that's amazing, I'm a DJ. You really are
invested into this music, then.
Speaker 3 (07:03):
I love it too much to bullshit it.
Speaker 1 (07:07):
So let's go back to the beginning, cause we're we're
touching on the beginning, like in terms of the nuances
that that that kind of weaved in the fabric of
who you are. Come on, when when do you start
taking all of these things and start putting it into
(07:29):
this one machine or into this you know what I'm saying?
When does that begin?
Speaker 3 (07:33):
My brother in law recipe Bobby Billy Coverson Bungo Bill,
took me to a recording studio when I was little
and let me play around on a landrum and big
speakers like this and a console. All you have to
do is see it and you could be it if
you if you can, if you can perceive it, you
can achieve it. Like I looked at it, it was like,
this is what I want to do for the rest
of my life. Turn these faders, make these speakers, motherfucker,
(07:56):
turn up and watch these people over here do this.
That's it. That's it. The music make people dance. So
he helped me get a four track, a task Cam
forty eight cassette, and I just started overdubbing and learned
how to overdub, you know what I mean. I would
hook two cassette decks up together and overdubb like play
a whole program on the cassette and then put it
in another cassette that can bring it back through the mixer,
and then go play another program with the turntables with
(08:18):
that cassette to another cassette. So I was learning how
to like multi track at a young age, because you know,
that's how I knew Marvin Gaye was doing that shit
on the fucking I want you singing them? How you
see your backgrounds and your lead this nigga bad? Then
I found out he had tracks, so I started using
filling up them tracks with information that that was it.
I was doing that before I got to a recording studio.
That's why my album went so fast. It only took
(08:40):
three months to record quick as the name, and that
shit went plattinue when it came out, I was ready.
I'm that guy, I'm the shit I wanted the best
to ever do it.
Speaker 1 (08:48):
I agree Prince.
Speaker 3 (08:49):
Loved me, give a fuck, Mike loved me, Janet loves me.
You know what I'm saying, Dre fuck with me. They
know what it is. I'm that guy tired of motherfucker's
calling me underrated.
Speaker 1 (08:59):
I'll fuck you up.
Speaker 3 (08:59):
You been. It's like this. I did what I came
here to do. What I did is been done, and
what I haven't done is gonna get did. Right now,
it ain't the time to be fucking with me early
oh yeah yeah, And I'll drink to that and fuck you.
Speaker 1 (09:14):
I wish I had a drink. I could drink to that,
brother quick as you can remember, is their first beat
you made in the first song you wrote, what.
Speaker 3 (09:30):
Wasn't It was this R and B song called make
Your Move, and I played it for my boy player
him at the time, because I was trying to get
on with his rap group, the Parents Players Click and
I did the demo and I was singing, I was
singing falsetto. I was embarrassed. You know, you know you
ain't sure, so you'd be embarrassed as fuck you, like
if somebody told you that shit was whack, you was
just bust out crying. You know what I'm saying, nigga
(09:52):
just no faith, no confidence. So I played that ship
for that nigga. I was shaking this ship. I'm like, man,
you know, he's like player. It's not bad, you know,
but you should you know, you should try rapping. You
should try to rhyme it. Okay. So I tried to
rhyme it and I did. I start rhyming shit. Uh
(10:14):
passed me. They ball. It's one of my first rhymes.
You know what I'm saying. I had these little mixtapes
I used to make where I was rapping with the homeboys.
Well I thought they was the homeboys, but you know
how that go. But it was all me. It was
always by me, and Uh, I let niggas come in
every now and then and when it was over, they leave.
I'm still working, I'm still finishing my you know, I'm
still making my path, my path toward the future, toward success. Yeah,
(10:38):
you know what I mean. And Uh I figured it out.
Stop singing the ship, just start rapping it. He was right,
play hands right.
Speaker 2 (10:46):
So from the beginning, you were I wish I could
write I should it everything? Yeah, who else.
Speaker 3 (10:52):
Gonna do it? I learned how to do it at
the young age. That's what I do. I engineered. I
hooked up the wires, the instruments. I get this ship
ready for the band to come in and get down.
Do some get down. That's my whole gig. But you know,
there are times when I just produce my whole album
all by myself. Like The Quickest the Names and Way
(11:14):
Too Funky's. I helped. I had one of my homeboys
help with that. But like Safe and Sound, cauldn't tell
me shit rhythmlism, I did that all by myself in
the house. We didn't even go to studios no more.
It was too to pop in La was too dangerous,
it was too lit. So nigga start pulling shit in
the house and just start getting down in the motherfucking house.
Speaker 2 (11:32):
What was the mindset behind Quick's Roof? Because it was
for me. It was the first time I had ever
heard a rap album with.
Speaker 3 (11:41):
It was because I didn't The beat was so dope
to me that if I wanted somebody to rap on
it and they wasn't there, I didn't want to waste
it on me or anybody in my camp trying to
rhyme on that beat. It was just perfect as it
was so I called it quick screw. Yeah, yeah, yeah.
Some some beats is too dope to wrap on. That
(12:02):
was one of them. Come melody, It's like, what you're
gonna do with this shit? This is it's finished. But
because I had an SP twelve hundred on the drums,
that didn't sound like smooth jazz, I don't play with
that ship.
Speaker 1 (12:17):
Who because this is who told you you were ready?
Because because there is a there is a moment where
as you're as you're building you you feel everything.
Speaker 3 (12:32):
You know.
Speaker 1 (12:33):
What I'm saying you personally is like I'm feeling all
this shit. I'm hot. And then somebody says, like, my
guy told you to rap. But then somebody says, somebody
who's been doing it, who's got the pedigree in terms
of what the business requires, in terms of what the
radio requires, in terms of what the streets require. Nigga,
this is it.
Speaker 3 (12:53):
Who's the guy who said that?
Speaker 1 (12:54):
Who's the guy?
Speaker 6 (12:55):
Uh?
Speaker 3 (12:55):
Courtney Branch Courtney was a Courtney is the coolest motherfuckers
in the world. Total Track Production shout out him and
Tracy Kendrick that was my first production company, but also
suged It and DLC because I was signed with him
in the eighties to their label, Funky Enough Records, so
they knew, you know, it just wasn't my time, you know.
(13:17):
But Courtney helped me get a deal with Profile, helped
me negotiating against you know, Profiles. Let got in the
ben war, and I ended up coming out with like
a multi figure deal. Bro Your first deal, yeah, it
was one hundred and twenty five thousand dollars signing bonus
for the first album. Every other album the money goes
up two hundred for this, you know, third, three hundred
(13:37):
and fifty for the next one seven album deal with
two album options. And that was like people was like,
quit didn't get no million dollar deal. That ain't no
million dollar deal. You know, that's like seven hundred thousand
dollars or whatever he exaggerated. But what these dumb fuckers
don't know, bitch ass niggas, is that I doubled the
deal because I got second and none a mirror deal
and control the budget. Yeah, and a fuck your mama
(14:05):
respect me. So you tell us what you bought. You
bought ther bikes, cars, houses, I bought houses for my sisters,
cars for him. If I had a Lexus, I bought
helped my sister get she already had the money, though,
helped her get Like Infinity Q forty five. That fast
motherfucker bought the house in Critos when niggas couldn't even
live in Crito's doing it. Nigga doing it.
Speaker 1 (14:28):
S first hit record.
Speaker 3 (14:31):
Mind Born and Raising Compton, and I knew that Tonight
the record was the record with Gold on the first single,
Born and Raising Compton just shut it all down. I
sampled Hyperbolic syllabuccess with Daily Mystic by Isaac Kay's off
the Hot Butter Soul album. What's that seventy two Enterprise
record stacks? Basically, man, my mom used to bang that shit.
I'm like, I'm using that. I use that ship man
(14:52):
and and and sample some other shit off in Victor's record.
She's not just another woman by some ship. Holland does
your how to produce and just blend it all together,
you know, put that shit together real quick and put
it out in the record. When Gold on this first
single Tonight was just icing on the cake. That was
the hit. You know what I'm saying, I gotta tell
you a story. It's stupid.
Speaker 2 (15:12):
I gotta tell your story quick. My childhood. So at
the time, me and my brothers, we have a singing
group called the Neutrons. Yeah, I know about y'all were
living in We living in Diamond Bar, and Diamond Bar
is right next to Pomona.
Speaker 3 (15:27):
Absolute obviously you know that shout out to sugar Free,
Come on Pomona. It's all crips.
Speaker 2 (15:36):
When DJ Quick came out, it was known because before
this and I from what I'll say, people may say different,
but from what I'll say, he was the.
Speaker 3 (15:46):
First red rag Easiley rapping.
Speaker 2 (15:51):
That was like everybody knew. It was a known thing.
And you know, we're from the Bay Area, so we're
not in none of it. We're just seeing how it's going.
My brothers got homeboys, my sisters got her friends. Everybody
from Pomona, they from around that way. They all crips
pretty much. His music was so impactful that they had
(16:13):
to like it.
Speaker 3 (16:14):
They had laigs, had to play it. Hey, and I
had crip niggas back at me, said that was the thing.
Speaker 2 (16:19):
I wasn't.
Speaker 3 (16:20):
I wasn't just some separatistass nigga that was out just
trying to bang out for myself. My thing was, I
grew up in this neighborhood my mother was born. My
mother was born Louisiana, moved to LA. I was born
in Los Angeles and in fucking Lynnwood, right. My mother
lived in Los Angeles at the time, like on the
East Side, you know, eighty seventh, then Hooper in Central
(16:42):
so that's where we was growing up, and it was
all kitchens, so kitchen crips. So we ended up moving
to Compton because for a better life, and that shit
was more ghetto and she was gang banged the fuck out.
We're better off from fucking La. I can't really say that,
but I'm gonna say the fucking what the fuck I
want to say. It's just it was. She tried to
move us to a better place, right, and it ended
(17:03):
up being cool. It was cool company. It was cool
for a minute, and then it just turned into Bay Route,
like in eighty two when fucking Noriega and fucking you know,
the recognomic cocaine to the hood fucked everything up, you know,
turn people we love into zombies, had people doing weird shit.
It's just strange. But I navigated that by staying in
(17:23):
the fucking garage buying records are just disappearing into the
music I wanted to see the skeleton zombie apocalypse shit
going on outside Paru. I hated that shit. Shit's up?
So the music, is it safe? Music got me out
of there. I stayed in the house. I DJ'ed a
couple of parties, a couple of places to make some money,
you know what I'm saying, get some clothes so I
(17:44):
can look decent doing it. And I ended up making
it happen. It was a means to an end. I
got out that bitch. You know, the hood. The best
thing you could do is get out of it, grow
and then go back and help. You know, if you
really love it. You got people there you love, you,
go back and help them figure out the way if
you can, because some people don't really want to leave.
Speaker 2 (18:03):
Yeah, but you're clear, you were clearly putting, putting up,
putting your your people's on from the beginning. Like you said,
your first deal, you did two more deals.
Speaker 3 (18:15):
Yeah, exactly.
Speaker 1 (18:17):
And I'm just I wouldn't make sure I'm articulating this right.
You're you're a label owner, yeah, now you're a you're
a partner. Yeah, these acts are these actually yours?
Speaker 3 (18:27):
Absolutely well? They were signed to the label, but I
had to. You know, I had the production duties, so
I was like the Cousey Jones are that ship at
twenty one twenty two. But this is the thing, if
we could go back to who told me that I
was ready? Nobody told me because you know, just looking
at it as in terms of being a man, you know,
(18:48):
it's about how girls see you. When I was coming up,
it was nerdy ship. You know, I was nerd whatever
I was. You know, I was a geek, like like nerdy,
like putting bikes together and putting hooking up, you know,
fixing equipment and ship and playing music, playing records and
you know, and just chilling and bitches didn't fuck with me.
I was too square. My mixed team came out, my
(19:11):
mixtape came out, and bitches heard my voice. They gotta
start getting pussy. That's what told me I was ready.
Not no record company, not even Courtney. It was because
I was fucking DJ was fucking bad. I was getting pussy,
motherfucking right, valid getting holds. I was knocking bitches down.
(19:36):
You did, getting the holes, getting the whole movie. Unfortunately,
as soon as that shit happened in our era, as
luck would have it, HIV became a thing. Ship hit
Playboy magazine. We all read Playboy magazine was scared. We
didn't look at the naggad, but it was like, this
is good. I'm now sexually active and this happens. I
just got some pussy over its. So but before that
(20:01):
little eighty six to eighty nine motherfucker.
Speaker 1 (20:05):
Jack told you listen, got okay, So I was about
to go there with it. Here's another question I want
to ask you about that. I think is vital to
the production side and the producers out there when you
start talking samples, because samples were managed one way when
(20:31):
you first started and then graduated to a whole different
space managed now yeah right, yeah, yeah, so you were
able to in your early days grab them samples before.
Speaker 3 (20:50):
Before they got the legislation right, and then all that
ship exactly. Yeah, but yeah, it was up until that
point there, it was a it was a it was
a great area, but samples was the biggest move. So
I had to sample. I was, you know, I was
finding like rare blowfly and you know, I was one
of the first people on tonight's The Night God Rest
(21:10):
is Sold Johnny j would you know, knocking the boots
But to put Betty right in your record like this was.
You know, these records that we heard in the that
people dance to in our face, That's what we wanted
to put on our records because I want people to dance.
I want them to think about you know, the plight
and you know how hard it is to get a
job in Long Beach and competent no fuck that. Listen
to these records. You feel me like this record made
(21:32):
me feel good. I'm gonna put some shit on it,
wrap about you niggas because we all in the same
other fucking situation. I'm just gonna talk about what's going
on in my neighborhood, niggas. I know who am putting
it over beats that we all used to listen to,
Like I got that from Mixed Master Spade wrapping over
Genius of Love. You know what I mean? The Profile
Records version of Genius of Love with Doctor Jerkio mister
Hodd who was Andre Hrrel who ended up being one
(21:55):
of my label mates. I ended up signing the Profile
Saw sixty degrees Separation. But fuck it's money we did that.
Speaker 2 (22:01):
So how did did it come back around?
Speaker 3 (22:04):
Though?
Speaker 2 (22:04):
As far as like where you had to redo the
split on the older songs.
Speaker 3 (22:10):
Yeah, how did that go? The nigga we was rich?
Give them what the they want, give them what the
fuck they want. I'm going to go buy a Porsche,
give them what they want. I'm going to go buy
a fucking Porsche or accurate intersex. I don't give a fuck.
I made it. I wasn't even supposed to make it
out of competent. I'm supposed to be dead, and here
I am buying Bentley's and Ship, and I'll give a fuck.
(22:32):
I'm on my soapbox. Suck my dick. I'm dope. And
if y'all don't like it, fuck you take my records back, bitch,
see if you get a rEFInd.
Speaker 1 (22:40):
Fuck y'all.
Speaker 3 (22:43):
I'll make it just uncomfortable, just make it real uncomfortable.
No words, no word. Nobody Nobody said ship. The kid
isn't rare for him tonight. We're letting you get your
I'm just talking ship. It's like, but think about it.
You you the neggat if Press used to kill me,
like I look back at the Source magazine. I'm the
first nigga in LA outside of n w A to
(23:05):
go golden platinum right outside of the CMW and and
King T right, we're all factors at that point, like
you know, successful guys that got labels, you know, that
got major labels, and from Compton right off from Compton
fucking the Source magazine. Race is dirty ass, low key, backhanded,
backhanded compliment as interview like quick and slick with his
(23:27):
you know, saying talk about the Jerry Curl and all
this shit. So you see all the NDU Windo just
clown to me, It's like, what the fuck's so success?
It's different if they like you then if they don't,
but they gotta you know, you know, the media was
playing a cold game, you know, they was that shit
was cold. So I stopped doing interviews for a long time.
I'm like, oh, I see y'all do y'all twist up
what we say, y'all take it out of context. That
I had to learn that you gotta control your own narrative,
(23:50):
you know what I mean. So I just stopped doing interviews,
and I was imploring my homeboys to stop doing them too, like, man,
don't talk to these people they turn in with y'all
say around, they trying to lessen y'all sales. On the
next and what makes you think this record is good?
Did you rush it? You know? What the fuck are
you talking about? If I got the Prince could put
out five albums a year and they're all great. This
(24:11):
record company was like, no, we can't market all of them,
like slow down. Prince is like, if I slow down,
I'll die. My vault is full. What the fuck do
you want from me? You know? Wanted him in that
deal longer exactly, and ended up coming back to Warner
Brothers too. It's another story. But yeah, back when you
(24:31):
was a n R. Yeah, I have been Virginia's dog
because I forgot to mention that when when I was
my biggest flat Yeah, yeah, I forgot.
Speaker 2 (24:42):
I forgot to mention that when I was the black Bugs.
You said you're black Bugs, the black Bugs, Bunny. You
had a t n E up there, get it man? Yeah,
a lot of credit, like let's go. I didn't waste
their money either, like we did. I did what I
was supposed to do.
Speaker 3 (24:57):
How long were How long were you in a year plus?
Something like that? How'd you like being inside the building?
It was dope because I don't get to see that part.
You know, That's why I it was dope. I'm always
on the outside. I'm always at the on the behind
the stage with the artists and you know, going up
and performing, be on the thing. That was good, you know,
next one, But just sit back and see how people,
(25:22):
how people move outside of my circle of being an
artist as an executive. It was like, I like that
made me a little bit. It made me healthily lazy.
Speaker 2 (25:31):
H I used to be a workaholic, but you got
too many fifty six year old guaranteed check.
Speaker 3 (25:37):
Yeah, exactly. It was cool. It wasn't a big ass.
It wasn't bigger than being out on the road touring
and making beats for niggas. But it was cool.
Speaker 2 (25:44):
So let's take let's get into the R and B. Yeah,
let's get into this R and B man. You know
Tony Tony, Tony, Sure, truth hurts. Janet Jackson like obviously.
Speaker 3 (25:57):
Come on, come on, come on, come on, you know,
talk about it as we should. You know, help thed
Weller a little bit, D'Angelo. Uh who else was in that? Uh?
Joy Gilliam helped me on some records. Danny boy off
rip juwel Yeah, sure the fuck did? I just did
(26:22):
the things that motherfuckers wasn't doing or was just missing.
My thing was, if I'm being paid to play a
position on this I'm just gonna be a halfback until
I got to be like a corner or you know,
or I got to do a role out passed and
become like a receiver, you know what I mean. I
just want to play this position. When I see there's
a hole, I try to hit the hole. So when
(26:43):
there were projects that was missing a certain particular record,
I would just go try to produce that record that
made this thing make sense. And that's why I was
instrumental on a lot of soundtrack albums like Life and
Who Wants to Be a Player, and you know, Minister
Society and Above the Rim. I just gave them records
that just made it make sense. Murder was the case.
You know, who's your first R and B placement? Do
(27:04):
you remember first R and B placement? I think it
was it was Clasa discing in Clasa who used to
be a background dance for mc hammer. Okay, whatever, but
it was really Danny Wood was like my first fun
R and B thing. But the real ship was when
I got with Clive. That's when I started getting with
the doing all the real ship, you know. But also
(27:27):
it was with No. It was really with Tony who's
doing fucking house of music mixing like Holy Smokes and
g Wiz and you know, I mean a couple of
the records on there till last summer and wrote and
produced you know, Let's Get Down. I was on my
ship to this day.
Speaker 2 (27:43):
If you're going to have an R and B party,
you're going to play Let's Get Down.
Speaker 3 (27:48):
That's the That's the most niggas ship I got. I
never wanted to lose my nigga of the in the world.
It's that's because that's who I'm from. I mean, you know,
if you ever if you've ever seen a wig bag
with motherfucking powdered milk in it, you know you're a nigga.
You ever see motherfucker you know what I'm talking about
(28:09):
when the first fifteen has a distinct fucking meaning to you,
you're a nigga. So I never wanted to lose pace
with the niggas that made me who I am, who
gave me my motherfucking put the battery in my back.
Speaker 1 (28:24):
You're I don't I don't think your intelligence is celebrated
enough because everything that you're talking about, and the way
that you went about doing.
Speaker 3 (28:39):
It sacrificing was genius. I'm left handed, so I just
think I'm in my right mind. I think different than
other motherfuckers.
Speaker 1 (28:45):
It's beyond that genius.
Speaker 3 (28:48):
I need to be a visser. I developed interior dynamics,
which was what it's called stems now, where you can
take vocals and ship out and drums. I was doing
that with doctor dre in nineteen ninety nine and did
it myself. Dr was blown away. You're just like god damn,
was like you really did that. I was like, yeah,
what's what else? Woman to give me some records? I
take the vocals off for you. Was like, I like
(29:09):
dregoes real, buff and ship. She was gone warde, you know,
I like buff, buff and ship, muscle and muscle. Not
(29:32):
too excited about he's dam pam bro this nigga like Obama.
He's just one level.
Speaker 1 (29:37):
You don't seem mad, you don't seem happy, you like it.
Speaker 3 (29:41):
Sh It's dope, that's it. But I like people that
he's that powerful. He can push a button and just
turn all the attention onto it. Like that's power. You
can do this and the lights just come on a
whole different region of the world. It's gotta be fun
to be able to do that.
Speaker 1 (29:58):
Yeah, tell me about that relationship you and doctor Dre Dreads.
Speaker 3 (30:04):
The ship always wanted to be him, like he was
the reason that we ended up all getting deals because
he showed us a different way to make our music,
not buffoonery or not like you know, like you know,
jazz and shucking job. It was like when he you know,
cabbage Patch, he was doing these little twelve inches and
ship uh you know, fucking uh when he was with
with Lonzo, when they was doing fucking world class record Crew,
(30:24):
it was on some ship like it was it was
some undertones in them chips. Was that was gangster. They
wouldn't like soft records, you know what I mean. They
had a they had a girth, a bigness to him,
And uh, that's what I wanted to do. I wanted
to do that, and I wanted to produce a nigga
like easy because and he just made it to where
it was like a fucking bugle horn in the morning
(30:46):
you hear cruising down the street and you know in
the cars, just it just caught your attention, no matter
what race you was. Everybody was looking like so I
just the way he did records, the way he even
to go in the studio in the nineties and see
him when he left, to go in the studio and
(31:07):
see how he set up his shit, How this dude
was cheating with a fucking midied out tr aight o
a the MCTR eight O eight drum machine hooked up
to a computer with MIDI I'm like, oh, that's it,
it's over. Nobody's doing that. He was. Him and Donovan
Sound were doing something that nobody else ever did. So
(31:27):
it behooves you to think that you could play something
for him that he hasn't heard. That's the key to
Doctor Dre. He's like Quincy Jones. You got to give
them something they never heard, and they're like, they'll fuck
with you. Don't go do the same shit. They heard
every record. They know every note, they know every pocket,
they know every paradiddle, every rhythm, every read them, every microtone,
they know all that shit. They know, you know, the
(31:49):
fucking even the shit in between when you mix Selodi
in the fucking rhythms what they call him polyrhythms. They
know all that shit. Just give them something that's cool
that they haven't heard and they fuck with you me too,
becoming like them an elite.
Speaker 1 (32:02):
And that was gonna be my next question, but you
killed because I was gonna say what technically did you
extrapulate from? And you covered that?
Speaker 3 (32:09):
So I'm the guy, bro, I'm I'm I made Apollo popular.
U A. D. Wasn't nobody really fucking with them like that?
Everybody was buying their little waves plug ins. But UA D.
Bill Putnam Junior got his dass motherfucking schematics and the
blueprints and started redoing all the old equipment that we
all needed that was burning out in the studio. So
when he came with them Apollos and shit and start
(32:30):
getting them clocks right, he put everybody back in. They
we you know, pro tools was cool to Apollo came
out and made pro Tools sound better, made it all
sound analogue. So that's my shit. I'm into the technology
this shit like I like to see businesses boom. I
like to see him going from you know who am
to being in motherfucking sound don't sound like with the
best motherfucking preamps are the best interfaces or the best
(32:50):
you know what I mean? Microphone emulators and all the shit.
That shit turns me on. I like technology, that's my shit.
I always got the new video games. I got the
Penason three d. Oh. These dumb niggas didn't even know
what the fuck that was. Remember that ship Dreamcast Penas
when Penasonic made they little the DVD game we sho
(33:11):
had this game.
Speaker 1 (33:11):
Called road Rash was not long. The Dreamcast was not long.
Speaker 3 (33:15):
We was working on that. I said some ship on
on drink Champs with my shot out Norri and e
f N. But I said some ship on dream Camps,
and I got the date mixed up, and Tupac got
out said PS two. It really was the PS one.
But I had the Dreamcast at home, the three D
O rather the Penasin three d O. And I didn't
want to take it to the studio because I didn't
want to wady to break it because you know, they
was rare. Anybody shout out to anybody to know what
(33:37):
the Penason three d O is. And they had all
the games. But that's that's me. I was balling enough
to buy any fucking thing that I wanted. So I
had all the technology, that's all. It was.
Speaker 2 (33:48):
What he gonna floss his video You better you're better
his cars and he got houses before the crazy.
Speaker 1 (34:00):
Don't need everybody pool.
Speaker 3 (34:01):
I put a pool in thirty eight grand back then
in the nineties, ninety one ninety two, put a big
ass kidney shaped pool in the back of ship with
a stone in.
Speaker 1 (34:09):
It's with a stone, yeah, you know, kidney stone. That's
how Sha like a stone.
Speaker 3 (34:16):
You know, it's safe, like a shape, like a kidney
with a stone. Mister, he's from niggas, Kidney. We have
him up on them up. I was out hanging out
with player Ham and Ship and Shaney. You know what
I'm saying, uh l A, Mike, all my homeboys. But
you know, niggas out there like, you know, living. So
(34:37):
I did all that ship man. That ship was fun.
But back then it meant something because l A was
still uh l A was still a factor that was
finding itself after the fucking recognomics bro after you know,
after you know, the white the what do you call it?
The snowfall? After that and when everybody started, when it
started coming back to normal, It's like l A was,
(34:58):
you know, right for niggas to get back together again
and do something big. Music. Music saved us all, basically,
you know, and you were a huge part of that.
I feel like I was. If you take me out
of the equation, what the fuck you get, it's gonna
be some ship. Avoid It's gonna be some ship. Even
when I was quiet, I was doing ship. When I
like when I left Arister Records, when I got unceremoniously
(35:20):
whatever fired quit, whatever you call the ship, I still
was like busting niggas ass on the fucking equipment bro
and sound designing. I was making the best sounds ever
and not just hear them on the radio, and it's
like music can go on. So were you you were?
You were?
Speaker 2 (35:34):
Were you like when you said that you were making sounds?
So you were just doing more drum production and different stuff.
Speaker 3 (35:41):
With people drums. What I'm saying, I was doing rhythm
section ship, Okay, like the rhythm section, not just a
nigga back. I was making just these fucking slappy ass,
funky ass rhythms that people was like, hey, put this
(36:03):
in my ship. When you're using your name on some
of the shit I was, you know, some of it
was quick. Some people was like, hey, don't give you
no credit, that's what he Like, Who the fuck tells
you that I didn't like credit, give me my credit.
So it was like, that's why I stopped doing I
produce nobody now, like we just did a Trooper Copper,
but it'd be hard pressed to give me the studio.
And I don't give a fuck how rich they are
(36:23):
or who they are. You can't give me the studio
with nobody because people don't know how to put my
name on the final product. So if y'all can't do that,
then y'all don't get the y'all don't get my If
my name ain't on it, my hands ain't on it.
Speaker 2 (36:37):
People were literally purposely saying, that's what he likes, So
that's what we're gonna get it.
Speaker 3 (36:44):
Because niggas are stupid. Wow, that's what niggas do. Niggas
do nigga shit. But how can you so guess what now?
It ain't no question that I ain't on your record
because I ain't. Fuck it right. It cost so much
money to get me in the studio. Now the fuckers
blow their whole budget. I don't even want it either.
(37:06):
I'll get that ship the donation, I get that ship
to charity. So what's your what's your main focus? Now?
My main focus is getting home and finishing learning my
new synthesizer that I just bought, that was delivered to
me yesterday.
Speaker 1 (37:20):
What did you get?
Speaker 3 (37:21):
I can't tell you. It's a secret. Come on, Tank,
you know this game, then he's gonna go out and
run it and be like, I can't tell you, bro,
that ain't even nobody business. Fuck these niggas. You got
something to y'all? See him drinking too, right, y'all see
I'm drinking. I ain't helping none of y'all ever. I
(37:46):
don't giving a funk who you are the only person
I go in the studio right now with a Jimmy
holl game. That's it. Maybe maybe where I am. Everybody
else you had your chance. You blew it goodbye. I
feel like if you heard it right here on R
and B money bitch.
Speaker 1 (38:06):
I feel like if Tank needed a record, you know,
I feel like that would be a reason.
Speaker 3 (38:13):
You put your name in all capitals. I was just
called your record.
Speaker 1 (38:19):
I was just a feature.
Speaker 3 (38:20):
Tank. My credit you know credit, No, but it's been
it's been a journey going back through some of these
records and getting my credits like like they're they're now
starting to well, you can only run for so long.
You can hide, you can avoid me, but you can't
evade me. I'm coming. So I've been, you know, righting
(38:42):
up and helping me, you know, find these, you know
these this is yours, This is and they held it
for you quick. They didn't share it with nobody. This
is your portion of this song. Shout out to this
moment to right now. You got one of the newest
cold blood of his supercars outside. Bro. I don't even
I don't even look at him. Bro, I'm driving the
(39:04):
fucking I'm driving the uh what do you call it?
The loaner I'm driving the loaner car. But this nigga's
riding around here, nigga looking like the black motherfucking Michael Keaton.
Everybody use that nigga that, But that's he's the guy, Bro,
He's a sound guy. Them niggas had the best sound
in twelve inches in the world. That's why I funk
with him, not just that, because he's a good person
and he wanted me to stop being around people. He's like,
(39:26):
you're a fucking unicorn. These people shouldn't even be in
your presence. They shouldn't even have no access to you
at all. Get away from him. I'm like, man, you're
absolutely right. So we just bought fast as cars so
we don't have to talk to more shit. But y'all
pull it up to the RVY. What you say? He said?
(39:47):
The little work said, you're going to see the RVY.
Money was like, oh my god, you're gonna do RV right,
Oh my god, I suck your gig right, Yockhams, bitch.
He married R and B. Rodney and Blake Radio is
(40:08):
Rodney and Blake money, R and B. No, nigga really laughing, nigga,
I'm crazy, You're great, I said. Crazy is a dismissive term.
A lot of people just use it freely, like he's crazy.
But you can't dismiss me. Your mama crazy, your daddy
crazy for leaving it in having your dumb ass. That's
how I get that, motherfucker. I say, your mama niggas
(40:29):
be shocked my mama. Yeah, bitch. Question bag on people, now,
that's my new ship. Bag on. Everybody give me a rarity.
Speaker 1 (40:42):
Of course, you know, in our business ever a one
stop shop, right, But even with being a one stop shop,
there's always something that's outsourced, and most of the time
the one thing that is outsourced for sure is the mix.
You did not outsource, You're mixed you foku.
Speaker 3 (41:01):
With on mixes bro Yes, sir, I appreciate that chank.
You know what that it's all about. It's all about
being in the recording studio with the best mixed engineers
in the game at that time, the most competent people,
people that had references that they just mixed this record
or that record, and then going to find the technology
(41:23):
that they were going to use on the next record
and finding it before them to be ahead of the curve,
because we all wanted to sound I mean amazing on
FM radio, E FM stereo or our aftermarket car stereo systems.
And that's what I was doing. I was trying to
compete with them. Like when I heard the Chronic album,
I listened to it on cassette and I lost my mind.
(41:45):
This was before it came out. I was like doctor Dreyson,
me back to the drawing board. I had to get
what he was doing. Then he was on I realized
he was on SSLS and we were still on API
and need boards. You know the old you know the
video the one Prince used at Oceanway. I got that
one in Be as Quick as the Name. That's why
that went platinum because that's the album, that's the console
that nineteen ninety nine and Erotic City was recorded on.
(42:09):
Yeah yeah, yes, yeah, prince My, Prince Dre fell in
love with Michael Jackson's later music and wanted to know
what console those was because he had the API shit
cracking with fucking Donovan. These niggas was in there on
a trident a range making these big, loud records that
(42:29):
just translated to the It went through the console to
the tape, to the fucking albums to Vinel, the cassettes,
to the radio to the streets, like it was just
the sound. Like even now, when you listen to some
of those records, they're brash, they're like rock and roll.
I mean, actually clearer than some rock and roll records.
(42:50):
But in most cases, it was the Trident vibe that
Dre was getting away from and moving on to bigger
and better things. You know, he needed more room. He
was he was already in his theatrical phase where he
was making film score music, you know what I mean.
So it was just good to see him do that.
And but he changed the game. So when I heard
that record, I was like, we gotta go big too,
(43:12):
So I switched over to SSL and I started mixing.
So I basically still followed him, like there you can't.
There's no meat without this nigga. So they didn't getting around,
and people keep putting us up against each other. I
fuck with the nigga. I love you, you know what
I mean. If y'all want to make me fight him,
I'll fight you because people are just stupid. But that's
how it is. Competition. You know. We we're the only
niggas that pit our own against each other. Like there's
(43:33):
no rock and roll versus only nigga Versusael Jordan. And
this is my most controversial shit. I don't give a
fuck who fuck with me when I leave here? When
we have you ever seen a black cop shoot a
white person? I'm tired of this shit. Look niggas dumbfounded.
When is a black cop gonna shoot a white person?
And we're like, oh, man, you know, you know you
(43:55):
know he was? He was, No, it don't happen. We
live in America. Bro mm hm, fucked up. Bob Marley
did all that freedom fighting as soon as he came
to America. Yeah, a seizure called cancer and died. It's bullshit.
Cho it's conspiracy. H it's all in all plain sight.
You hired a motherfucker. If you want to hide something
(44:17):
from a nigga, put in the plane side. I'm just
tired of I'm tired of the Shenanigans. Unshnaniganize me. It
ain't gonna happen, not here, not in America, Not in America. Well,
guess what I tell people all the time. Guess what.
It ain't hours, it ain't ours. How is it not ours?
(44:37):
We did all the work fuck out of here. We was,
We was the indentured service.
Speaker 1 (44:44):
We was a slave labor the fuck out of here.
But we didn't know paperwork. Guess what.
Speaker 3 (44:50):
There's no more excuses. Motherfuckers is getting rich at ship
on the internet and doing other ship outside that. We
gotta fun, but we gotta fuck with each other. Yeah,
that's the only problem we gotta do.
Speaker 1 (45:01):
But see here's that that part too, right. We can
fuck with each other, right, and and that can get
us up until a certain point. But when the things
that actually run everything we're giving, we're given out. Like
when we start talking about you know, the Rockefellers and
all of these things. When when it was time to
(45:21):
divvy up the land, they got it all. The most
important resource in America is the land.
Speaker 3 (45:30):
Say that as McDonald's.
Speaker 1 (45:33):
We can, we can grab as many pieces as we want.
We're never gonna be able to make a stake.
Speaker 3 (45:39):
Man's talking that ship.
Speaker 1 (45:41):
So as long as they got in early. Now we
want to go somewhere and grab up some land on
one of these you know continents, and it ain't got
inning do some excavations and do some you know, and
and and and throw in some some piping and some irrigation.
Speaker 3 (45:57):
And all these things. And the mule we never get it. Yeah,
reparations never the native the Native Americans got theirs. The
natives got there. But here's his, his, his, here's the thing.
So I'm gonna be standing in that line a long
ass time with great hair about us. Give us free.
Speaker 1 (46:16):
But listen, let's let's let's let's say this though. Let's
let's let's let's get this on the table. When you
start talking about reparations, you know how we got here.
But it's great. And you say, when you say Indians
got there, got got there, just to age I respect
that they should they act different, you know we do.
Speaker 3 (46:39):
We get ours, We go by Lamborghinis and Louis bags
that we can't afford. In August repold and then we
were more dead than if we would have just not
put that money, put that money into some motherfucking conglomerate niggas,
just build like a couple of apartment buildings. But we
don't think like that. Sorry, and it's it's not really that.
But when you've been subjectate and be it's held behind
(47:02):
for so long. Like I say, broke, broke, Being broke
is temporary. Being poor is a condition. Mmmmm say one
more time. Oh well please, if you want to librate, please,
Being broke is temporary, It's gonna happen. Being poor is
a condition. You're absolutely right, Please say that. I'm absolutely right.
(47:26):
Figure it out a long time ago. I'm glad I
didn't get to eighty. Like I tell you, I know everything,
No right here, while I'm still willing and able to
share and get some young person to the promised land,
to be as free as I was, to be the
free thinker, to make the most creative left side music
off to the left and ball the fuck out to
that shit. But be smart and put your money up
(47:49):
so that you could buy land. Because ain't nothing like
getting up in the morning and going back in your
backyard and you own it. It's nothing better than that,
No bitches, no watch all the Mars PJ. Fuck all that.
Buy a bunch of land, you know, and let you
let your family come kick get the ones that don't
tear up ship. But yeah, that's what it's about. It's
(48:10):
about owning things. It's about owning you know. The American
dream was just that, like work your ass off and
then buy a piece of land and raise a family.
You know what happened to the American dream?
Speaker 1 (48:22):
Bro?
Speaker 3 (48:23):
Are we still on that path? Do these kids know
that they didn't talk the little black kids to hate us, like, man,
we don't fuck with them old niggas. It's like we
fuck with old niggas. I love Kurtis Bayfield. I never
wanted nothing to happen to them. I fuck with George
Clinton now that nigga needed a kidney. I'll be right there.
Speaker 2 (48:45):
It's gonna be a setting it. We just sat in
the dressing room with essence, shout out your essence with
Charlie Wilson and got real game from him before you
hit that stage because, like you said, we fuck with
each We and that and that's the thing for us, Bro.
And I was telling you this even before the cameras
came on. The reason why we started this. We are
(49:06):
really here to appreciate each other.
Speaker 3 (49:08):
Come on, man, and.
Speaker 2 (49:09):
And to really and to really say, hey, man, what
you've done has been great man, And what you're doing,
it's great.
Speaker 3 (49:17):
This niggas writing records hard. You can count on me
shake shake shape your booty at the disco. And I
was listening to the Gap Band when they had women
with Gap Chief on their album covers. Bro, let's shout
out to Uncle Charlie to serve and for for for
snoop for dog. I'm gonna call him stop the word
for dog to throw him a life vest when he
did yeah, and help shave it, you know what I mean. Yeah,
(49:40):
And that's that's best voice in the world.
Speaker 2 (49:44):
See the young boys see you can blow beautiful that
the young boys see this and they start feeling the
same way we felt about and feel.
Speaker 3 (49:54):
Stop saying your old homies because when you get old,
you're gonna need somebody to relate to that's old you,
that's smarter than you. That's wiser than you, that got
more days on earth. Just start enjoying your older black people.
Stop calling them weird. Stop making them feel uncomfortable because
they're just laughing at you because they know you on
your way to go around the corner that they said.
Don't make that right, and then the ambulance is coming
(50:15):
because you young people don't listen. Just listen to old niggas.
They ain't all fools, like Richard Price said, because you
don't get to be old being a fool. Mm hmm.
That's it. And I'm drinking and I think the ad
to trip alright, ship, I ain't gonna lie where I'm at.
Speaker 1 (50:37):
The add to it is just the other the the
other piece of the purpose is that people need to
understand that this is who I need to call when
I need to do X, Y and Z. This is
who I need to reference when I'm trying to do X,
Y and Z and.
Speaker 3 (50:58):
Hearing people try to make records like me, and it's
cute because they don't understand gain stag like I'm a
master of gain stag, like I I learned underneath Bernie Grumman, mastering,
you know, I spend.
Speaker 1 (51:14):
I've had a few albums.
Speaker 3 (51:15):
Mixed master Bernie Grumman is a beast. He's just a
he knows. He knows time, time, offset, he knows amplitude,
he knows clocks, he knows you know, compression, you know
A to D D A. C's eighties, you know, say eighties.
He's just he's the greatest guy, and he has some
really great people up underneath him. But those records like
(51:37):
Steely Dan Asia, when you hear these records, it's like
they just changed your life, you know. And of course Thriller.
Thriller is what made me a DJ. But I scratched
the funk out of Billy Jean. I ruined the record
to buy another one, But I learned. But it's something
about Big Base Brian Gardner Bro who made all these
records that were taught. They were like all the to
(51:58):
the East coast, like what Public Enemy was for them.
Everything that Big bas Brian did and hip hop was
for us, all that nation ship, that ship was it
was right, you know what I mean, bad boy, bad motherfuckers.
So I mastered like that now because you know, after
a while, you know, the fruit don't fall far from
the tree. And if you you got a sense ay.
(52:19):
You know, even if Bruce Lee didn't teach me how
to kick, I ain't gonna kick it. I ain't gonna
kick as hard as that nigga. But I will still
still kick a nigga through the glass play glass window.
If I've been practicing with Bruce Lee all day, you know,
I'd say, I'm saying, is there anything in this business
that you haven't done?
Speaker 1 (52:36):
Uh?
Speaker 3 (52:37):
Sucker dick, Well, that ain't that ain't ship. Fuck these niggas.
That's the alcoholic the music ship like these You know,
I just want to make y'all laugh. Y'all can edit
this ship and all that ship. I ain't never did no,
I ain't never I ain't never wore a skirt and
(52:57):
lifted it up. I ain't never did nothing weird. The
one thing that I wish I probably would have did
more of was sit there and watch people cut records
like work on a lathe. You know, to lay this, well,
you'd have to be a lapidary to know, like niggas
that cut diamonds like lathing. A lathe is what cuts
final records. Yeah, cuts lackers so you can get a
(53:20):
test pressing to be your record, because it's just something
about recording. I only care about recordings. I don't care
about these dumb ass politics. I don't care about nothing else.
I care about the best sounded records in the world
because music will stop a fight immediately. Yeah, that's to
stop the riot. That's the most powerful instrument, that's the
(53:42):
most powerful weapon in the world is music. And on
that note, you bet I was awaiting.
Speaker 1 (54:02):
We're gonna get through the party.
Speaker 3 (54:05):
We got to get to the party.
Speaker 1 (54:07):
I gotta ask one more question, sir, if you don't
if you don't mind, I don't, at what point, and
maybe you already have, at what point does quick begin
the educational process.
Speaker 3 (54:27):
The mis education and the DJ quick my nigga, I've
been doing it, so Lauren Hill dropped her. I've been
on that ship, bro I was. I was quietly working
with the best man. I probably sold more than a
hundred million records, like just being me, fucking with Clive
and some of his writers and Charlotte the Big John
publisher at Sony, like you know what I mean these
(54:48):
I was just back there quietly. I put baby Warren
on Warren Campbell my thing. I did everything I was
supposed to do.
Speaker 1 (54:59):
Okay, Okay, now, that let's let's let's let's move a
word out of the way. Let's move out quietly mm
hm and loudly. Know where to go to get too
religion understanding from DJ Quick.
Speaker 3 (55:12):
I got to build a school, dre and and and
fucking Jimmy Ivan building schools. I just got to build
a school to where people learn signal flow my way.
There's there's a whole lot of paths to success. Mine
is one of them, you know what I mean. I
just got a unique path to success, and it's very
it's it's very proprietary to me, but it could be
(55:34):
learned by anybody that wants to. Like I've been in
studios with my guy, Aaron Dahl, young engineer. He's with
like if I if I don't have the energy to
mix and master a whis Khalifa song, He'll just use
my template, like you could use this. You can turn
this up this much? Who have just gain stage it
this way? And he'll be sitting up there using my
game stages and using my equipment and just smoking weed,
(55:58):
smoking this vap and just smile because he knows he's
doing some monumental shit. Because my records are monumental. I
was on our Senior Hall. I was nominated for an
American Music Award on my first single. Born and raised
in Compton. You really can't tell me shit, and I
(56:19):
ain't jaded. I'm fly and it just take a lot
to get to this motherfucker altitude. And I don't take
kindly to people under me, underneath my wing, trying to
take my lift. You want it and have it, just
get it the right way. I'm a teacher. I'm doing
school or something.
Speaker 1 (56:37):
You have touse records that y'all don't even know that.
Speaker 3 (56:42):
Man, Come on, man, that's me on the collapse on
fifty cent in the club. Hell yeah, it's because I
just do shit different. I'm fly, bro, I'm a genius.
I'm a fucking wizard. I'm a warlock. Now now I'm
turning to mensa like I'm i bother myself because I'm
(57:02):
so smart. I'll be like, nobody's even gonna get this ship,
and I just don't even think about it. It's a
wasted it's a it's a waste of I'm gonna be
all passionate about it, Like, look at this equation. You
guys like man wear the blunt. Do you understand what
I'm saying.
Speaker 2 (57:23):
But as Tank was saying, though, I think the next
phase is and just like gotta.
Speaker 3 (57:29):
Come to the DJ Quick school, y'all come to the
David Blake school. Oh there's a joke out there with
these weird ass niggas that there's two DJ Quicks. There's
like a duality, like they'd be like, so I met Quick,
So who did you get DJ Quicker? David Blake? Motherfucker,
It's just one person, the sober David Blake and the
drunk David Blake. DJ Quick is motherfucking step and fetch it,
(57:52):
the one that do the motherfucking dance and moonwalk in
front of you, dumb ass niggas. David Blake is the business.
This is David Blake. DJ quick is. I'm only DJ
Quick when I'm on turntables. If you don't see me
with no turntables, motherfucker, you're only dealing with David Blake.
Say that the next time. Ain't no duality, and I
ain't talking to none of y'all no more. Don't walk
(58:13):
up to me and whole foods and none of that. Ship.
It's over. I don't even want to be I'm too
far above y'all. I just don't want to be in
no atmosphere that motherfuckers don't really love me and expect
me and and and let me be like a butterfly.
Just because you see a butterfly, don't run and try
to touch it, kill it. Tell me cheers. And you
(58:41):
got a whole vitamin water over there.
Speaker 2 (58:43):
You don't even gotta do buff nigga shit managa shigg
got alcali water over.
Speaker 3 (58:50):
Your gumb buff like that. Do some reps, Trey, you're
gonna finish that song?
Speaker 2 (58:57):
Man?
Speaker 3 (58:58):
Now how that song you got with? Fifteen m Let's
go to the gym quick, come to my gym. You ain't
seen my jam. Let's go in too, Jim Dre, I'm
in a dreamlin spot. You know what I'm saying, Doctor Dre,
mean ass lifter spot. I'm so glad you can't on
(59:23):
the podcast. I'm glad, man, this is amazing. Shout to
brother y'all. I'm you know, this is really me, Like
I don't really give a fuck. I tried to be
in cloaked the whole time. I'm flying, y'all, like I'm flying.
Speaker 1 (59:42):
We need to school quick.
Speaker 3 (59:45):
Well, we just got to get investors. Are we if
we doing nonprofit, it's.
Speaker 1 (59:47):
A thing, even if it's because right now we're in
a space where, you know, we don't need brick and mortar.
That's just that's just your information online with people registering
and paying them membership and going to that school.
Speaker 3 (01:00:02):
Bro.
Speaker 1 (01:00:03):
You know, I don't think you are. I think you understand,
but I don't think you understand like how incredible and
how valuable not just the information but the application of
the information.
Speaker 3 (01:00:15):
Did a billion I'm a ghetto nigga that dropped out
of school because I needed a job, and I promised
my teachers that I was going to be a millionaire
before I turned twenty one. And they said you they said,
they said good luck. Not only did it happen when
(01:00:37):
I was nineteen or twenty, I went back to the
school and did free challenge shows from because I came
in second place at the challenge show at David Junior
High School. Shout out to David Junior High. They just
did it. They're the most academic, academically adept children in
the fucking world right now. I don't know if y'all
know that, but they just wanted like to, you know,
they are the smartest kids ever. And that's the middle
(01:00:58):
school you went too. Yeah, David Juniorhigh School. You want
to take place one second place talent show. I was mad,
so you had to come back. I had a drum machine, bro,
I had a two R six O six turntables, a
fucking keyboard. Now hard that shit was to get in
nineteen eighty five. Fuck the second place and my Jerry
curl was not wet. It was fly no drip shining
(01:01:23):
shirt clean. That was fly no drip on collar. Yeah,
came in second place me in high See my homeboy
I was. He was in a talent show together. Anyway,
I went back, gave the niggas like as much money
as I could. I was rich as shit. I was
like here y'all. Yeah, it was like what I went to.
Centennial High School, did contfree concerts, took DJ Rodgers up there,
(01:01:46):
nigga doing it. Danny boy were up at Centennial High.
They just gave me the King. They gave me King
Homecoming King Emeritis twenty twenty three last year. Bro. Because
I go back and get money back, I want him
to have a dope can playground like you know the
you know, let's break up this dumb ass asphalt and
put a new blacktop out here. Slurry this ship, basketball,
(01:02:07):
you know what I mean. And the gym, what these
outfits like, what do y'all need? Y'all need fucking lunch programs.
Let's pay for some lunch. Like these kids don't deserve
to go through what we went through. We were in
a fucking food desert. That's my thing. Feed the kids.
If their stomach is full, their brains will just be
emanating all the best ideas and creatively create it creatively
(01:02:29):
that you could. But when you hunger, you got to
think about, Man, I'm gonna rob somebody. You go to jail.
It's just that stealing from motherfucker's fighting a nigga for
a bag. Feed the kids, man, feed the feed the students.
We just don't need to be a desert. Like I
go to other countries, bro, they don't. They don't worry
(01:02:49):
about medicalitis. Pay for it. The country pays for it.
You know. Canada, Canda is fucking beautiful, you know. And
I say about Canada. People here ask me, so, what's
Canada like? I'm like, you know, Canada's like your rich
bougie uncle, you know, the one that comes to your house.
A certain party functions, but you ain't never been his got.
Speaker 2 (01:03:12):
He don't want you to come turn that up, but
he might show up to yours.
Speaker 3 (01:03:17):
He might.
Speaker 1 (01:03:19):
You gotta come, floss though.
Speaker 3 (01:03:22):
Making sense makes perfect sense. My nigga grew up and
he said, Pomona, y'all, I was over there with the
tray they quit, you know what I'm saying. Niggas. I
was fucking with him like they liked me though, because
I came to bring I ain't came to hurt nobody,
buy no dope or be with I came to pick
up sugar free to bring him to the studio cause
it's like, bro, you gotta be the next too Short.
(01:03:46):
That's that's why I see him as be the next.
Speaker 2 (01:03:48):
Too short, your friendly player pot you know, I gotta
ask a question though, real quick before we because we gonna.
Speaker 3 (01:03:56):
On tonight. Were you talking about j Von she No?
But that's what I'm saying. Well, player Ham used to
take me downtown to go shopping, okay, and he pointed
out all the fly things like we for Rooke was
a new thing back then. But you know, everybody was
(01:04:17):
on Solan, the niggas that was on the hood was
on my fucking Deodora t I sweatsuits Fila right player
Ham was on Gucci East Laurent. And it's pronounced on
and it's the medium for me proper because i'mnice. Well,
I'm not nice if I try to put that sweatsuit on.
(01:04:40):
Now this my stomach gonna go poot. I'm a bust
out like James Brown with the j on the overall
with with the chest cut out.
Speaker 1 (01:04:48):
I just want to know, why ain't nobody tell James
that was nigga put on hey Bro?
Speaker 3 (01:04:55):
That was not a leotard. That was a speedo spandex
superhero outfit with okay bro, hey.
Speaker 1 (01:05:01):
Brod JB want with a new pursuit with spaghetti straps.
Why ain't nobody tell my man?
Speaker 3 (01:05:12):
Nobody's going to tell the Emperor that his new clothes
are still in the fucking pool house.
Speaker 1 (01:05:18):
There's somebody close to the Emperor, Like there's always one
person that's like they can get away with telling you
the truth.
Speaker 3 (01:05:28):
It's always one has to be.
Speaker 2 (01:05:34):
But I wanted to make sure that I pointed out
that because niggas didn't get on that to another fifteen years,
maybe twenty after you shouted that out in your record.
Speaker 3 (01:05:43):
What's that? Now I'm out of the club. I'm feeling
fancy free, which is you know, people bagged on me
for that, you know, shout out to the nigga. You
need to get at me. He said something the niggas said,
how you feel you feel fancy free, fancy free whatever,
Spray on some xerius which was x E R y
U s serious and putting my givan she givon she
(01:06:07):
sweatsuit valure before Seann Jeah, it was that cool gray
and burgundy like charcoal gray. Would burgundy fucking swayed? You
can't tell me. I had to rap about that fucking outfit,
you know what I mean? I was owned. I knew it.
(01:06:28):
I was putting niggas on the givon she. Now it's
the thing everybody we gi she slides and bags and whatever. Yeah, no,
and the family giv on she this niggas Crypt is
the ship. The givon she Crypt looked like his motherfuckers
the ship he had in the store, big black marble.
Motherfucker would just give on she and fucking big front. Yeah.
I loved the motherfucker. I love designers like man. We
(01:06:51):
used to get our clothes made for us when Georgio, uh,
well his name was not Georgio. G Georgio too. We
talk about that. But Gianni Versaci was alive when we
was getting our outfits. So he had people designing, like,
you know, tailoring us like he had, you know, a
(01:07:13):
staff that would you go in there and see his
nice prints and if you couldn't if they couldn't fit
it in the European numbers like in the new you know,
metric to American standard, he would. He would have guys
cut us like his early bro.
Speaker 2 (01:07:31):
You had the Lord Jesus in the silk shirt early.
Speaker 3 (01:07:34):
You understand what I'm saying, and one pubic hair on
my chest, bro, like no, no, beat the bugs naked bear,
you know, the little rib k showing my nigga would
fucking versace bros. Yeah, because I knew that niggas was
gonna call me gay and all that and androgeny was it.
I still fun with androgen. I still fly my hair out,
(01:07:55):
received hairline and all my should still go gangbusters and
it should still be like le touch it live, know that,
don't touch my hair, leave it alone. I don't know.
Speaker 1 (01:08:08):
This.
Speaker 3 (01:08:09):
This is how I feel, right there is a lot
of people, a lot of people. They don't know this Tupac.
When he got out of jail, that nigga turned into
Martin Luther King all his birthtuity sounded like Martin Luther
King Jr. And I've been I'll maybe not get there
with you. I'm really standing plus plus second hand says Midnight.
He start rapping like MLK because he was like, fucking,
I'm finna go the biggest I could go, And who
the people? He's a black panther. Who do people respect Martin?
(01:08:30):
They respect their legends that die for a purpose. And
that's what my nigga did. He went out like MLK Jr.
And I'm like, I fuck with him, you know what
I mean. So that's how I'm gonna go. I'm going
out hard, but going out like Prince So I don't
know how hard you grew out with Chaffan, I'm gonna
make it happen. Let me get some of the Michael
Jackson motherfucking the suits he got on by Alexander McQueen
(01:08:53):
when Alexander McQueen designed it for him, that it was
all fucking you know what I'm saying, Look like serget
Pepper longer.
Speaker 1 (01:08:58):
I want.
Speaker 3 (01:08:58):
I want to wear that ship. Yeah, Kanye, where is it? Yeah?
Shout at Kanye, Yeah he wear it. I just like
I'm happy for any nigga that owns itself in this business.
And that's that's that's making calls and going to get
his rest and sleep and see his kids when he
wants you, bro, and he ain't beholding to nobody to
make him do or say anything that he don't want
(01:09:20):
to do or say. Yeah, shout out to all niggas
in power. Yeah, yeah the kids.
Speaker 4 (01:09:30):
Five.
Speaker 1 (01:09:32):
Yeah, your top five.
Speaker 3 (01:09:38):
Five rapper Army, your.
Speaker 6 (01:09:41):
Top five Army Arby, singer Loot the band Rose, Horry
me some Marvin Gaye, we ain't got to know.
Speaker 3 (01:09:53):
Comes on me so and we'll like you know when
you shit go with.
Speaker 4 (01:10:14):
You five?
Speaker 3 (01:10:19):
Get it all right. It's Marvin Gaye, Stevie Wonder, include
the Vandross, Michael Jackson, Rick James is in there too.
That's a bad sing motherfucker. That is the quickest ever
our pun intended ever Top five. But y'all seen me
(01:10:42):
singing about him. Well, it ain't nothing to think about.
Think about the records. You're finna go by, you're talking
about five top five individuals or groups, because that's a
whole different thing, because Zap isn't. My other talk five
is Roger Trumpman's app You know what I'm saying, even
though he didn't sing that talkbox.
Speaker 1 (01:10:57):
About vocals, that's vocals, motherfucker, that's of us.
Speaker 3 (01:11:01):
You know. Then you got oh hold on Casey Haley
here and Jojo Haley together, they're the thing. There are a.
Speaker 1 (01:11:15):
Thing that will never be replicated.
Speaker 3 (01:11:18):
Rick never gets no motherfucking prop Tell me when was
a distinctive? You understand me? Of course, Ralph Tresment is great,
Ralph Restaurant is great, Johnny Gill is great. Bobby Brown
everybody bought mother fucking he was the king of fucking,
king of stage, King of rob We got that, but
sing wise, that goddamn Ralph can stand the ring nigga.
(01:11:43):
Hey a jealous girl in my town. And Ricky always
wait for Rick to say, because rick always do the dancing.
Speaker 1 (01:11:50):
Whatever right your top five R and B songs?
Speaker 3 (01:11:55):
Oh Lord, for just for radio, or for it's yours,
It's yours, sure sailing Christopher Cross, I want to be
closer by Switch mixed with They'll never be They're kind
of the same record anything Luther Vandros on the Busy
(01:12:21):
Body album The Night I Fell in Love or the
First one Because Make Me a Believer is the coldest
record ever Luther. I met Luther Vandros on a flight
home after we did the Source Awards, when the tobacco
happened and Sugar started to fight. I rode home with
Luther back to LA He was going to go meet
Clive Davis. It was probably in Nuclive and I was
(01:12:42):
trying to talk to Luther in first class, but I
was hungover from Hennessy and you know what I'm saying,
and wrestling all night with Sugar shit, so I can't
really talk to Luther like I wanted to. And this
nigga had on the Versace shirt and a perm and
I was like, I was trying to talk to this
nigga bad. No words would come out. But Luther Vandros
other side of the world fucked my head up. As
a kid, Bro, we're talking about loneliness, you know what
(01:13:05):
I mean? Wow, Prince Adore is number one, and there's
another Prince record that's crazy at ship It's fucking I'm
gonna be weird with this one. When you are in
love and break it on down. I don't want nobody
else here to sound like just the way he wrote
slow songs was the ship it was out here. That's
(01:13:29):
one of my favorite Prince records of all one.
Speaker 1 (01:13:31):
I break it down.
Speaker 3 (01:13:33):
The fact that he gave it to Tevin first and
then it came back and and his version was did
you hear him see the jungle love? I'm sure he did.
He wrote jungle love, but to hear him do his
version of it? All I listened to right now bro
is jungle. Prince wrote that song for him, but he
(01:13:57):
got his own. He sings it. It was a demo.
This nigga, people come get this here, get this nigga,
just another manic Monday. Don't go chase some waterfalls. This
nigga wrote, motherfucking nothing compares to you. This nigga wrote,
motherfucking hold on, hold on. There's some other shit he wrote.
(01:14:19):
I feel for you for uh. We know some of
these are common, but there's this rabbit hole that Prince
got that where you just had to I was thinking Tony, Tony,
Tony was writing some of them songs, but they wasn't.
But then Tony used to be on tour with Prince.
So they used to see Prince like sliding off the
stage at night when he go too far. He come
do the city, come out and slide and go too
(01:14:41):
far and like fall off the stage. You know they
catch him. Yeah, Princess showman, greatest showman of all time. Bro,
Prince did it. But nothing beats Marvin Gaye's Sad Tomorrow's
and The Last Chance. There was a couple of records
that he did that came out after he died, and
his Walking and Rain all that Ship. When he was
(01:15:02):
doing All the Doubt, he was trying to be like
Frank Sinatra.
Speaker 1 (01:15:05):
That incredible. I bought a bunch of boxes from a
record store going out of business and stumbled on it.
Speaker 3 (01:15:11):
And he had the little perm and the little brown
and the brown and blue powder blue.
Speaker 1 (01:15:15):
Lay every day. Bro, and that bro made me love
Frank Sinatra.
Speaker 3 (01:15:19):
That's crazy that he linked you to that music. He
was doing big band.
Speaker 2 (01:15:25):
His label didn't want him to do the big band.
Barry Gordy was like, bro, what are you wasting your
time with this? Jashi for what he said, he's never
going to sell any records.
Speaker 3 (01:15:34):
We know you're going to impress just four hundred people like,
let me show you how to sell four hundred dollars
a record, Let me show you how to go go
and he and he did, and that's why Barry Gordy
is And another one, rept No hold on. Sam Cook
is the greatest singer of soul music period. You can
call whoever you want. Listen to Little Red Rooster, listen
(01:15:55):
to motherfucking you send me, and you'll never be the same.
He invented soul, soul music, prettiest voices, Johnny Wilder from
heat Waves, prettiest voice ever, Johnny Wilder, look it up
always forever, It's cool, quick quick. John Buck told me
(01:16:20):
that I sound like Johnny Wilder from heat Wave when
I do my falsetto. That's the biggest compliment you can get.
Johnny Wilder's wife didn't want to marry nobody that didn't
sound as good as Smoky Robinson, so that Niggas song
always in forever to her. And they was both army.
They was both you know, in the army, so you
end up marrying her. She ended up marrying me because
she was like, it's hard to be smoking. And he
(01:16:43):
got that pussy and married because he said, Ah, just
want some high ass notes. Come on, man, the power
of the pussy. We sing for pussy. That's all R
and B people. Do we want to fuck after this song?
Speaker 1 (01:17:00):
And as a direct correlation from false Settle to the pussy,
oh yeah.
Speaker 3 (01:17:07):
Oh yeah, some high frequencies vibrate that month.
Speaker 1 (01:17:10):
The first time I ever heard girls scream was off
False Settle in ninth grade at that that school school
uh program with all the whole school and I was
singing a gospel song. But something about that False Settle
(01:17:31):
send a different kind of energy that I received even
on today. Quick, let's do a vultron. This is what
vultron is. We're gonna make your super R and B artists.
We want to know where you're getting the vocal from,
the performance style, the styling of the artist, the heart
(01:17:54):
of the artist, and who's gonna produce for this motherfucker? Yeah,
let's start with the vocal. Who's one on vocal You're
gonna grab the build your super R.
Speaker 3 (01:18:02):
And br Alan Rants, the Rants brothers, Jesus N. I
want him first, and then I need one other person
from the mighty clouset Joy. It all come from gospel
silent Yeah, Ran salm Monster. So that's that's one. Then
(01:18:27):
you put him with put him with my boy Johnny
Wilder from Heat Wave. She got these two. You got
this natural this this natural guy. That's and then the
woman who I'll put with Johnny Wilder so they could
just make these these really beautiful melodies is Minnie Ripperton,
(01:18:50):
so they can have fun. It's a girl and there's
two more. No, it's just funny. Five people, right, so
come together like the toy.
Speaker 1 (01:19:06):
No, no, no, mister quick, wrong, this nigga done got
drunk about a bitch.
Speaker 3 (01:19:14):
Now I'm missing the whole point.
Speaker 1 (01:19:16):
It would have happened.
Speaker 3 (01:19:18):
I knew, I didn't think it was gonna happen this Okay.
Speaker 1 (01:19:24):
One person for the vocal. You gotta pick one person.
Speaker 3 (01:19:26):
Okay, one person for the vocal. One personal performance style
on stage James okay, the styling of the artist, the
drip chaffon mm hmm. I don't want to do Prince
Early Okay, but yeah, Prince, the passion of the artist, passion.
(01:19:51):
The hardest working man in show business is Michael Jackson easily.
Speaker 1 (01:19:58):
No debate, no debate.
Speaker 3 (01:20:00):
Who's producing for this motherfucker? The producer, the producer that
makes it all makes sense, and we'll buy the record
and like it. Rod Temperton, Oh hate me later.
Speaker 5 (01:20:23):
Yeah, bitch, yeah yeah.
Speaker 3 (01:20:26):
Now I'm finna go home and be all five of them.
That's my new vot trying. I'm about to morphine a.
People don't know how bad I am. Bro, I can
really sing. I just go through all the scales. I
go moldl Now what is that just me and you?
(01:20:47):
Oh yeah yeah huh. We don't need nobody else jeeus.
Now this was the thing. The problem told me to
bring my equipment up here so that we could really
get down, Like, let's get down like I deal with
(01:21:08):
like Raphael and Dwayne and Timothy and Lies and all
them niggas. So what you want to do? Bro?
Speaker 1 (01:21:16):
You got another segment? Oh yeah, y'all got to shoot
somebody else?
Speaker 3 (01:21:19):
Right? No, No, we just got a segment of the
show that we need you for. Which one is that?
Speaker 2 (01:21:24):
I ain't saying no names. I ain't saying will you
tell us a story funny or fucked up? Are funny
and fucked up?
Speaker 3 (01:21:32):
Oh? You mean bad ship that happened like funny? I
ain't saying no names. Just can't say no name. That's
the only rule to the game. Okay, cool, that's hard
to because I'm gonna keep it real. Last niggas, so no,
you keep really we just don't say the name. What's okay?
The story weird. I was shocked. I was surprised, like
(01:21:52):
I didn't know this world. Then you know they say
never meet your heroes. Oh man, everybody that I had
meetings with, whether I was present or whether I was
like drunk, because it's only you know, it's drunk quick
and sober quick, so you know what I mean. If
(01:22:13):
I might have been drunk and probably like rubbed people
the wrong way because I could be a little terse,
you know what I mean, a little bracive when I'm high.
But somebody that gave me like some funny energy, and
I was like, I'm gonna stop shot out this nigga.
Don't give a fuck who motherfuckers think he is. I
ain't saying no names. Okay. Uh. Somebody, a real famous
(01:22:33):
person shook my hand and I was like, man, I
love your music, and he pushed off me and was
like I'm still the best stuff walked away. I was
like this guy cocaine's and hell of it, rug, he's
got to left that shit anyway. It was one of them.
(01:22:54):
It was like that happened to me. And then another
person told me, quick, you not high, You ain't hot.
Look jay Z, he's fucking hot. You're not hot, get
hot and give me a call. Who are you to
be a parameter or a thermostat motherfucker? And I ain't
(01:23:15):
saying no names. He just some bit shit. I was like, Oh,
he's just trying to get to me. I realize people
say shit to throw you off, just so that they
could get a head start on trying to get to
you know, your worm before the sun comes up faster
than you. Because everybody it's all about making it home
safe with all the money you can make it with.
(01:23:35):
And it's just people trying to get in front of
me because they knew the money was coming to me anyway.
Because you know, I'm not thirsty. I don't run around
chasing money. Money falls on me, you know what I mean.
And the more I release, when I take my top
and pull it back and my convertible car, the money
falls inside the car. Then I gotta hry up and
put it back on because the wind blows it out.
(01:23:55):
And everybody's chasing the car full of money. But I
don't give a fuck about none of these motherfuckers ain't
no living or dead, live or dead, or you know,
did some funny to me. They all get a pass
because humans to air is human. I forgive you. Don't
care about nobody making no mistakes with me. They an't
lose no sleep. Now, if you put your hands on me,
I'm gonna pick you up and I'm gonna throw you
(01:24:16):
through a studio play glass window. I ask anybody about that.
I fuck niggas up. I want to see I don't
want to see it. Keep these cameras on, don't find somebody.
We're gonna fight. And I love it when they hit
me too. Nigga hit me like like, oh you hit
like a bitch, and just pick them up and throw
(01:24:39):
them through the plate glass window. I like when niggas
say you tripping, man, that's not fair. You had three tries.
You disrespected my motherfucking girl. You stepped on my motherfucker's shoe,
and you said I was whack. That's a rapper. That's three.
Come on, you ain't gonna get three.
Speaker 1 (01:24:57):
You gotta go through the class these people.
Speaker 3 (01:25:00):
Or through the through the wood it's a little harder
the glass, just the special effects. You know, it looks good.
They's flying through the glass. Sorry, man, I watched a
lot of brus Lee when I was a kid.
Speaker 1 (01:25:12):
Quick, We need the school man.
Speaker 3 (01:25:14):
Nobody want to go to no d Yes, yes they.
Speaker 1 (01:25:16):
Do, Yes they do.
Speaker 3 (01:25:17):
And we're gonna and we're gonna keep talking.
Speaker 1 (01:25:19):
About Listen, let me tell you right this, it's about
to go out too.
Speaker 3 (01:25:23):
I already know about one hundred and fifty million people
looking at you, looking.
Speaker 1 (01:25:26):
And we're putting it on. Notice that DJ Quick has
the information.
Speaker 3 (01:25:31):
We're gonna start that Centennial High School where Kendred coolio
DJ Quick Second High see we all come from. That's
where we're gonna start from. We start there where they
have like one hour to go into this room with
pro tools and the whole shit's a studio. This ship
look like Hollywood. We're gonna call it Compton Wood and
you know Hollywood, hear me, yep? And then let motherfucker's
(01:25:55):
going there for like an hour. The good kids, the
ones who like all straight a's are doing shit and
you know, student teacher like you know what I mean,
like they most likely to succeed. Give them the key.
Let them go in there for a hour when everybody
else is going out to lunch and recess. Put them
in that studio for a hour and just let them
record on the best microphones, the best pre amplifiers, the
best dacs, ad c's, you know, the best, you know
(01:26:17):
what I mean, all of the best clocks, and the
best fucking audio recording equipment, and the best engineers like
your guys, because I love the dude that just came
and make them speaking. Shout out to motherfucking Ruben. But yeah,
if Tank, if you, if you, if you come up there,
them girls gonna be they young girls, bro, They impressionable,
and you buff and ship. You know what I'm saying.
You can be the handsome guy at the little high school,
(01:26:40):
you know what I'm saying. But we put on a suit.
We can go in there.
Speaker 1 (01:26:44):
You put on the suit.
Speaker 3 (01:26:45):
You but if you do a concert up there, they're
gonna lose their mind. Because there's nothing more beautiful than
teenage angst. You know, that's what made Nirvana hot. Nirvana
is the greatest rock and roll group of all time.
Y'all can laugh, and I know guns are roses, you know,
Shout out to Steven Adler, that's my brother. But Nirvana
was teenage angs Bro. They named their first hit after deodorant.
(01:27:08):
Bro smells like teen spirit. You know. That's what kids
are feeling right now. They're ready for their breakthrough. The
one thing that run DMC helped us have our breakthrough.
These kids need. Kendrick is letting everybody know that you
can have your breakthrough whenever y'all want to, because I
just bought you all time, you know what I mean.
I just made it to where y'all have a blanket
(01:27:30):
of time and passion and money and love and everything
is boom, you know what I mean, And y'all got shine.
He put the light on them, fuck the light on me,
you know what I mean. So that's what I'm saying.
It would have to be at the teen and then
we hopefully would do it like at the at the
Hollywood school, like the one that Brandy and all of
them went to and Patunce Russian but she went the
(01:27:50):
lock But you know the Hollywood School was Highland and
Sunset in Hollywood High School. Do it there too. You
know you have a nigga like me, come up there
without the juice, no tequila, because right now. I had
a bad day, y'all. My pool, my jacuzzie didn't get
as cool as I wanted it to because it was
a warm day at my house. So fuck my jacuzzie.
(01:28:14):
You are Yeah, I gotta put some ice in it.
I'll be back tomorrow winning cool off and go getting
that motherfucker.
Speaker 1 (01:28:19):
Ladies and gentlemen, First of all, my name is Tank Valentine,
and this has been an episode that you will never forget, ever, ever,
ever forget. The information is coming and flat out it's
a bad motherfucker with some respect on his name. Man
all the time, one hundred percent of the time, or
it can be problems. Play glass window, you.
Speaker 3 (01:28:40):
Know, I don't know.
Speaker 1 (01:28:40):
I don't want you to. I don't want you to
go through.
Speaker 3 (01:28:44):
Because I'm gonna go to jail and i'mna have to
sign autographs with motherfucking charcoal that niggas made and be
holding in their booty. I don't want. It's weird in there.
I'm gonna make your bible out of some soap. Get
the fuck away from me, and that's what we don't want. Ladies,
gamin I meet niggas ass in prison. Good m