Warren G

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
R and B money, Honey, we are than take the child.
We are the authority on R and B. Ladies and gentlemen.
My name is Tank, I'm Jay Allentown, and this is
the r Andy.

Speaker 2 (00:20):
Bundy Podcast, the authority, yeah, on all things R and B.

Speaker 1 (00:25):
Yeah.

Speaker 2 (00:26):
Man, you know I've been on this West coast about
twenty four years.

Speaker 1 (00:33):
Yeah. Yeah, I feel like I'm from here. Yeah. Huh
have you ever saved an entire label? Now? Many have?

Speaker 3 (00:43):
Huh?

Speaker 1 (00:44):
Have you ever mixed R and B with the funk
and called it?

Speaker 2 (00:49):
How you?

Speaker 3 (00:51):
Yeah?

Speaker 1 (00:51):
Yeah, you've never done it, but the man here has.
It's a nice mister Warren, the lady himself. Yeah, ship.
Oh yeah. How you feeling, man, I'm good, I'm good.
Let me ask you a question.

Speaker 2 (01:12):
Do you do you like because this is this is
a flowers pod. This is where you get an opportunity
to really say it how you feel it. You know
what I'm saying, Beaches, you understand I'm saying, like like
own it?

Speaker 1 (01:27):
Oh yeah. Have have you like ever.

Speaker 2 (01:29):
Just looked around and and.

Speaker 1 (01:33):
And thought about the things that you've actually done?

Speaker 3 (01:39):
Nah? I just uh, I feel like if I if
I think about all the stuff back in the past,
I started feeling like I'm super old night.

Speaker 4 (01:52):
I'm still young.

Speaker 3 (01:53):
I still I mean, I ain't super young, but I'm
I'm you know, I'm writing them in the mix with
everything musical, uh everything, you know.

Speaker 4 (02:02):
My kids was even trying to clown me talking about dad.

Speaker 3 (02:05):
You can't do a card wo, I said, ship.

Speaker 1 (02:11):
I can't.

Speaker 3 (02:15):
I'm good, but you know it just you know, just
if I think about that stuff, uh, like I said,
it may make me feel like I'm just super old.

Speaker 1 (02:25):
But then.

Speaker 3 (02:28):
I just try to keep moving. I don't. I just
like to do stuff and just keep moving. Like if Okay,
that's a hit record, boom, I'm trying to get another
one of those. So I just keep driving and driving
and driving, trying to create you know, uh, just straight
hit records, you know what I mean. I try to do.

Speaker 4 (02:47):
I know it's not possible, but.

Speaker 3 (02:49):
I try to do every record that I produce, I
try to make it a single, you know.

Speaker 4 (02:53):
So, and that's how people get good good albums.

Speaker 3 (02:56):
When when you're doing a full album, you try to
make every record a good a single. And that's when
people be like, damn, the whole record just as a
whole sound good from top to bottom, you know.

Speaker 1 (03:09):
So I mean.

Speaker 3 (03:09):
That's that's uh, that's just how I am. And I mean,
like I said, I just I love everything I did.
But I'm you know, I'm I'm I'm just moving just
I don't I don't want to stop.

Speaker 1 (03:24):
You know.

Speaker 2 (03:24):
I asked that because in this age of everything moving
so fast and everybody's scrolling so fast, and and we're
in an age where people people love to have amnesia. Yeah, yeah,
they love too.

Speaker 1 (03:46):
Yeah.

Speaker 2 (03:47):
They can't wait to y'all.

Speaker 1 (03:50):
I must have forgotten.

Speaker 2 (03:52):
They can't wait to discredit without actually knowing the credits
and the importance in terms of the things that you've
done which have contributed to the foundation and the fabric
of certain things. It's important to be part of a

(04:16):
constant conversation, not that you have to say because I mean,
that's if you don't, somebody has to say it. And
and I'm thankful that you're here so that so that
we can fucking say it.

Speaker 1 (04:30):
This is this is you know, you.

Speaker 2 (04:32):
Can however you want to do your other interviews, you
can be light and easy on them, but today I
want to hear a whole lot of yeah, you fucking right,
I did that.

Speaker 1 (04:42):
I want to.

Speaker 3 (04:42):
I want to straight up, I ain't gonna I ain't
gonna sugar coat nothing.

Speaker 2 (04:48):
I'm straight up. Yeah, I'm so so so treat me.
Treat me like I'm new to the West Coast. Where
does this start? Brother Warrens, Like, where does this journey begin?

Speaker 3 (05:00):
It was we uh well, musically for my For myself,
it started with my dad going to his house. He
would scoop me up on the weekends and we would
listening to jazz just all day. You know, he'd be blazing,
you know, have his friends, his lady friends and stuff

(05:21):
come through. Sometimes some of his homies come through. But
I always had to just chill right there or play
with the guy that lived next door named Tommy.

Speaker 4 (05:31):
We used to play Star Wars and ship.

Speaker 3 (05:33):
But other than that, I'd be laying on the ground
listening to jazz with him. And then from there, you know,
my my father and Werner got married and that brought
me around Drake. That's when I was but from my
pup I probably was like seven years old maybe, so
we lived together because my mom made me move with

(05:55):
my father, you know, and my father and Vernon was
married and they lived in compics, so they made me move,
moved the coptain and no, I wasn't I wasn't bad.
She didn't want to she didn't want me to get
caught up in what was going on around where we
lived at in Loan Beach. But Ship, I was already
in the mix anywhere, because I was still going. I

(06:15):
catched the bus right back down down to the East Side.
And uh, just you know, living with my dad and
being with with Andre and Tyree, Uh they groomed me,
you know, so being around them and just all all
my life, you know, I wanted to be like Dre.

(06:38):
You know, he was doing DJing and stuff like that,
and you know, me and Tyree, we just we both
was in the sports a lot. And but I kind
of like Dre used to do mixtapes all the time
that it was just bumping, Like Ship just was bumping.
So I was like, man, can you show me how
to do that? So he showed me one day in

(07:00):
the room because we slept in the same room. We
slept in the same beds together all that. You know,
how you got two beds and his three boys and
was sleeping this bed and that bed, and and he
had some turntables set up by the clause that he
had it all set up right there, and he showed
me and I can remember the first record it was.

Speaker 4 (07:22):
It was uh uh it's time.

Speaker 3 (07:28):
He showed me how to mix that and uh so
I just started practicing practicing from there, and uh that
was another thing that made me fall in love with
music as well. And just you know, looking up to him,
him and Tyree, they both was was both you know.
It was great for me to have big brothers. I

(07:48):
was like dangn but and and they used to make
me fight the little dudes in the hood. They called
me kibbles and bits then and uh but uh, I
graduated from kibbles and business to uh circul pull up.

Speaker 1 (08:06):
A problem with your little niggas. Yeah, we used to.

Speaker 4 (08:08):
We used to have battle of the blocks, uh boxing
and the gloves.

Speaker 1 (08:13):
Yeah.

Speaker 3 (08:14):
Uh.

Speaker 1 (08:15):
One of my homeboys stink.

Speaker 4 (08:17):
He was vicious. I ain't gonna live, but me and
him used to lock up. Yeah, we were locking up.

Speaker 2 (08:22):
You know.

Speaker 4 (08:22):
That was my only competition other than that.

Speaker 3 (08:25):
I was putting hands on everybody except for bb BB
was He was younger than me, but he was one
of those who was just vicious. He was one of
the fi I'm talking about like thirteen years old, knocking out,
knocking out, twenty five year old or thirty years like that. Yeah,
like that, so that all this is in Compton though,

(08:46):
that was in Compton, but I was I was still
tracking back and forth. But you living in Compton, but
you're from Long Beach, so yeah, it's also that. Yeah,
when you moved to that neighborhood, they're like, oh, well,
was a bitch from Long Beach.

Speaker 1 (08:58):
Yeah, right, so you had to go through that whole thing.

Speaker 4 (09:00):
Yeah, And I mean all of that stuff just groomed me,
uh into the music.

Speaker 3 (09:06):
And then later on as I.

Speaker 1 (09:10):
Grew up.

Speaker 3 (09:11):
I'm not ain't gonna say as I grew up before that,
I was around you know that ain't even before that.
That was all around the same time.

Speaker 4 (09:22):
We used to.

Speaker 3 (09:24):
I would go back and I'd be at my house
with my mother and we had we had had this
crew called the Voultron Crew. That's what I talk about
on this DJ. I said, the Vaultron Crew, which we
worked for this dude named Steve who we used to
sell candy for. And so we used to go to

(09:45):
all the neighborhoods all from Long Beach to Santa Ana
to up by U c l A selling candy and
and uh when we were finished selling candy, what we
would do was we rap.

Speaker 4 (10:00):
So it was me Snoop, the twins.

Speaker 1 (10:03):
Uh.

Speaker 4 (10:03):
It was a gang of us, Steve uh t Needy,
it was Priscilla uh Uh, it was a bunch of us.
Uh fave uh tig.

Speaker 1 (10:16):
We was deep.

Speaker 4 (10:16):
All of us was in this one van.

Speaker 3 (10:18):
We was like the uh fat album now and after
after we finished selling candy, we would we would flip
quarters and we would just freestyle. So that's where I
really learned how to how to you know, just like
really just learn how to freestyle because you had to.
But I started cheating, uh because I was I was

(10:38):
you know, like I said. At that time, Dre was
in uh the world class wrecking crew. So I used
to get all the music before anybody anything. So I
had the tapes everything.

Speaker 4 (10:49):
So we in there one day and I'm just I
just started rapping.

Speaker 1 (10:52):
Uh they hate.

Speaker 3 (10:54):
He had a song called Cabbage Patch and I started
rapping that motherfucking there uh in the in the van
with everybody after word will. I was rolling down the
street with my mind at ease. I had my top
pulled back to Canfield. They looking like damn this nigga
and gun hor.

Speaker 1 (11:12):
Where you get that?

Speaker 3 (11:13):
What happened? I never said ship and uh until later
and you know, just doing that the Vaultron crew. But
you're going back and forth, yeah, going back. You're going
back and forth Compton.

Speaker 1 (11:29):
So do they not I'm not even just Long Beach
and Compton from.

Speaker 5 (11:32):
Your Voultron crew to your household with your big brothers,
poor world class wrecking crew.

Speaker 1 (11:40):
Does the home? Do the homies in Long Beach know this?

Speaker 2 (11:42):
Or no?

Speaker 3 (11:43):
Yeah they knew it?

Speaker 4 (11:43):
Well snooping, Yeah they knew it.

Speaker 1 (11:45):
They knew it. They knew it because by this time
they got turned off the lights and all that out.

Speaker 3 (11:49):
Yeah, yeah they knew it. They knew it.

Speaker 4 (11:53):
Ship.

Speaker 3 (11:54):
Everybody knew it.

Speaker 1 (11:55):
You know.

Speaker 3 (11:56):
Dre used to be in Long Wish too, you know
on the east side. Well he went to staying out
on the east side here and there, and he went
to Jordan for I think for maybe a few semesters
or something, and then he he got kicked out, I think,
uh for not going I think, but let me see.
But I mean all of that, so every everybody, you know,

(12:18):
everybody from Loanbies knew that Dre was related to us.
Every you know, everybody knew it. And then later on, uh,
like I said, we was with the Vultron crew. We
used to go to Cayle State. I talk about that
in this DJ that King Park was the the epicenter

(12:40):
for for all our relationships for the twins. Who was
who was the artist with us? Me and Snoop Dirty Left,
which is Snoopers oldest brother. That was that was my
best friend before Snoop was my best friend because we
all went to C I S. That was across the
street from King Park. And I'm kind of speeding a
little it, uh through the whole through the whole thing.

(13:02):
But uh, but that that's where our introduction, our introduction
to each other as kids started right there at King's Park,
getting the free lunches. Uh, working for the s Y E.
T P, Working for Steve with the United teams, just
trying to trying to survive and trying to try to eat.
And you know Snoop was always uh uh he was

(13:27):
like a comedian. He used to always bag and he
would always freestyle. So we played football together, uh and
he used to always be rapping. I was I was
focused on football more heavy, but we always we always
was doing music. So as we got older and older

(13:48):
and older, we kept working with me, you know, Snoop
became my best friend, so we would dip here and there.
So we kind of got separated at at a certain
point where I was in Norfolk Beach because I had
got in trouble coming down alone, which I got in trouble.

Speaker 5 (14:04):
Uh.

Speaker 4 (14:04):
I went to middle school actually in Loan Beach at Hughes.

Speaker 1 (14:08):
Uh.

Speaker 3 (14:08):
So they kicked me out of Hughes and sent me
to the north side, a long beach, Hamilton.

Speaker 4 (14:14):
Got kicked out of Hamilton.

Speaker 3 (14:16):
They sent me to Lindburg and Lindbergh is where it
all started. Sub where I got on track and that
was that was That was like some of the most
fun I had in my life from that point through
high school.

Speaker 4 (14:28):
But we still kept in touch with each other.

Speaker 3 (14:31):
I would come down there still hanging with all my
friends and we would do music and messing around.

Speaker 4 (14:38):
So we got older. Uh been high school.

Speaker 3 (14:42):
One day, I was at lunch, you know, I'm I'm
out at lunch and I hear somebody howling warm, you know,
like warm. So I'm looking, I'm looking like Warren. I
look and it's snoop and I'm like, think, what the
fuck are you doing up here? You're supposed to be
a polly.

Speaker 4 (14:59):
He was like they they wouldn't let me go to
poly no more because we moved up to sixty first Street, so.

Speaker 3 (15:06):
He was he was. He was like, you still doing music,
ain't you? I was like, yeah, still doing music. So
we linked up, did a little mixtape. I still had
my turntables and my mixer and I would hit record
on the tape deck and we give them a little
raggedy microphone and he'd start busting. We just we did
a demo for Eric being rock Camp, well for Karl Lewis,

(15:27):
but it was we sent it to her to give
to Eric Being rock Camp and all of them back
in the day.

Speaker 4 (15:34):
On our mixtape I think I made.

Speaker 3 (15:35):
I probably did like about I mailed off about maybe
eight to ten of them, motherfuckers, just mailing them to
different record companies and everything, just off our little demo.
But we kept doing We started doing mixtapes and stuff
like that. So once we got out of school is
when the reality kind of hit us a little bit.

Speaker 1 (15:56):
So we was like all over.

Speaker 3 (15:58):
I stayed on sixty first us an Orange. He stayed
on sixty first in London. So we ended up getting
caught up in the hustle game around the neighborhood. But
we were still doing our music too. But it was
starting to get hectic as far as like that's I
talk about that on do U see. It was getting

(16:19):
hectic for us then, but we still was we we
had We was just trying to make money so we
can get new clothes, go to the football games and
look good, and you know, just try to get cars
and shit like that. Just looking at the guys that
was before us. We kept going and going and going
with you know, we was going in and out of jail.

(16:39):
We go to the county. One I may be in
the county. He main't be in the county. Or Nate
then went to the county. You know, just back and
forth from getting caught up and where were you know,
around where we was at, And we finally just said,
you know what, let's slow down a little bit, get
it together, because we've seen a lot happen, uh as

(17:00):
far as on the on the gang tip, the killing tip,
the shooting tip, all that ship, we've seen a lot
of shit. So it was like we're gonna We're gonna
end up being in the in this position, just like
all the other Homeboys was gone twenty something years, fifteen years,
thirty years, they was all getting stretched, and uh so

(17:22):
we was like fuck that shit. Uh So we just
started working full time. We would go to the VIP
Calvin would let us in in the do demos. So
we're going there doing demos. Yeah, and the record store
right yeah, yeah, so we was doing demos from with Calvin.
Uh with Snoop was going to other I would get mad.

(17:44):
I ain't gonna lie when he would go deal with
other producers and other people pissed off.

Speaker 4 (17:48):
Like while you going over there with them?

Speaker 3 (17:50):
We were you and Nate.

Speaker 1 (17:53):
So, uh we did a.

Speaker 3 (17:55):
Demo with one of my guys, his name money B.
Not money Be from Digital Underground, but long Beach money Bee.
He's a white dude, but he was. He was our niggah.
But uh so we did a demo with him. We
did a song called long Beach is a motherfucker. I

(18:18):
can't remember all our songs right off top, but I
got him actually in my phone.

Speaker 1 (18:22):
You still got all your original I got the demos
in my phone. M Do you feel like.

Speaker 5 (18:36):
For y'all, it was more of a reality because you
had a brother who was already doing it.

Speaker 1 (18:43):
Was that always kind of the back with us.

Speaker 3 (18:46):
At all. Yeah, little family functions that Dre, Snoop and
rap Man you need to listen. And we got a
group called two one three check us out. Oh yeah, okay,
yeah yeah, Like damn, he ain't fucking with us. So
he never was fucking with us.

Speaker 1 (19:05):
He was cool with us.

Speaker 4 (19:07):
Fucking with us like no, y'all, y'all niggas ain't you
know because some wild niggas.

Speaker 1 (19:13):
No, probably because we was pretty young. We was.

Speaker 4 (19:16):
We was pretty young. Uh when we was trying to
get at him, we was. We was young like ship uh.

Speaker 1 (19:24):
We we was young. Because this is the n w
A days for him though.

Speaker 3 (19:27):
Yeah, yeah, well it was n w A and then
he went into n w A end I mean ended
up well wrecking Crew and then he went into n
w A at the time at that time around that time,
but before that, he was with the uh I think
it was called the Stereo Crew. They was deep there.
DJ Crew. That's why I fell in love with with

(19:48):
DJ because him and Easy Randy, cat Sheen Donald, they
was all a crew a speed did the speed Uh,
they had their crew called I think it was called
the Stereo Crew, if I'm not mistaken. So that's inspired
me as well. But god damn, I forgot sometimes.

Speaker 2 (20:12):
With his family when it's family, wasn't when it's family,
it's like, yeah, it's.

Speaker 1 (20:18):
Too it's too close for you to really see if.

Speaker 3 (20:22):
It's real or not if yeah, yeah, yeah, yeah, yeah.
I mean, but we kept we kept working.

Speaker 1 (20:30):
We went for some years. Yeah, we wasn't.

Speaker 3 (20:32):
Yeah, well we was older, like seventeen eighteen, seventeen eighteen.
Around that time, we was uh, we wasn't even chiming
in with him no more. So we were just doing
our thing in the streets. And like I said, we
formed a group called two one three, which was our
area code for all of California, like the southern California

(20:56):
and then but we was inspired by four one five
from the Bay Richie Rich, Yeah, Richie Rich, which.

Speaker 5 (21:02):
Is crazy because the same thing happened with them, where
four and five the area coast our area codes split
up in the Bay. Yeah, four and five only end
up in San Francisco. And obviously then five one oh
became Oakland, our yards became Long Beach.

Speaker 3 (21:16):
Yeah, three one three one oh was a round let
me three one oh. It was before two one three
was it? It was three to one oh, but it
was l A was always known, it was all, but
then it switched to two one three, and uh so
we we we took on that that whole, like we
represent for everybody, Comped and Washed Long Beach, La Courson,

(21:39):
sand Burns wherever the mass circle and uh we just
started doing demos and just recording them and passing them
out to everybody, like we would let people.

Speaker 4 (21:51):
They hear like that ship dope, So we dub it.

Speaker 3 (21:53):
You know, you had the double, except we double them boom,
give them a tape, duble, give them a tape. And
then Roger Clayton from Uncle Jam's army gave us a
uh start, giving us a shot to get down in
his club called the toe Jam. So we kept we
used to go to the toe Jam and just have

(22:13):
a have a ball. Just he'd let us get on
the mic. I'd get up there and start d jamm.
I'll be up there like.

Speaker 4 (22:19):
You drink whiskey, I drink wine.

Speaker 3 (22:21):
Come on everybody's gangs to the time. Boom boo, boom,
boom boom, Snoop Star busting. Wama did start busting, and Uh,
it was it was, it was live. We had so
much fun.

Speaker 1 (22:35):
Uh, y'all only eighteen years old at this point.

Speaker 3 (22:37):
Yeah, seventeen eighteen, right in right around there, and we
just kept just pushing all of them. And Quick inspired
us as well, DJ Quick, So we was trying to
get mixtapes out to push like he was doing. That's
that's why we had a mixtape or a demo called
Long Was a Motherfucker. It's pretty much a mixtape. So

(22:58):
we just gave that everybody. So it started bubbling like everywhere,
like bubbling, and we just we just wasn't getting a
chance from nobody, so just on a humbug. I hadn't
seen dre in it like in a while, like it
was a long time, so I hit him up.

Speaker 1 (23:22):
You know.

Speaker 3 (23:23):
I was like, cause I used to hang I used
to kick it with him, you know when in the
n w A days, I'd go hang out at the
studio with him and everything and watched them work and
I'd be right back to doing what I do back
over here.

Speaker 1 (23:39):
Uh.

Speaker 4 (23:40):
Or was that after let Me See No?

Speaker 3 (23:42):
No?

Speaker 1 (23:42):
That was that was?

Speaker 4 (23:43):
That was around that time and so I asked him.

Speaker 3 (23:48):
One day. You know, I became tight with with uh
with uh l A d Well. Actually I called Dre
and he he was like, hit l A Dre. I'm
having a bachelor party. So I hit l A Dre
and he told me how to get there. I think
it was at the Bonadventure, if I'm not mistaken. So
I went, me and my homeboy Gangster Ride and uh

(24:10):
Kenny Mack. We had all we jumped into r X
seven and I had one person had the ride in
the hatchback. So we mashed up to the uh to
the uh the bachelor party. UH in the bachelor party
every day playing some dope music and it kind of
like started getting like like they was running out of music.

Speaker 4 (24:31):
So I told Dre.

Speaker 3 (24:33):
I told l A Dre. I said, can I pop
this stapen? He was like, go ahead, some music, go ahead.
So I popped it in and he played it when
he and when he played it, everybody started dancing and
was bobbing and ship.

Speaker 4 (24:45):
He was like, damn, this ship is dope.

Speaker 3 (24:46):
Who was this? And I was like that's me Snoop
and my homeboy Knake Dog. He was like, damn this
ship bang. He said, have you let Dre hear this?
I was like no, So he called Drey over. It
was like, Dre, you need to listen and this shit.
So when he came over and he uh Drake came
on with listened, He's like, damn that shit hard.

Speaker 4 (25:07):
He was like, that's y'all.

Speaker 1 (25:08):
I was like yeah.

Speaker 3 (25:09):
I was like I was saying to myself, nigga, I've
been trying to tell you that that were hard with Vicious,
but you don't want to listen. So so he was like,
y'all come to the studio.

Speaker 1 (25:24):
Was immediate.

Speaker 3 (25:25):
Yeah, he said, y'all come to the studio on Monday. Actually,
he said come to the studio on Monday. So at
that time, I was pissed off of Snoop because he
would go work with all these off brands instead of
meet him and Nate work and he'd be doing shit
on his owner. It was pissing me off. So we
was kind of at it at that time. So I
called him anywhere. I was like, Snoop, I just talked

(25:47):
to Dre and he wants to come to the studio
on Monday. He was like, nigga, fuck that shit.

Speaker 1 (25:52):
Nigga. Boom.

Speaker 3 (25:53):
He hanged the funnel because he had a Snoop had
a nasty ass attitude back then. He'll make you want
to socking and he'll hang up on you like this motherfucker.
So I called him again and uh he.

Speaker 4 (26:06):
Answered and and uh he was like uh nigga, I said,
I said, Snoop, just please just chill. Just let me
call him on the three way.

Speaker 3 (26:17):
So I called him. I called Dray on the three
way and Dre was like, what's up? I said, Dre,
would you tell Snoop that you want to succumb to
the studio on Monday. He was like, yeah, I want
you to come to the studio on Monday.

Speaker 1 (26:30):
He was like, who was this?

Speaker 3 (26:31):
He he's like this doctor Dre.

Speaker 4 (26:33):
When he said that, this doctor Drake, because you know
that's it, that's the he was like, oh ship.

Speaker 1 (26:39):
He was like Dre.

Speaker 3 (26:41):
He was like, oh ship. He was like it's like yeah,
like we'll be there. So that Monday, we uh with
my homeboy Rump and we jumped in his his bucket.
You know one of the kid where you get to
the light and you got to put it in apartment.
We all there, Yeah, we got to the light. We

(27:03):
got to the light. So We did that all the
way to Hollywood. We didn't even get on the freeway
and uh hell long beach. Yeah, the streets, the streets,
it was cool, easy, It was easy routes all the
way up and we actually uh we was also we

(27:26):
would go to above a Law studio too with and
we was over there doing we actually did some demo
ship with them too, with with the whatever the law now.
And but Dre was like, come up to the studio
even then Blay Law and then was doing saying the
same thing, but y'all come get down with us. But

(27:47):
when the Drake thing came, it was like that was
like our dream. So we went over there and immediately
Drake as soon as we got in there, he threw
a beat on.

Speaker 4 (28:00):
It was more it was snoop more for more for
it was just straight for snoop.

Speaker 3 (28:04):
So he threw a beat on that had it was
the big payback mixed uh with a hold on and
had the big payback in there like in there with
that ship was hard. It was called this is a
Gangster's Life. And from that point it's where that's where
it started for us. Like Dre was like, y'all need
to come move with me to get up out the hoods.

(28:25):
So y'all don't get in no trouble, y'all just come
come up to my house and and come stay with me,
you know. And that's that's where everything started. We just
immediately just started doing music. And is he still inn
He was gone, he was out at that point. They

(28:47):
haven't decided where they're gonna take the new He didn't like,
he said yet. I just I've just seen a quote
that he said, let me, I'm gonna read this ship.

Speaker 4 (28:54):
If I could read it. I locked this in because
I was like, wow, he said.

Speaker 3 (28:59):
Snow came to me at a very low point in
my life and I just had separated myself from Ruthless Records.
I had no money for food. I didn't even have
furniture in my house at that time. At that at
that time, then boom, here comes Snoop, a true diamond
in the rough. I mean, Snoop is just pure raw talent.

(29:22):
Nobody sounds like Snoop. Then it was a time. Then
it was time to do my first solo album. The
chronic Snoop was always there for me, ready to work
and constantly motivate me, motivating me and pushing me and
making me believe I can do it. I could always
hear his voice in my head, come on, Drake, cuz,

(29:44):
come on, you can do it.

Speaker 4 (29:47):
You got this, keep it, keep it going.

Speaker 1 (29:49):
You know I don't.

Speaker 3 (29:50):
It's still a lot going on there. And I was
reading that shit like damn because it God, damn, Drake.

Speaker 1 (29:56):
Let that.

Speaker 4 (29:56):
Thank you for that. Hey, hey, your boy, Uh, thank
thank me for bringing the dog to you.

Speaker 1 (30:04):
Man.

Speaker 3 (30:06):
No, it's all good, but that that was a trip,
you know, And my whole thing was at that point.
That's how I felt that I wanted to come and
and and and be be with with him because I
always looked up to him, be with him and help
him if if that's what he needed or whatever he needed.

(30:28):
That's what our job was to him, to help him
get back on his feet. My job was to go
get all of the records. I went and got all
the samples for the chronic And what I would do
is after I got the samples, I would take the motherfuckers.
Because Dre and one eighty seven, they both showed me
how to work there n PC sixty. So I started producing,

(30:49):
like wanting to produce. So that's you know, Drey showed
me some ship one eighty seven showed me some shit.
So from there I just started sampling, no drums, nothing,
just doing the raw sample. Or I would play a
record for Drake, like, Dray, listen to this, you know,
like let Me Ride. That was what a record from
a They used to have these records called dub records,

(31:11):
and they would have little spout spurts of uh like
old songs and stuff like that, like that dune boom
boom boom, Let Me Ride that was on a dub
record and then uh uh swim I don't want to ride.

(31:32):
I don't want to you know that part? Oh that
was just on this one record. And he heard that.
Shell said listen to Drake, he heard that ship. He
was like, that ship is hard and he flipped that motherfucker.
That's when he did. That's when he did the uh
let Me Ride that was. That was that record and

(31:53):
just a bunch of stuff, you know. I went to
As the World Turned. It was on mail Roads. That's
where I bought every record for the chronic that we
was using. If the records that Drake didn't get, I
had brought like all. I brought every black exploitation soundtrack
that you could find. I bought all of that stuff.
That's where the skit came from. I was telling you

(32:14):
about them from the MAC. You really don't understand, do you.
In order for us to make this thing work, you
got to get rid of the pimps and the and
start all of it. Because that's how I felt.

Speaker 1 (32:24):
I felt like like.

Speaker 4 (32:28):
The little brother talking to the big brother.

Speaker 3 (32:30):
That's what that was my whole mentality with that when
I brought it to him, and then Drake added with niggas,
you're crazy bubble boom won't boon't and then that he came.
He did that beat coming in there, and then uh,
even the boom boom boom boom boom boom boom boom,

(32:51):
break them off something break that came off a little
bitty strip of a.

Speaker 1 (32:58):
Make the.

Speaker 3 (33:03):
Doom they had that app that album they got. It's
a little bitty strip all the way down and just
do that one sound duo.

Speaker 1 (33:12):
Dude.

Speaker 3 (33:13):
I was like, listen to this, and he was. He
took that motherfucker and flipped it and then uh, just
all like even to these nuts skit. I told Drake
turned the mic on because we was looking for skits,
like to do some skits. So I said, let me
get my homegrow. I'm a caller, and that's when I
called my homegirl and just and just started chopping it

(33:37):
up with it and hear it with it. Because that
was the big thing around that time, getting somebody and
telling them these nuts, like, hey, nigga, guess what these nuts?

Speaker 1 (33:47):
That was our thing around that time.

Speaker 4 (33:48):
So global, yeah, yeah, So I got her and she
was all shut up, nigga. But that was that was
that was cool.

Speaker 3 (33:58):
That was fun doing that type of stuff. Like just
a lot of the records on there. You know, I
ain't I'm not taking no credit away from Dre. I
never do that because he's a dope producer. He showed
me a lot, you know. But I did bring I
had a lot of input in that album, a lot
of input. And that was our job to make Dra

(34:18):
a superstar. That's what we wanted to do. That that
was our thing.

Speaker 4 (34:22):
So me and Snoop started out. Then we brought in
Nate and right.

Speaker 3 (34:28):
After Nate, actually Dads came him and Nate came at
the same time. RBX came just a little bit later,
but Corrupt had came right after Dazz and Nate came
there and came Corrupt, and that that started. I brought
him to death fro because I met actually, me and

(34:49):
Snoop we met Corrupt at a battle at the Roxy
where they was like this nigga Corrupt, like right here,
he the hardest nigga in California, like da da da.

Speaker 4 (34:59):
So we're like, no, he the hardest nigga in California.

Speaker 3 (35:01):
So it was like, what's up?

Speaker 1 (35:03):
Like, what's up?

Speaker 3 (35:04):
So we formed a little circle. Niggas got down on
one knee and start busting, and that motherfucking that nigga
Corrupt said you gotta bring on your pinky finger, and
that's true, but if you look at mine, I got
one too. I said, whoah shit, and then Snooper hit
him back with something. He hit it. It was nobody

(35:25):
could win. So we was just like, you know what
we got, we gotta call this one. It's just it's
pretty much a tie. And uh so I crept over
to the side. I said, Corrupt, let me get your
phone number. So I got his number, and we was
living with Dre at that time, but we was just
out on the street, just anything hip hop, and we

(35:45):
was trying to be a part of it. So we
was out in the street still even though we was
with with Dre. So I told corrupt, I said, look,
I called him, I said, man, come up to the studio.
I want to do a demo for you, you know,
do some songs on you. So I did like four,
four or five songs on him, did him. And then

(36:06):
as soon as I got through from doing it. The
way I used to record was crazy because I would
just push the record on the on the tape deck
because it was routed into the board and everything. So
every record straight to cassette tape because I didn't know
how to work everything, and but I did learn how
to splice and everything.

Speaker 4 (36:26):
Drake taught me that ship later on.

Speaker 1 (36:28):
But we recorded it.

Speaker 4 (36:32):
Yeah, yeah, yeah, yeah, no, no, no, no, the cassette,
the cassette. Yeh, cassette tape.

Speaker 1 (36:38):
You were going straight in from the board. It was
routed into the.

Speaker 4 (36:43):
It was routed into the cassette deck.

Speaker 2 (36:45):
It was you will be playing your music and record
all at the same time from the drum machine right
into the It was routed to the board into the
the cassette.

Speaker 1 (36:56):
Yeah. So you couldn't make no mistake wasn't no overdose.
Know you got you ain't no stopping the start, just
keep going, just keep going. We we did a few.

Speaker 4 (37:06):
Ship songs like that.

Speaker 3 (37:07):
Me and Snoop did a gang and ship like that
too up there at the studio, and so uh I
did the records for Corrupt. It was like five of them.

Speaker 4 (37:16):
And then I let Dre and Sugar hear that ship
and they immediately wanted to sign him, like we want
to sign this nigga. So boom there go Corrupt. He
came so and then after that then Snoop brought rbx
rbx up and that was like like all like came
through me, like all of that stuff.

Speaker 1 (37:38):
Came to me.

Speaker 4 (37:38):
And then and then actually even the Bushwick skit, he.

Speaker 3 (37:42):
His eyes is me and all are more than three.
Cause that week I started fucking with bush Wick. I
forgot we was on. It was on a humbug, and
I told him I think he might have been over
at the Idol Joe's story. He was somewhere where we
bumped Tess with him, but we was dealing with rap
a Lot already. He with the convicts and uh Jay Prince.

(38:04):
Then from uh rap a Lot, they was the convicts
was supposed to. I guess Sugar and Jay Prince had
a deal or harry O had to deal Sug Jay
Harryo had a deal with the con wanted to get
the convicts signed. So they was coming down and we
took him in like brothers and worked with them, and
they became tight with us. And that's how we bumped

(38:27):
hes with Bushwick and we brought his ass Bushwick up
into the the studios.

Speaker 1 (38:33):
It was random that he was. He had an intro
on the crime.

Speaker 3 (38:37):
We brought him. We brought him up in there.

Speaker 4 (38:39):
We brought him up in there and he we had
him do a skip for us right there. Drake put
the mic on, gave him the chair.

Speaker 1 (38:46):
So get.

Speaker 3 (38:49):
That was our That was my dog.

Speaker 1 (38:51):
That was our dog.

Speaker 3 (38:52):
Because we became tight, you know, we became real tight.
Bush Wick was my that was my dog. I took
him everywhere. You know, warn I'm too short forlong conversations.
And he got drunk one time. I was like bush Whig,
come on, man, I'm talking about I was like, you

(39:14):
drunk too much.

Speaker 5 (39:15):
But so your story honestly feels like Eddie and Charlie
Murphy because obviously your brother he got there so quick
he got into a space and most people don't understand
that with success and with stardom, no matter how close
you want to be to shit, you just can't. At

(39:38):
some point you're going to get to a space where
that's not your everyday living. So somebody connected to you,
it's kind of living through you, and it's part of
the lifestyle, you know what I'm saying. So when you
tell your stories, you having your big brother that's super cracking.
Everybody know him, and it goes into oh, you know

(39:58):
that straight little brother. Yeah, and now you everywhere and
you literally are gathering the people to bring them.

Speaker 3 (40:06):
Yeah, to build Yeah. That only people that didn't come
through me was Rage and Juel and they actually I
knew Rage already and I mean Jewel, but I didn't
mean Raged till later.

Speaker 4 (40:19):
And they became tight with us. You know, we became
a family. We was a tight family.

Speaker 3 (40:24):
And our job was just to get in that studio
about ten, nine, ten in the morning. We stay in
there till about five or six the next morning. At
that time, are you thinking any from a business standpoint,
like I'm bringing these people in and of course, the

(40:46):
the goal is the goal is dre whatever, all things
dre right. But at any point in your mind are
you thinking, as I'm bringing all this shit in, I
got to make sure I'm tied into some of this
ship too, or if for you it was just like,
I don't care however it gets cracking. I just need

(41:08):
to get this ship cracked.

Speaker 1 (41:09):
Yeah.

Speaker 3 (41:09):
I wasn't thinking like that. My My mindset was like,
if I put in all this work and just put
in a bunch of work, they gonna make sure that
I'm gonna be all right. You know, they gonna make
sure I'm gonna be cool. I ain't got to worry
about it because you know, I'm living with him.

Speaker 4 (41:25):
I used to be.

Speaker 3 (41:26):
We was like best friends, me and Drake pretty much
around that time because I used to drive him, drive
him around. I don't want to say, uh, well he
usould you know, we drive I drive him just to
you know, when he was he was single, so I
would drive him to some of his women's places and
ship and while we're there, I would ask her like, look,
you got a friend, so but uh.

Speaker 1 (41:53):
We was we was we was tight. You know, we
was tight.

Speaker 4 (41:57):
But like I said, that was our goal to build
him up.

Speaker 3 (42:01):
And I wish I did have have a business mind
set back then and knew about publishing and like everything
that went on, so I could have got some type
of conversation for the work that I did put in.

Speaker 4 (42:17):
But I didn't get nothing.

Speaker 1 (42:18):
Did you?

Speaker 2 (42:21):
Did you know that he was having a tough time
when you guys got up there and we were trying
to you know, never never.

Speaker 3 (42:28):
Looked at it like that. I never looked at it
and had it because yeah, that ship was it was
big flop. It wasn't a lot of furniture number. We
didn't give a fuck. We was having a ball.

Speaker 1 (42:41):
Pool. Yeah, nineteen years old. You go to your big
brother's mansion. You don't care what's in there.

Speaker 3 (42:47):
Yeah, we ain't asked nothing. We was just we were
just we didn't care. It is what it is, whatever, whatever,
you know, you know, that's that's just how he was.
But you know, like I said, though, I wish I
would have knew about that stuff, you know, because you know,

(43:10):
he wasn't really the guy behind the business part that part.
It was sug that was behind that part. And I
wish I would have knew uh and and had my
name attached to it, you know, So just sh had
two hundred and fifty million that they sold a little
piece of it for it. I was like, God, damn,
I could have got a little piece out of that.

(43:30):
I ain't asking for a lot, just a taste that
over there. That's that's a nice piece of change. It's
a nice one.

Speaker 4 (43:38):
Twenty yeah, take that twenty meal.

Speaker 3 (43:41):
Warn you helped out a lot, and we bet my
are bad. We didn't. We didn't give you no credit.
But here you go, thanks because you brought a lot
to us and you saved this motherfucking Look.

Speaker 1 (43:51):
Now you've got a family tree. That's incredible.

Speaker 3 (43:55):
Your branches, snoop, dass corrupt our x eminem fifty cent.
All that come off my branch when you had another
branch before it was above the law. His branch had
above the law in w A and this that and
this and and I added my my branch came up,
came and got on Dre's tree. So that opened up

(44:17):
for like I said, Eminem fifty snoop, all the artists
that came after that, that he was part of that
that that we opened it back up for him to
be able to bring all that that back to the
back into the music.

Speaker 1 (44:41):
So how long did it take for the Chronics to
come out?

Speaker 4 (44:45):
Uh shit, I don't know.

Speaker 2 (44:47):
It was.

Speaker 1 (44:47):
It wasn't.

Speaker 4 (44:48):
It wasn't a long time. It wasn't long at all.
Because the whole chronic was inspired off of the riots.

Speaker 1 (44:58):
I promise you listen the skits.

Speaker 3 (45:00):
That whole the whole.

Speaker 4 (45:02):
Thing was was and that was dope with Drake did
that skid?

Speaker 3 (45:05):
Uh uh North, Look this little African I'm gonna be
a dead motherfucker.

Speaker 4 (45:11):
That ship was dope as fuck. Little ghetto boy brought
that so deeply listening to.

Speaker 1 (45:19):
This deep cover before the cover, before all of that, Yeah,
that's so that's the first.

Speaker 3 (45:26):
Yeah, that was the first because we was we was
just doing music, just messing around, thinking about what we
was gonna do. And then shuld came like a soundtrack. Uh,
we want you to do a something. I want Drey
to do a song for a soundtrack. So Snoop was like, ship,
I'll write it, you know, and he wrote it. He

(45:47):
wrote deep cover, well, he wrote Dre's parts on there.
They put him and Snoop did a collaboration on there
and he wrote he wrote Drake parts and that ship blew.

Speaker 1 (46:01):
Yep.

Speaker 4 (46:01):
And then after that is when the riots.

Speaker 3 (46:06):
The riots kicked in, and that ship was so fun
show because it was like how they're trying to do
right now. I guess the peace treaties they're trying to
do right now on the streets. It was like that,
but it was like we it was a party every
motherfucking day. A party in the nickoson is a party

(46:27):
on the east side along with your party here. So
we was partying everywhere like bloods, crips, yeah, everything. It
was just it was fun, women everywhere and uh like
a lot of that that's ain't no fun came from that.

Speaker 4 (46:41):
All that ship came came from that.

Speaker 3 (46:44):
Some crazy shit going on too, like as far as
you know, people getting ribbed and you know, all kinds
of stuff. So we was seeing and all kinds of ship.
But it it uh that and all of that inspired
everything on the.

Speaker 4 (46:59):
Crime on the mm hmm.

Speaker 5 (47:01):
So as you guys are now now, y'all gotta you're
part of a bona fide hit, bona fide hit, which is,
in my opinion, the greatest rap album of all time
to me, that is that's my opinion.

Speaker 1 (47:13):
I think The Chronic is the greatest of all time.

Speaker 5 (47:15):
Thank you, you know, what I mean for your contribution
to that. And you know, I definitely have yelled these
nuts to a million girls that at that age, I'm
probably like eleven, I'm just saying it to them, just
thinking it's the randomst ship Ever.

Speaker 2 (47:29):
Yeah, relaxed, you gotta random. You don't even know what
this comes from. You got you ain't never heard the chronic.

Speaker 1 (47:38):
So so now it's Snoops turned. So does it is?

Speaker 5 (47:44):
Is it the same attention? Make dreda superstar? Now make
Snoop the superstar? Is that's kind of the same thing
that happens within the label and everybody that's the crew
that's there.

Speaker 3 (47:55):
Yeah, definitely all hands on that. Yeah, everybody go from here,
like from working with him to go on here. But
in between that is when.

Speaker 1 (48:06):
My separation came between before Doggy Style.

Speaker 3 (48:09):
Before dogs like right before a Doggy Style, because everybody
was still surviving off the success of the Chronic. So
it just it just got to a point where it
was like people, everybody start getting signed and I you know,
this might be one of the reasons why things wasn't,
you know, like it was supposed to be, because I

(48:31):
was I wasn't smart, uh business minded as in royalties
and this, that and this. But when it came to
everybody signing that contract, I told him, I said, look,
you guys have a lawyer. Look at this shit like
I know this is my brother and this is Shug
and all these people. We love these dudes, but still

(48:53):
have a lawyer. Look at it. It came from Dick
Griffy to contract. So we was like, you know, we
need to get a lawyer. And then you know a
person had when told them that, I told everybody to
get a lawyer. Contract, so immediately that put you on out.

(49:15):
He came up, sure came running out that motherfuckering we're
warning that blood. I took off, but I couldn't get
down because it was the elevator or something.

Speaker 1 (49:27):
I'm hitting building. Yeah, so on the third floor, so
you can't get that, you gotta I'm hitting that.

Speaker 3 (49:35):
Motherfucker trying to get down and uh and uh he
called me, grabbed me, put me up against the wall.

Speaker 4 (49:40):
Like blood, you told him not to sign that contract,
said she.

Speaker 3 (49:43):
I said, look, better get your hands off me, because
when you let me go, I'm calling all my homeboys.
So we used to bump heads. We bompd heirs a
couple of times just bumping head, so that that probably
was like but we was cool. But I guess when
it came down to everybody really being a part of

(50:06):
this thing, it was like, we ain't got no spot
for you. So I was I was crushed.

Speaker 4 (50:12):
I went got at Drake like what's up, man, Like
what's happening?

Speaker 1 (50:15):
Like what's going on?

Speaker 3 (50:16):
It's like, just go be your own man. It just
don't even get involved in this shit. Just be your
own man and do your thing. So I'm like you
just imagine I look up to you, you my dog,
like my best friend. You are my best friend. Uh,
everybody else there and Nate and Dads corrupt everybody. I

(50:37):
can't do nothing. I can't be with these niggas building
and trying to do this and do that. So I
was like fuck it, you know, I left, but then
I was still coming around. And actually me coming around
is what introduced me to getting my first placement because
I came to the studio with Snoop and Drake and

(51:02):
John Singleton and uh, Paul Stewart came in looking.

Speaker 1 (51:06):
For songs for the Poet of Justice sale.

Speaker 3 (51:09):
So I was I got at him like, look, let
me play this record for you can you know, So
me and Paul went to the car, popped the cassette
in there.

Speaker 1 (51:18):
He was like hold up, you know.

Speaker 3 (51:20):
As soon as he that's probably maybe like fifteen twenty seconds,
he was like, hold up, can I take this with me?
I said hell yeah, And I said, just give me
my ship back, you know, I want it back, and.

Speaker 1 (51:32):
Took it.

Speaker 3 (51:33):
Called me a few days after that, I said, we
want this to be the first single to h the
Poet of Justice soundtrack, and that was indo smoke and shit.
I thought I was rich. So they said we're gonna
get you a d rich. I think I got maybe
like twenty some thousand dollars for doing that that song

(51:56):
it was with mister Griham. I think he got maybe
like twenty five. I got twenty five. But hey, yeah
that was perfect.

Speaker 1 (52:03):
Then on the hook and that's and I brought Nate in.

Speaker 3 (52:07):
Yeah, I brought Nate in and uh ship that opened
up the doors and and uh you know that opened
up the doors. And right after that, John and and
John and Paul got a call from a bunch of
companies was calling them. But Paul was was really tight

(52:27):
with with Death Jam. So Death Jam was chiming in,
like we want to talk to the guy who did
end or Smoke. So they was like, because it was
mister grim already signed, you know, mister Griham wasn't.

Speaker 4 (52:39):
He wasn't signed. So neither one of your we wasn't
signed with.

Speaker 1 (52:43):
A soundtrack placement. Yeah.

Speaker 5 (52:45):
See people don't, especially back then. Yeah, what that meant
the first single to a major movie. Yeah, because they
really was working those yes.

Speaker 3 (52:54):
Yeah.

Speaker 1 (52:54):
Yeah.

Speaker 5 (52:54):
And both of the artists that are on the song
are actually two of the artists on the song. I
signed because Nate was death Bro.

Speaker 1 (53:00):
No, Nate was not with everybody then.

Speaker 3 (53:03):
Oh Ship, so we uh death Jam called and they
was like, we want we liked, we liked the guys.
The guy on the h on Endo in those smoke,
I'm on the call with him. We like the guy
on the Endose smoke. We want to sign him and this,
that and this. So I was like, damn, I'm still
was charged up because I'm like, yeah, I'm gonna get

(53:23):
the I'm producing this whole album here. They can't tell
me Ship. They was like the guy that that that
uh had like the singing melody to his voice while
he was rapping.

Speaker 4 (53:34):
He that's that's the guy right there.

Speaker 3 (53:36):
We want him at death Jam And I said, you mean,
you know, hey in hell excel with my flow that guy.

Speaker 4 (53:44):
They was like yeah, I said that's me.

Speaker 1 (53:48):
I said, hey, that's me. He was like, well, we
want to sign you.

Speaker 4 (53:52):
And I was like, you see, he's like yeah.

Speaker 3 (53:54):
I said, all right, Ship.

Speaker 1 (53:56):
Let's go and yeah to act like it wasn't him
at first, which one you're talking about? Because I was
the guy, so he was the guy.

Speaker 3 (54:06):
So I was like, shit, you know, I done graduated.
I got an artist that's gonna get signed. And when
he said it was me, I was like, oh, Ship.

Speaker 1 (54:16):
And uh.

Speaker 3 (54:17):
After that they came flew to La Chris Lighty, Tracy
Wapples and Leo or Cohen flew to La. We went
went to steakhouse, had some good food.

Speaker 1 (54:29):
Because are you living with dre Still no at this point,
you know, at this point, at.

Speaker 3 (54:32):
That point, I was back in the hood. I was
living with my sister on a Cedar street called Cedar
and Long Beach. I was sleeping on the floor. Now,
all I had was my crate, which was a bunch
of the records from the chronic I had used to
carry that crate everywhere.

Speaker 1 (54:48):
That crate.

Speaker 3 (54:49):
I still got that crate too, that crate, my my
technique twelve hundred and my NPC sixty. That's all I
had because I back then was just I was just
a sampler as far as production wise.

Speaker 4 (55:02):
And that's that set it off. That set it off,
and uh I did to deal with deaf Jam.

Speaker 3 (55:11):
They get I think my my budget was like three
hundred and fifty thousand or something like that, and that
it was like, that was amazing album, a whole album.
But look what I did that. They was like, well,
we want to set up the studio time and it's
I said, no, no, no, I said, I'm gonna get
my own studio.

Speaker 4 (55:30):
I'm gonna get my own equipment. I'm going right. I
went right to nay Dean's and guess who sold me
my equipment.

Speaker 3 (55:37):
Todd Dollars.

Speaker 4 (55:37):
Sign's daddy.

Speaker 3 (55:39):
No Tyrone his name, that's that's Ti Dollars Tyrone, his
dad sold me my first equipment.

Speaker 1 (55:50):
So the whole regulated album is done in your apartment.

Speaker 3 (55:52):
Done in my apartment, right in the right into my
bedroom and the bathroom was the vocal book. Vocal Yeah,
it was crazy. But the song Regulate. Actually that came
from uh I was. I was, I'm a super record digger,

(56:12):
so I'll go to any record store no matter where
I see it. I'm oh shit, I'll pull over and
going that motherfucker just start digging and buy records. So
I was on my way home one night, getting ready
to go back to my apartment, and I was in
Hollywood and I stopped at h Roscos and it was

(56:34):
a dude out in front of Roscos with incensus shit
burning and.

Speaker 1 (56:38):
He was just trying to make some money.

Speaker 4 (56:39):
So he was selling shit and he had a credit record,
credit create record.

Speaker 3 (56:43):
So I said, I said, you selling those? He was like, yeah,
I sell them for two dollars for a record, and this,
that and this. So I said, nigga, I want to
buy the whole CRK. So I was laced him poop
poop poop. I think I gave him like five hundred
dollars and I took the whole credit records and I
took that shit home and was digging through the records.
I knew, uh uh keep forgetting from my parents' point,

(57:06):
but I was refreshed again when I dug through my
records and playing them and I was like.

Speaker 4 (57:11):
Damn boom boom boom.

Speaker 3 (57:16):
I said, oh my god, if I flipped this, I
flipped that motherfucker immediately. I've sampled it in parts, and
I had it all in parts, and I put it together,
put the samples together, put the drums together.

Speaker 4 (57:32):
So I pieced it all together, but I didn't have.
All I had was the beat.

Speaker 1 (57:38):
That was it.

Speaker 3 (57:39):
So around that time, we used to have a saying
where we were like, we gotta regulate this, but we
got to regulate the situation. Hey, y'all got to regulate.
That was our.

Speaker 4 (57:51):
Gotta regulation ship. So I was like, I'm gonna call
this ship regulate.

Speaker 3 (57:57):
I had the title before Nate even got on the
record on the record, so I had to think of
like something that I could put on there as an introduction,
like how we was doing on the chronic, like we
would do introductions with the skits or whatever.

Speaker 1 (58:14):
So I had.

Speaker 3 (58:16):
I was watching Young Guns, uh, with Emilio Estevez and
those guys. I was watching Young Guns and I came
across the park where the guy said we worked for
mister Tinsdale's regulators. When he said that ship, I kept listen,
my shit opened up, like my eyes was like, he said,
we regulated, and he's still in this he said, we

(58:37):
worked for mister Tendale's Tensdale's regulators.

Speaker 4 (58:41):
Uh we regulate, uh we regulated it something.

Speaker 3 (58:45):
I can't remember everything, but I took though I chopped
up each part though it didn't say that. And if
you listen to the original when he say something, he
says some other ship before he say, uh, we regulate
anything that is probably we're damn good. All those were pieces.
I put that together just yeah, yeah, earn you keep boop.

(59:09):
I hit this one, took that part boom, sampled that part,
sampled that part, and I put them together. And what
I did was I remember the numbers on the VCR,
and I took the quarter. I went from quarter inch
out of the VCR into my NPC sixty. I mean
I went from r C A to quarterings into to

(59:31):
my NPC sixty. And that's how I sampled everything from
up off the v OFF and that ship that when
I played that ship for death Jam, they was like
damn they they couldn't believe it. But I still think
they wasn't like they wasn't like into yeah. So I

(59:52):
made all of that ship up and I'm telling you.
So I was like, I kept doing music. I had
into smoke. It was bubbling everywhere. We had the whole
are you shows?

Speaker 1 (01:00:00):
Are you? And mister yeah, we was doing shows.

Speaker 4 (01:00:05):
Actually that was that that uh that that got kind
of ugly.

Speaker 3 (01:00:08):
We was doing shows and uh Graham started doing shows
without us and and doing indoor smoke, you know, doing
all kinds of shit. So we like, damn, what's up?
Like that's why west us together? Let you know, let
us eat too. So me and him started doing gigs

(01:00:28):
and then Nate wasn't involved. So Nate got pissed off
about it, and uh so we Griham was with me.
I swear to God out of and set him up
or nothing like that. But he was with me, and
we pulled up at Snoop. So I'm not thinking that
that Nate gonna be tripping. So Nate got off the car,
I mean he got out. He came down from the
Snoop's apartment, came down to the car and just started

(01:00:52):
tripping on mister Griham, like nigga, what's up? So and
then Joe Cool and they they roughed him up. Oh,
ship roughed him up, And I felt bad because I'm like,
but I was like, no, no, you know Trump, you know,
in the mix of it, like get back man, yo.
But he was doing some he was doing some things
that wasn't cool, and I I was crushed about that

(01:01:15):
because Graham was Graham was my guy. But I'm like,
you can't. You can't do that, man, you gotta. We're
we're a team. We when all these niggas that's around,
we family, We tight.

Speaker 1 (01:01:25):
We don't do that.

Speaker 4 (01:01:25):
We don't cut nobody throat. We just we work together.

Speaker 1 (01:01:29):
So you can't do that.

Speaker 3 (01:01:30):
And you know, that's what I talked about on this
do you see on my on the on the Regulate
the Gfunk Care album.

Speaker 4 (01:01:40):
But that was that was a whole nother uh.

Speaker 1 (01:01:43):
Thing that happened.

Speaker 3 (01:01:44):
But after that, uh, like I said, you know, death Jam,
I still kind of felt like because I was from
the West Coast, it was like, yeah, you know, but
they knew they wanted to work with me because of
the style I had, and so I was the type
and I'm still like that that. I was like, I'm pushed.

(01:02:05):
I'm gonna push regardless whether they pushing for me or not.
I'm gonna push. So I ended up going to the
studio or with dra You know, I had into smoke cracking.
I was cool. I wasn't tripping or nothing. So I
will still go hang out with Drake, hang out with
snooping them here and there, pop up at the studio.
When hung out with Dre and uh, Mike Linn was

(01:02:30):
one of his guys. Uh, I said, Mike, I just
did the bomb ass song with Nate. I want you
to hear.

Speaker 4 (01:02:38):
So I went to the car, same ship, went to
the car, put the tape.

Speaker 3 (01:02:45):
You know it was a CD.

Speaker 4 (01:02:46):
This time, my step my game up.

Speaker 3 (01:02:48):
Then that guy was able to get a car from
the from the budget and uh, so I had a
CD player and played it and Mike Linn was like, man,
and that shit is banged. He said, let me play
this song for Jimmy kennots. I said, hell yeah, play
it for him. So he played it for Jimmy because
he was in charge of getting the talent for the soundtrack.

Speaker 4 (01:03:11):
So he took the ship to Jimmy.

Speaker 3 (01:03:13):
Jimmy heard it and was like called and and was like,
we want this to be the first single on the
Blood of Rim soundtrack. I was like, and it was regulate.
So that's when sug and rustling all them, that's when
they had to had had to talk, you know, and
it kind of became like a pissing contest, I guess

(01:03:35):
you could say. But they had to roll with the
punches wrestling because this is these guys are these are
my guys, and I want to do this with her,
you know, So they had to roll with it and
it became the first single, which it blew. It was
good for us, It was good for us at death Jam.
So we did the butter rim came out regular set

(01:04:00):
it off the whole thing, so like four million. I
ain't never got a royalty check from that from above
and Ram either never got a royalty check, never got
a royalty check check from above to Ram. I've never
seen that shit on my ship from above A Ram.
I get him now, but I don't get him from
that from that never. So when I get a check

(01:04:20):
from death Row, it'll be twenty of some crazy shit.

Speaker 5 (01:04:24):
So because that's what I was gonna ask too. With
the sample at that point, I don't think it was
the thing. At that point, are you guys having to
clear samples or No?

Speaker 3 (01:04:33):
Well, with the with the keep forgetting, we had we
had to clear that with the Doobie Brothers and Michael McDonald.
So what it What how I got split was I
had twenty five percent, Nate had Nate and death Row
Will sure had twenty five percent, of Doobie Brothers twenty
five percent, and Michael McDonald twenty five percent. But Michael

(01:04:54):
McDonald was getting the Doobies in him. So that's how
that that's how we was all split up.

Speaker 1 (01:05:04):
So but.

Speaker 4 (01:05:06):
For some reason, I don't know what what happened, but
you never I've never gotten over.

Speaker 1 (01:05:12):
You did have album rights yea, and was able to
put watch this twist. This is why Star Money podcast
this business.

Speaker 3 (01:05:22):
Yeah, this is why I started getting brutal because death
Jam had and Sugar and Russell they outslicked uh uh Sugar.
Now they was like, Okay, this is what we're gonna do.
They said, Okay, the soundtrack boom set it off boomers.
That's cracking. We took to regulate single, repackaged everything, and

(01:05:46):
then we re released it again as my single, and
and it was the first single off my single and
then my ship sold for a million records, so regularly
helped sell eight million records. Probably move I'm sure I'm
just saying between two different albums. Yeah, and in the
process of that is when I on top of that,

(01:06:06):
I dropped this DJ Like right right when that was cracking,
I dropped this on top of it. Boom boom boom
boom boom boom. They was like wow and New York
Arms was like they was loving the love to New York. Yeah,
give me give me the year that.

Speaker 1 (01:06:29):
So def jam UMG is not sending any royalties from
the UMG.

Speaker 3 (01:06:34):
Those These are other companies I wanted all as BMG. Okay,
in the in the midnight hour was a company called Hajana,
which was through Red. But the head guy, I guess
now I don't know if I guess was Sony Red.
I think it was Sony Red or Red Records or
something like. It was something like Big Red or Red
something like that. Now the head guy, uh, his name was.

(01:07:00):
He went to the FEDS. So that album got lost
in the shuffle to. When I looked recently, I'm like,
who in the fuck is Peppermint? Because I'm owner in
those masters, that's my masters, So where the fuck is
my money at with this ship? You know, I've been
uh not.

Speaker 4 (01:07:21):
Own it.

Speaker 3 (01:07:21):
You know what I mean like saying like because I'm
like this ship ain't nothing but the headache. So I'll
be like, fuck it, I ain't tripping, but that I
ain't tripping is I should be?

Speaker 5 (01:07:33):
Trust Honestly, where most of these major corporations bank on, Yeah,
they don't want to go through the whole process.

Speaker 2 (01:07:40):
So that I got caught up in that and the
costs litigation costs. Yeah, that's how the big bank take
a little bit.

Speaker 3 (01:07:51):
Yeah, and I'm my master publishing. All that ship is mine.
I never that's all. That's my ship. And I got
offered like back in the day, I got offered publishing
deals for like a three hundred and fifty thousand, five
hundred thousand. That was a lot in the back then.

Speaker 4 (01:08:09):
And I was like, damn, if this motherfucker want to
give me that ship, what can I make?

Speaker 3 (01:08:14):
So went on tour. It was me r Kelly uh
heavy d uh Me R Kelly heavy d Coolio the
brat Ali was on tour with us. Uh damn.

Speaker 4 (01:08:29):
Who else was on tour was heavy boys.

Speaker 3 (01:08:33):
Yeah, we was all on. It was an out haming
tour for great great dude, Like, I mean incredible when
they when they asked me to be a part of
the tour. He sent me like ten bottles of chrystal,
a big ass thing of flowers just in the house
fruit trays. I mean like it was shipped everywhere, and uh,

(01:08:56):
just a cool dude, period. He made it everything laid
out for me. I was on tour and I had
an accountant. I had account before that that robbed me.
I turned with one of my guys, turned me onto
an accountant to where I gave him a you know,
authority to sign for me for checks and shit like that.

(01:09:19):
So I'm like, Dann, where the fuck is all my
money going? You know, I was getting a little money
here and there, but I'm like, damn, where's my shit going?
And so I left him, got with an accountant. I
made sure with that account I said, no sign and
no checks mailed me my shit, And so they mailed
me checks and stuff to sign because I had a

(01:09:41):
little bit of bread from the death jam shit my
budget and all that stuff. But I had Finally I
got a royalty check and I was like, what the
fuck is this? Like, you know, there was a lot
of money, so I'm like, you mean to tell me
this is what the fuck I made from doing my
music and this, that and there. So I was like,

(01:10:02):
damn that I really started going with Ham or Ham
after that that said, oh, I'm in the studio every
motherfucking day now, ship, So did you.

Speaker 1 (01:10:11):
Produce every song on that first album?

Speaker 3 (01:10:14):
Every song? Yeah, every every album you heard from me
for every song, every song. Yeah, I did a lot.

Speaker 1 (01:10:23):
For for me.

Speaker 3 (01:10:26):
Record.

Speaker 1 (01:10:27):
That's why when he looked at that royal, he said, I.

Speaker 3 (01:10:35):
Wish I could have seen one of them chrownic royalty checks. Though, God,
I need you know what I need to produce, man,
my whole album do it? I need to just do
I think it's time that. Yeah, but he just never

(01:10:55):
does the whole album. He never does the album. Well,
I mean you get like help as far as like
if you need guys, like with the drunk, if you
want some drums, like different.

Speaker 6 (01:11:06):
No, you know what it is.

Speaker 2 (01:11:07):
I get inspired differently by other people's you know, other
people's artistic expression. It sends me into different places. But
I'm really good at making sure that the collection of
music all Mary's. You know what I'm saying, Like, I'm

(01:11:27):
really good at that. And then it's like, you know,
when you just started taking on the workload, and then
you add kids to it.

Speaker 1 (01:11:37):
You know what I'm saying. It's like it's like do
I have time?

Speaker 3 (01:11:42):
Yeah, believe me, I know it.

Speaker 2 (01:11:45):
I know when I was a kid, when you know,
when I first got my NPC or first got my keyboard,
first synthesized the Yeah, you know, I felt like in
the moment I had a ride, I didn't know there
was all of this stuff. Yeah, after the fact, you

(01:12:06):
know what I mean. I never imagine, like as we
sit here right now, I never imagine being here because
I didn't even know what here was. Like when you
look back on that and say, hey, man, I I
just want to learn that, Yeah, did you ever imagine
that you would be here and as influential as you are?

Speaker 1 (01:12:26):
Never?

Speaker 3 (01:12:27):
Never, never, never cross my mind like being you know,
like because like people be like you a legend and this,
that and this, and I'm like, damn, I didn't.

Speaker 1 (01:12:41):
I didn't. I didn't.

Speaker 3 (01:12:42):
I didn't think I was gonna uh, I didn't know
it was gonna turn out like this. But but my
my whole thing was and I'm still like that is
I just want people to hear hear my music and
be inspired by it and the high I get out
of it is when we can all be in that
mother party and having a good time. You know, because

(01:13:02):
when I do my shows, I tell them I'm like, shit,
I ain't just here doing my show. I'm here. We
were in here having a week. This is everything I'm
up here because I talk to him at the same
time while I'm on the stage, and I'm saying, we
having a conversation with us here even though I'm doing
this music, and I really just be talking to him

(01:13:23):
like about a lot of ship, and then it'll end
up turning in right to where it's slam right into
it and may be like.

Speaker 4 (01:13:30):
Going crazy and I'm like ship.

Speaker 2 (01:13:34):
Like that that on getting on stage and having people,
having people share the intent, you know what I'm saying. Yeah, yeah,
like at the same time where it's like this is
what I this is what I designed this for. Yeah,
and you're watching people actually look do it. It's like

(01:13:56):
it's the coldest magic trick. Like I'm gonna I plan
for your body to roll, yeah right right a minute
in fifteen seconds, yeah and your body's rolling.

Speaker 1 (01:14:09):
Yeah.

Speaker 3 (01:14:09):
What y'all know about my homeboy nd O double G Yeah, yeah, nobody.

Speaker 1 (01:14:22):
As a singer from the church as a as a
singer from the church.

Speaker 3 (01:14:28):
Nate Dog.

Speaker 1 (01:14:30):
Is a full deacon. Yeah, he's straight out the.

Speaker 2 (01:14:35):
But but there's a certain there's a certain church. The
voices are the voices are broken up in the sections, right.
Nate Dog is definitely the least singer in the men's choir.
The men was always men's was always the older man
and it was always one of two guys and sing

(01:14:55):
all the solos. There was the only two niggas they
could sing. That's Nate Dog. Yes, how do you turn
that voice into?

Speaker 1 (01:15:04):
When I met how? How does that happen? That's that's
what you believe that.

Speaker 3 (01:15:10):
That's because we he came from the church. But then
the street element, it was all ship though. Yeah, yeah, yeah.

Speaker 5 (01:15:21):
I remember when I first came out, when I first
came to l A. We used to hoop when they dog, no, no, no,
they dog would pull up in a limo.

Speaker 1 (01:15:34):
He had like a stretch. He had like a stretch.
I don't know, I don't nobody else was limb.

Speaker 4 (01:15:39):
At the sublimo, so you know what I'm talking about.

Speaker 1 (01:15:42):
It was like a stretch, like escalator.

Speaker 4 (01:15:45):
It was a suburban We all that the sublimo bro,
you thought I was lying?

Speaker 1 (01:15:51):
Yeah's bob. He would pull up to the l a
fitness bro in a stretched suburban. Come hold half Yeah
I mean you feel me with him?

Speaker 3 (01:16:03):
Yeah?

Speaker 1 (01:16:03):
Yeah, yeah, that's a blimo. Yeah yeah, it might have
any with it. Yeah. He doing some work and that's
a blimo.

Speaker 3 (01:16:11):
I get it, I know.

Speaker 1 (01:16:12):
Yeah, what is really Nate Dog for y'all to see
that put that voice in those spaces? Yeah, yeah, yeah, genius. Yes, yes,
I took him and out the king of the hood.

Speaker 3 (01:16:31):
I will take him and and you know, I'll tell him, Nate,
let's be different from everybody else.

Speaker 4 (01:16:37):
And he would just even he even sung.

Speaker 3 (01:16:41):
He I forgot how the song went, but he he
While he was singing, then singing his verse, he added.

Speaker 4 (01:16:47):
That I have had the time of my life and girl, and.

Speaker 3 (01:16:57):
Then he said something true, it's the true. Oh that
ship was cold. I got all of that stuff. I
got records with me and him on on a that
that I gotta. Yeah, I got crates. I got like
three giant crates of just all the albums I did,

(01:17:17):
all of this, all that ship.

Speaker 1 (01:17:19):
I did just and I just couldn't believe it. I
think Deacon Nate Dog straight up.

Speaker 3 (01:17:25):
His mother. She don't mess with no wrap, no nothing,
nothing but church directly, and she talked them to Tall.
His whole family, her, his sisters, all his brothers, all
of them came right out the church.

Speaker 1 (01:17:42):
Mm hmmm that yeah, man, bless brother man. Yeah, an
original one.

Speaker 3 (01:17:50):
Yeah, I got some.

Speaker 1 (01:17:51):
I got some songs.

Speaker 4 (01:17:53):
Uh, I got some records that that.

Speaker 3 (01:17:55):
Uh yeah, he got a I got a song with
him called old Girl.

Speaker 4 (01:18:03):
Oh, oh my god, if.

Speaker 3 (01:18:06):
I why not, it's dope. I mean, I'm gonna drop
I'm gonna drop it. Why God, I'd be liking to
just listen to the ship.

Speaker 1 (01:18:15):
You selfish man, to listen to it.

Speaker 3 (01:18:22):
I'm gonna put it together. We got another one. We
got one called Baby Daddy. I know it gave me love,
gave me sex. You let my friends see your breast.
I let my friends. I'm stuck with you nonetheless, because I'm.

Speaker 1 (01:18:41):
Your baby dad.

Speaker 4 (01:18:43):
It's whole, it's all. I just have to put my
vocals on it.

Speaker 6 (01:18:48):
But we did it.

Speaker 4 (01:18:50):
I actually I did, but I didn't like it. I
didn't like my vocals.

Speaker 3 (01:18:53):
But if I redid it, I would change the music.
I still keep you know, I'm you know, he gonna
still I'll just figure out what note what what? What?

Speaker 1 (01:19:03):
What?

Speaker 5 (01:19:03):
What?

Speaker 6 (01:19:04):
Uh?

Speaker 3 (01:19:04):
What notes he's in and then build around Yeah we're
key in my bad and then build around it.

Speaker 4 (01:19:11):
But but but Nate, they was a monster.

Speaker 1 (01:19:14):
You owe what's that? Bro?

Speaker 4 (01:19:16):
I'm I'm gonna do it.

Speaker 6 (01:19:18):
Like that.

Speaker 4 (01:19:19):
Independent. I'm an independent guy.

Speaker 3 (01:19:20):
I'm gonna do it.

Speaker 1 (01:19:21):
But just even what you're just saying, Yeah, I'm around nigga.
You heard this new nigga sex it? Yeah?

Speaker 4 (01:19:33):
Oh yeah, Yeah, I'm gonna put it together. Man, I'm
gonna put it together.

Speaker 3 (01:19:37):
I got it. I got a lot of dope records
ship that people ain't heard. That's really dope.

Speaker 1 (01:19:45):
Uh.

Speaker 3 (01:19:46):
I just love doing it, man, love just just you know,
that's all just what I love to do. Just get
in the studio, like the chemistry when I get in
the studio with me and Snoop and the dog Pound,
all of us, Rage and Joel, when we all in
the studio RBX. Our ship is just the idea just

(01:20:07):
comes out of like it could be anything, you know,
somebody could could drop something on the floor or something.
The idea come out of that, like we got a
we got a song. Called joystick. We playing the motherfucking
Xbox Nate till the engineer hold up, turn the mic on,

(01:20:30):
because it was the beat was playing and we were
just listening because we were me and he was working
on the album at that time and the music playing,
so he like, he said stop, turn on the microphone.
So he turned the microphone on. He went right in there,
put the joystick down, and when it when as soon
as it started.

Speaker 6 (01:20:50):
She said, she wants to ride my joystick. She wants
to ride she wants to ride it. Act like she
won't and ride my joy stick.

Speaker 1 (01:21:06):
We was like.

Speaker 3 (01:21:10):
While we after we stopped the game, he stopped and
told the engineer turn the mic on and went right
in there and recorded that ship.

Speaker 2 (01:21:20):
I was like, oh my god, that's the that's the
magic of making music. That that I pray that we
get back to everybody. Just don't forget about men getting
in those rooms together.

Speaker 1 (01:21:33):
Yeah yeah, and that's just making that music.

Speaker 2 (01:21:36):
Man.

Speaker 3 (01:21:36):
I'll be telling all the artists out there, like they'd
be like Warring, send me, send me a pack, send
me this, like nigga, you gotta you gotta come to
the come to the lab. Let's sit in here and
vibe about nigga. I'm a barbecue the whole nun. We're
gonna be in that motherfuckers having a good time and
vibing and creat some dope ship because it's gonna happen.

Speaker 1 (01:22:00):
Of the Orange. Your top five R and B singers,
h M, I don't say notes to the note.

Speaker 3 (01:22:11):
I got h Prince, Yeah, I got Michael Jackson, Anita Baker,
Luther Vanros and Ronald Isley. Yeah yeah, by way a tank.

Speaker 1 (01:22:32):
By way.

Speaker 2 (01:22:33):
The Ronald close out is yeah. Yes, people don't remember.
People don't remember the eras of ron Eisley sixty years.
People get of People get so caught up in a
lot of.

Speaker 5 (01:22:52):
That's not all up temples oh super temposht.

Speaker 1 (01:23:00):
Yeah. And I think I had to go to Rediscovered
for myself. I was like, that's run honestly. Yeah yeah,
yeah yeah. Top five R and B songs Uh.

Speaker 3 (01:23:16):
Oh wait, I mean it's it's hard. Uh, it's kind
of hard because I love a lot of songs, Like
I really love a lot of songs, but I these
were some of my These are some of my top songs.
Top this is gonna be my top five. Here is
a golden time of day Frankie Beverly caught up in

(01:23:39):
the Rapture of Love by Anita Baker, closed the door,
Teddy Pendergrash, Uh playing your game, Baby very White, and
uh Lady by the Whispers. Yeah, Yeah, I was gonna
I had lady. I was gonna put lady uh from

(01:24:02):
uh uh Michael Jackson's uh Lady, Lady Lady in my life.
I was getting ready to swap, but I said, no,
I gotta. I gotta keep the whispers in there. I
can hear you rapping over golden time of day I

(01:24:22):
have before, I just haven't put it out.

Speaker 1 (01:24:28):
I got it.

Speaker 4 (01:24:29):
I was hearing that boom boom. I hear you that
I did.

Speaker 3 (01:24:40):
I gotta get us the music. Yeah, music and barbecue
we need. That's That's why I got into barbecue. Because
it's mute, because it all it's married, the barbecue.

Speaker 2 (01:24:53):
The family reunion, the picnic at the park, like all
that is. There's a soundtrack to that. Yes, you know
what I'm saying. Let's make a vultron. Let's make your
super r and B artists where you get different characteristics
for that artist. We're gonna add some wrinkles for you.
First of all, where you gonna get the vocal from

(01:25:15):
for that artist, the performance style, the styling of the artists,
the passion of the artists, and who's gonna produce for
that motherfucker. Let's start with the vocal. What one vocal
you're gonna get for your super R and B artists?

Speaker 3 (01:25:29):
Oh way that I'd have to I would have to
roll with on that one. I'd have to say Michael
Jackson hm hm hmm first of all times, yeah, why not?

Speaker 1 (01:25:45):
Yeah.

Speaker 3 (01:25:48):
As far as the performance style, performance style style, Yeah,
on stage, i'd have to usher m m yeah, yeah, yeah,
why not usher mm hmmm. Styling, the drip of the artist,
the drip. Uh let me see, uh uh let me

(01:26:09):
see uh drip. Uh Oh my goodness. I I'm gonna
have to row oh ship if I.

Speaker 4 (01:26:20):
Uh they might now the drip, I would have to.

Speaker 3 (01:26:26):
Oh my god, uh ship, let me see who was
Who's uh damn mm hmmm Michael Michael style the drip?
Uh god, damn it?

Speaker 4 (01:26:48):
Uh mm hmmm, Oh my god, let me see.

Speaker 3 (01:26:54):
Uh uh.

Speaker 4 (01:27:00):
Oh my god, that's gonna come to me.

Speaker 3 (01:27:02):
Guys, give me gimme uh oh man, uh.

Speaker 4 (01:27:11):
Uh well, passion, I'm gonna say the passion.

Speaker 3 (01:27:15):
I'm gonna say, uh Prince, Yeah, yeah, I mean yeah
passion Prince and the Drep.

Speaker 4 (01:27:24):
I would have to say, uh ship uh ship tank.

Speaker 3 (01:27:35):
You're trying to tell your pretty Oh yeah, nigga ain't
nothing but Mary gave with jewel.

Speaker 1 (01:27:43):
Nigga, shut up, you shut up?

Speaker 3 (01:27:50):
Oh yeah, no, you know you know how to dress.

Speaker 1 (01:27:56):
Insane? This the ladies telling you I was I was chilling.

Speaker 2 (01:28:04):
I had a certain easy, you know, decent, regular style
until he walks into my closet and says, were burning
all this ship right, burn anything, burn it. So after
I burned it, it sent me on a mission to

(01:28:25):
get to get runways you get fly.

Speaker 1 (01:28:29):
I want to be early on him. I'll take chances
on him. Man, Yeah, I want.

Speaker 2 (01:28:35):
You're gonna be You're gonna be decided on my fit.
You either would never wear it or you you would,
you would, you would wear it right now. You ain't
gonna be in the middle. No gonna make you make
a decision. That's what fashion is. It's self expression.

Speaker 5 (01:28:52):
Huh.

Speaker 1 (01:28:57):
You should have never said that we're gonna produce. Man
who's producing for this artist?

Speaker 3 (01:29:03):
Uh? Let me see any producer? Uh yeah, Uh, I
will say myself, but I wouldn't.

Speaker 2 (01:29:22):
Why not?

Speaker 1 (01:29:24):
Yeah, he should I produce it album?

Speaker 2 (01:29:29):
Yeah, it ain't many very small company. Yeah, I mean
listen and really produce it. Yeah, really do the word,
really push those buttons, really look that up into the Yeah,
you know what I'm saying.

Speaker 1 (01:29:47):
Go from r c A yeah to quarter rich and yeah.

Speaker 3 (01:29:52):
Now, I mean I get down a little bit throughout
the years of uh, just being around a lot of
music and people that sing, kind of like I didn't
have to go to school for music there, you know
what I mean. It just it just automatically just starts
sinking in. In the beginning, I knew what I wanted,

(01:30:16):
but I couldn't do a lot of it. But it's
slowly built on me to where I started messing with
the keyboards and just start damn, okay, this is this
boom boom, Okay, it's starting to come together to me
to where now I know, you know songs, I say,
I want to do this song and see minor and
I know what the scale to see minor scale, so

(01:30:37):
I know where to go with it, and and and
add like a bunch of stuff add in like the
horns or the strings or or even the choir. I
just did it. I just did a record for me
and Wiz called mad at All to where I I
brought in the choir towards the end of the song.

(01:30:57):
I didn't bring them in during the song. At the
end of the song, they come in like like damn there,
like we're in church, and just just I mean, I
just learned the whole lot, just through my journey.

Speaker 1 (01:31:13):
You know, you would learn that that that reducing is orchestrated.

Speaker 3 (01:31:16):
Yeah, yeah, you know what I'm saying.

Speaker 2 (01:31:18):
The vision of the record. I'm gonna pull Quincy Jones's
thing sometimes if I have to, and I was. I
was a huge fan of Quincy. What blew me away
is Curtis Mayfield reached out to me. This was before
he had passed, well before he had that No, this
is why he had after he had that accident.

Speaker 4 (01:31:38):
He reached out.

Speaker 3 (01:31:39):
He wrote me a letter. I gotta find that letter.
I have it somewhere in my all my ship. I
just don't know where to look. I got so much ship.
But he wrote me a letter just how he loved
what I was doing, you know, and that that like
really you know, made me say, damn, I'm really ordered

(01:32:00):
this ship and.

Speaker 1 (01:32:01):
You are absolutely a part of this question.

Speaker 3 (01:32:04):
And I was just because I'm like I said, I
got all of the black exploitation soundtracks and he was
a part of a lot of them. Yeah yeah, I
even I even I would go by Leilo shifting uh sound,
you know, all the movies he was involved in. I
would dig, even Quincy Jones. I would just dig and
just study them. And even like the younger producers today

(01:32:30):
like Metro Boom, and I study him, but I'll be
listening like, damn, this nigga sounds he got. He got
really musical. You know, he ain't just like a beat maker.
He's really musical. Mm hmm.

Speaker 2 (01:32:44):
That's the West Coast producers that has always it has
always fascinated me, like the music reality, like like it's
it's always a guitar, always horn, yes, but then it's
got this thing under it. It's like how dog and

(01:33:04):
that ship jumping?

Speaker 3 (01:33:05):
Oh yeah, I love that.

Speaker 1 (01:33:07):
Oh yeah. So we had a very very important part
of the show.

Speaker 5 (01:33:10):
Yeah you tell us a story funnyer, fucked up, funny
and fucked up.

Speaker 4 (01:33:16):
Well, it's it's funny and fuck.

Speaker 1 (01:33:20):
The only rule to the game you can't say no name.

Speaker 3 (01:33:23):
I ain't gonna say it. I won't say it now.
It was a guy, you know, it was the person
I was on tour with, and this person had I mean,
if this dude was like, you know, we became cool
later on after all, you know, after we had the
boss up on him to let him know, like, hold up, motherfucker,

(01:33:46):
you got you got it, you got it. Fucked up.

Speaker 4 (01:33:48):
I don't know who you think we are.

Speaker 3 (01:33:51):
Was was telling us that when we was all on
the same tour together, but when he come through the hall,
everybody got to turn towards the wall, like niggas you crazy,
and we nigga turned against the like y'all gotta turn
face into.

Speaker 1 (01:34:09):
So we made it out.

Speaker 3 (01:34:10):
We made it our point to stand right in the middle,
like we gonna stand right here, nigga, what you're gonna do?

Speaker 1 (01:34:17):
You know.

Speaker 3 (01:34:17):
So it became, you know, it got to where it
almost came the blows. But all the security on the tour,
uh put us together, put us said, Okay, we gotta
settle this. So what we did is we had a
basketball game to settle the differences. The nigga was good.

(01:34:38):
He was good, yeah, but look he was good on
that and that that with that y. What I used
to do was like, Okay, I ain't gonna I ain't
gonna bother this motherfucker no more. We ain't gonna get
into it, get into it no more. So I would
do my show and then when he come on stage,

(01:34:59):
what I would do, I was cracking. I was like
the young like Drake or you know the ladies love like.
I was like the young all the ladies. I was
tank the lady. So I he this nigga perform on stage.
So I come out on the on the side. And

(01:35:20):
when I come out on the side, all the girls
everybody like they scream, and he would bring his ass.
He bring his motherfucking ass right over there, right by.

Speaker 1 (01:35:32):
The speaker, dump.

Speaker 3 (01:35:36):
Like trying to blow everybody. Yeah, and they still all
the lady calling my name. I'm like, yeah, nigga, yeah,
hey yeah yeah. They they won't me. So I had
to get him back. So I would do that ship
a lot to funk with him.

Speaker 5 (01:35:56):
Uh.

Speaker 4 (01:35:58):
And he was just like this mother fucker, and I
mean it was it was crazy.

Speaker 3 (01:36:03):
And then he it's some other stuff. I ain't gonna
get into that, but this dude was a trip like uh,
with his with his uh his background singers. All of
that he told he was telling all themfuckers, y'all bet
not go around them niggas, none of that ship. I

(01:36:23):
was like, damn.

Speaker 4 (01:36:26):
Yeah, yeah, yeah it was crazy. Uh but that that
was a crazy story.

Speaker 3 (01:36:32):
Uh yeah, that uh to different Other than panties and
balls and ship flying on the stage, that was normal.

Speaker 1 (01:36:43):
It was, it was, it was only right, only what.

Speaker 3 (01:36:49):
I got.

Speaker 1 (01:36:50):
I got to do my little last bit of tour
in the nineties.

Speaker 3 (01:36:54):
You know I wouldn't.

Speaker 2 (01:36:55):
I wasn't the lead artist. You know what I'm saying.
Genuine was the But I was like, is this they say,
you'd have been the main artist. Yeah, yeah in the
nineties me in the nineties. Way, Lord, the Lord, save you,

(01:37:17):
preserve time. He said, we gotta get him out the nineties.

Speaker 1 (01:37:22):
You don't come out. You don't come out to you
don't come out.

Speaker 2 (01:37:24):
To the two thousand, because if you if you have
behaving like this as Genuine's valet, ain't no way, ain't
no way that you sing lead.

Speaker 1 (01:37:33):
In the nineties.

Speaker 2 (01:37:34):
He would let me man or wouldn't let me do it,
because it was it was, It wasn't right as we
look at it now. And look back on about I'm
telling you, wow, free for all man. Man the buffet, Yeah,

(01:37:55):
all you can eat. What's the what's the rib?

Speaker 3 (01:37:56):
Call the flanking a flanking, flanking everywhere, everywhere, everywhere, Brother
Warren g listen, man, I'm I'm I'm I'm very happy.
First of all, we're very appreciative. But we're coming up
here man, rocking with us.

Speaker 1 (01:38:16):
Man. We love what you do. I mean my brother,
my brother knows lyrics, lyrics, lyrics, all the words like all.

Speaker 2 (01:38:26):
You know what I'm saying, like your your your your culture, man,
your your your soundtrack to our lives, bro, and that
and to us, that is important, even even the little things,
even the things that we don't know that that maybe
you would have been like, you know, that's cool and
I'm not tripping on that. Those those are still gems man,

(01:38:46):
Those are still uh important pieces and contributions that again
are the soundtracks to all of this ship and the
reason why we're able to do what then we do. Yeah,
for sure, those doors Listen. I'm one of those samplers.
You know what I'm saying. It was going from R

(01:39:06):
you know what I'm saying, and going from x L
R going from I'm one of those kids, you know
what I'm saying. So all that I'm listening to y'all,
how do they where did they grab? I go and
I buy a record store that is going out of
business off by four boxes from them. Yeah yeah, so
that I can do that? Yeah, yeah, you know what
I'm saying. So you know, you you're you're, you're you're

(01:39:27):
important to us. Brother, your story, your music, your barbecue.

Speaker 5 (01:39:34):
You know.

Speaker 3 (01:39:34):
And as a and as and as a father of
an athlete who made the NFL, yes and day, yes,
there's that.

Speaker 1 (01:39:40):
Shout you out for that. Man.

Speaker 5 (01:39:42):
You know, we all got we all fathers, we all
got kids play sports. Man to have that moment too,
because everybody knows and music. We all love sports vice versa,
they all love music. So to be able to have
a son who played in the NFL and a man.

Speaker 1 (01:39:58):
That's yeah, you can gratulation that. Thank you man, shout
out to your son. Thank you. My name is Valentine
and this is the R and B Money Podcast, the authority.

Speaker 3 (01:40:09):
On all things R and B.

Speaker 1 (01:40:12):
Yeah, gangst the R and B gangs stuff. Nobody.

Speaker 2 (01:40:17):
I don't know who you, I don't know what you
want to put it on, but we got the man,
the myth, the legend man. And and still yes warned, yes,

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Hosts And Creators

Tank

J. Valentine

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