April 22, 2025 • 88 mins
Interview with Too $hort on The Bootleg Kev Podcast.
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Speaker 1 (00:00):
Yo, what's up y'all?
Speaker 2 (00:00):
Ship boy too short, make sure you check me out
on the Bootleg keV Podcast Dope Show.
Speaker 3 (00:07):
Hey, before we start the episode, we're gonna remind everybody, man,
we got one of the biggest radio shows in the
country syndicated in almost one hundred cities all over. Shout
out to iHeartRadio. All right, some of the latest cities
that we've been able to add. Man, We want to
give a shout out to ninety three point nine and
the Beat in Honolulu. That's right, Hawaii, we over there
going crazy. I also want to give a shout out
(00:28):
Hot ninety eight three and Tucson.
Speaker 1 (00:29):
Shout out to Tucson going crazy.
Speaker 3 (00:31):
Also want to give a shout out to Wild ninety
four one in Tampa going crazy. We just got Richmond.
We also just got the good folks in Bakersfield at
Hot one O four to seven. So we're going crazy
on the radio with my partner James Andre Jefferson Junior
for the Bootleg keV Show. So make sure you tune
in and you can listen anywhere on that iHeart Radio app.
(00:51):
That's right, let's get into the interview, all right, bootlet
cav Podcast. Man, we have got a legend, my first
favorite rapper of all time, Too Short.
Speaker 1 (01:05):
It's in the motherfucking building. What's up, God, how you doing,
brother running Man? Just living living legendary for sure. Yeah.
Speaker 3 (01:13):
Look, man, uh, you know you're one of them guys,
man who just meant so much to my life and
like my childhood. And you know, I remember the first
time I heard cuss words and you were like the
only rapper my dad fucked us.
Speaker 1 (01:25):
I hear this so much. Yeah, my dad was like
an old white dude. He fucking loved Too Short.
Speaker 2 (01:30):
But you know, I just think it's it's the ship
talking man, It's it's the comedy. It's like the it's
at the time it was. It was in this little
space where nobody was even doing it, like quite like
I was.
Speaker 1 (01:43):
So I had a little, a little laying to myself
for quite a while.
Speaker 3 (01:46):
Yeah, I think obviously, uh, there's a shot to the
new movie that drop over our boy Simba plays you. Yeah,
did he have to tap in with you? I mean
he has to know your mannerisms. But obviously, like he
killed it. He looked just like you too, Like it
looks kind of crazy.
Speaker 2 (01:59):
I just named it couple of music videos. He called
me said, I just want to get a little insight.
I just named him. I said, watch these two videos
and then called mister Fab and whatever he tells you
that she gets you there because Fab is a good mimicer.
He kind of knows his good his story, and he
can do people's style, rap, he can do your voice,
he can do everything. I saw some footage of Fab
(02:21):
when he was young and he was mimicking me, So
I'm like, he'd be a.
Speaker 1 (02:24):
Good reference for you. Yeah, Like, I can't tell you
he's got the tics. Yeah, I can tell you how
to impersonate me. Just watch.
Speaker 3 (02:31):
Yeah, you were watching your whole life. It's crazy, yo.
You uh so someone kind of broke it down. Some
shit you're working on. You and Little John got a
whole album coming.
Speaker 1 (02:41):
Yeah.
Speaker 3 (02:42):
So for people who are not aware, I kind of
give you a lot of credit to obviously the Bay Area,
but there was this Atlanta era that you were very
instrumental in bringing to the forefront of like commercial music,
and and Little John on the East Side boys. Remember
that first song I ever heard you on with them,
It's my Shit let my Nuts Go.
Speaker 1 (03:06):
That's super underground by the way, too.
Speaker 3 (03:08):
But it was, Oh my god, that song is a classic,
and that was the first, like the end of it
when Little John's like.
Speaker 1 (03:14):
I heard you all on my nuts like a trick.
I heard you was at jail house, bitch.
Speaker 3 (03:20):
But you had like a lot to do with the
crunk era kind of being pushed through on the mainstream
front in terms of like you were like one of
the first artists outside of the South that embraced that.
I mean, obviously, you know you worked with three six
month you back in the day two and all that,
But what was that cause what what year did you
(03:40):
end up moving to Atlanta ninety three?
Speaker 1 (03:43):
Crazy ninety three.
Speaker 2 (03:44):
Yeah, it wasn't a lot. It wasn't a lot of
music going on out there. The Face Records was there
out Cast, I mean Outcast was a year after I
moved there, but it was when I first got there,
it was like TLC and Tony Braxton. The Face was
like in a real R and B space. They hadn't
yet done Outcash yet, and there was some things moving around.
Jermaine Dupree was was active, but he definitely he was
(04:07):
just doing criss cross and it was you know, it
was it was. It was a good time to be
in Atlanta because big things were about to happen.
Speaker 1 (04:14):
But my.
Speaker 2 (04:16):
Whole thing is a lot of people don't know my
connection with New Orleans. My mother's from New Orleans, and
I spent a lot of my childhood in New Orleans.
So that's a very different sound than anywhere else, with
the jazz and the second line dancing and just you know,
my cousins were in marching bands and they were just
into whatever, you know, the hot dance whatever, And I
(04:36):
just kind of always had that New Orleans culture embedded
in me.
Speaker 1 (04:40):
But I'm growing up in LA moved to the Bay.
Speaker 2 (04:42):
I'm getting all these different flavors, and no one really
knows this unless you really know.
Speaker 1 (04:48):
The two short history.
Speaker 2 (04:49):
I actually lived in Atlanta for about a year when
I was a kid, a little over a year.
Speaker 3 (04:52):
Wow.
Speaker 2 (04:53):
I was in the seventh grade, part of the seventh
grade and part of the eighth grade. We moved there,
and I guess my mother wasn't feeling the vibe and
we moved.
Speaker 1 (05:01):
Back to California.
Speaker 2 (05:02):
And you know, I just have all these things musically
in me from a kid. So when I get to Atlanta,
and I moved to Atlanta, I immediately I'm already on
you know, probably my fourth platinum album. So I'm showing
up to Atlanta and I'm on like some Michael Jackson status,
you know.
Speaker 1 (05:23):
And they were one of the biggest rappers in the world. Yeah,
they're just like loving too Short.
Speaker 2 (05:26):
So I'm I'm looking at Bobby Brown out there having fun.
I'm bumping into Tupac. I'm like, oh shit, I'm about
to have me some fun out here in Atlanta and
had a lot of fun. But at the same time,
the music scene was accelerating. It was I mean, it
was just you know, the Tis and the outcasts were
just coming, you know, left and right, just new artists,
and Atlanta was getting hot.
Speaker 1 (05:47):
So the reason why I'm embedded in the.
Speaker 2 (05:51):
Crunk culture is because I was a fan of Little
John as a DJ. He was also the pretty popular
DJ before or anybody knew him in the world in Atlanta,
and he was also producing records for So So Deaf.
He produced some big records.
Speaker 1 (06:09):
He was in the scene. But I was a real
big fan.
Speaker 2 (06:13):
Of the way he would dj because he DJed different
than other DJs. His whole set was all about the crowd.
Speaker 1 (06:20):
You know.
Speaker 2 (06:20):
Mike just he was like doing it like a rapper,
like he was rocking the crowd, but he was playing
songs and his parties would just go up, and I
was like, I like this dude.
Speaker 1 (06:28):
Then he put out he put out a record.
Speaker 2 (06:30):
He put out a record called who You w Yep,
and nobody was rapping on there. It was a bunch
of chants. So I just I had not really had
a relationship.
Speaker 1 (06:40):
With him at all.
Speaker 2 (06:40):
We hadn't talked or we probably said what's up, and
I just went to one day. I said, man, you
should have let me do the remix on that song
and put.
Speaker 1 (06:48):
Some raps on there.
Speaker 2 (06:49):
And he was like, nah, we should just do some
new shit. And I'm like, all right, we'll come out
of the studio. And he came by when I wasn't there,
and he just left this song. It had vocals on it.
It was the song was called Couldn't be a Better Player?
Speaker 1 (07:02):
That's what I named it. But he was just uh
doing those chants. He always did those chants, and he
he left that record. I rapped on it.
Speaker 2 (07:13):
I wrapped three four verses and we shot a video
to it, and it just became like you know, in
that region record that was was that, No, it was
before that you started out.
Speaker 1 (07:24):
I said, you couldn't be a better player to leave it.
Speaker 2 (07:27):
Couldn't be a better player was the first song we
did it and it just went big. So we just
started making records together. Little John at the time had
when he I guess when he put out who You Went?
Speaker 1 (07:41):
He signed who You Wit? He signed to a small
label and prior to tv T.
Speaker 2 (07:47):
Yeah, yeah, and he was having this dispute. You know,
they weren't seeing eye to eye. And I always tell
people it's no gangster shit involved in nothing.
Speaker 1 (07:56):
The guy who.
Speaker 2 (07:58):
Had the contract with John was somebody that I had
worked with, right, and you know, it was just he.
I asked Little John was the problem?
Speaker 1 (08:05):
You know? They was both saying f each other. And uh.
Speaker 2 (08:09):
His version was, well, I spent money on Little John
and I'm not budget. I get my money back back there.
Little John's version was, well, man, I'm not happy, so
I'm not making music with him. So I just figured
out what the amount was, put whatever the sauce on
it paid him.
Speaker 1 (08:24):
It was like, man, I got business with Little Johnny, and.
Speaker 2 (08:26):
You know it was you know, it wasn't like I
was buying out some super hot artists or something. But
Little John had offers on the table like the TVT
and some other stuff, and it was stopping him from
from getting there. So I basically just stepped in played
the stepping stone, you know.
Speaker 1 (08:42):
I said, look, I bought you out the contract you free.
Speaker 2 (08:45):
You know, I could be like saying signed to me
or something, but I would much rather cause he works
for so so differ.
Speaker 1 (08:51):
He's a DJ who's breaking records.
Speaker 2 (08:54):
I realized his full potential. He I heard the beats,
and I'm like, do what you gotta do. Just put
me on.
Speaker 1 (09:01):
The forever list of Little John beats. You know.
Speaker 2 (09:04):
That was that was my pay and you know it
paid off. I had people in my earback then going, man.
Speaker 1 (09:12):
That's Little John White and the son you had him.
I'm like, no, bro, And then you know.
Speaker 3 (09:16):
Fast off because one of the biggest hip hop songs
of all time ended up being blow the Whistle.
Speaker 2 (09:19):
Yeah, and he did shake that monkey, so he kind
of which is my ship. So I'm at a point
in my career when he does those two songs. Two
thousand and four five was when we recorded him, I'm like, potentially,
like on the fence, you know, could I go, you know,
fall over with the other OG's who are like retiring
one after the other, not voluntarily.
Speaker 1 (09:39):
Right because you had retired and what.
Speaker 2 (09:42):
But mine was you know, the rap game will retire you.
Sure it will park you, and nobody will call you anymore.
And you know, those songs gave me like the infinite
extension of my career forever.
Speaker 3 (09:56):
Yeah, no, that's a fact, dude. I think a lot
of people don't unders stand or they're very surprised when
they learned that, uh, blow the whistle is produced by
someone from Atlanta.
Speaker 2 (10:07):
So in essence, little John is you know forever, like
you know, my guy because of what he's done for
me and vice versa. So you know, And and then
he becomes super instrumental in the emergence of crunk music.
Speaker 1 (10:22):
He is the main player, he's the face of it.
Speaker 2 (10:25):
And then he comes over to California and catches win
of the Hyphee movement and he starts giving people Hyphee records,
not just Barrier people either. He went and gave Yin
Yang some Hyphee songs and Pete Pablo.
Speaker 3 (10:38):
He also did tell me when they go right, Yes
he did, so he I mean those are I mean,
are those are the two biggest Bay Area raps.
Speaker 1 (10:46):
I wouldn't say those were the best Hyphee songs.
Speaker 3 (10:49):
I would just say, but they're the two biggest Bay arias.
I mean, like Hammer and all that.
Speaker 2 (10:53):
But then he forty had a phone call one day
and we decided to stamp the Hyphee movement and we're like,
I like what the youngsters are doing. Let's do something,
because you guys are old g's at that point. Yeah,
let's do something to help it move. He did tell
me when to go. I did blow the whistle. We
did some more little sprinkles of other songs with the vibe,
and we support the movie. We never stepped up and
said this is our movement. It was always the little
Hole music was.
Speaker 1 (11:13):
Always it was always the young generation.
Speaker 2 (11:14):
Yeah, yeah, it was mac dre is kind of up there,
but it was still Mac dra keeped the sneak and
you know, the Federation and the Team and all these
groups that you know, like the Pack and all these
groups that were thriving.
Speaker 1 (11:25):
At the time. So, you know, I think that helping
little John get in the game just I didn't. He
did it on his own. I just got the obstacle. Op.
You're very instrumental in it for sure. And then this
new album. It helped music a lot. We got a
lot of songs for them, oh man, for that one thing,
he gave us a lot of music. You know.
Speaker 3 (11:43):
I go back and listen to Crunk Juice and Kings
of Crunk so much. Yeah, so much. Those two albums
are just I mean, man. And then some of the
collaborations he was putting together, like putting the ice Cube
and nas on Grand for Now, Oh yeah, just some
of the shit, like Little John was just throwing so
much gumbo into the pot that you would even expect
(12:06):
to go crazy.
Speaker 1 (12:06):
He'd be like, oh, this is crazy.
Speaker 2 (12:08):
Like, yeah, he's got that song or turned down for
what of course, and he it sounds like a little
John beat, But he didn't produce that.
Speaker 1 (12:16):
I think maybe DJ Snake produced it.
Speaker 2 (12:18):
Snake did, yeah, yeah, But Little John says what maybe
ten twelve words?
Speaker 1 (12:23):
I think he might say like, yeah, ten maybe ten,
And it's.
Speaker 2 (12:26):
Like it's like the biggest shit ever. All I said
was ten words. So crazy.
Speaker 1 (12:30):
That's amazing. Man. Not a lot of us could make
a ten words song.
Speaker 3 (12:33):
Sonically, where is this album that you guys are working on?
Is it more of the like newer era stuff because so.
Speaker 1 (12:39):
You got to get the big picture. Man.
Speaker 2 (12:41):
So uh, for a long time now, probably since COVID,
I've probably recorded one hundred and two short songs, seventy
five songs I don't know, right, but then I also
recorded another fifty songs with Mount westmore Right and always
doing shows. Always you've been You're very busy on this
(13:03):
and that and just doing stuff, but not really announcing
to people how much I really how much time I
really spent in the studio really making dope ass records
that I really haven't been putting out.
Speaker 1 (13:14):
And it's a lot of them, and you're sparring NonStop.
Speaker 2 (13:16):
Yeah, I said, people around and start playing two short songs.
They're like, what the fuck is your problem? Is this
shit not out? But there was always a plan, and
I knew that the Freaky Tales movie was coming. This
has been years in the making, like, uh, you know it.
The deal of the process of making the movie has
probably been a four year process, you know now.
Speaker 1 (13:36):
I remember SEMBA hit me pretty early on and was like,
don't tell anybody, I'm about to play too short in
a movie.
Speaker 2 (13:42):
And I'm like, so I was on when they were
trying to get to the part where they even shoot
the movie, you know, before the cast for sure, and
I just figured, let's just time this out and wait
till the movie comes out. And then I started my
little movement. So I have a series of albums. It's
(14:03):
called Sir Too Short. That was originally my name before
too Short, when I first broke out, and I'm like,
this is me. I was ser too Short. I used
to write it, tag it everywhere all over the Bay.
Anywhere I would stop for five minutes, I would tag
Sir too Short. And I decided to make a throwback
album and Banks, well.
Speaker 1 (14:22):
And Banks's production is all over it.
Speaker 2 (14:24):
A lot of music with a Banks recently so and
it was he was I couldn't do it without.
Speaker 1 (14:28):
Him, so they player short shit. Yeah.
Speaker 2 (14:31):
So the first installment is the sort of Me and
and Banks flavor. It's real Bay. I knew what the
movie was gonna be about. I knew the movie was
gonna be set in nineteen eighty seven. So instead of
me trying to, you know, put out an album and like,
you know, Kendrick's coming out next week, I'm coming out
of the weekend. I'm like, I'm just gonna go in
my zone and make some og as too short shit.
Speaker 1 (14:53):
So that's what I did.
Speaker 2 (14:54):
And then I was trying to do one song that
me and Little John had recorded a about six seven
years ago. It was laying around Ghazi from Empire. Shout
to Gazi heard the song way back when. So every
two years he goes, hey, man, let's put let's put
out that Little John song. I'm like, all right, And
then two years later.
Speaker 1 (15:13):
Let's put that song out.
Speaker 2 (15:14):
So once again, no one. I'm getting ready to try
to put something out of the movie. He's like, you
gotta put that Little John.
Speaker 1 (15:19):
Song on there.
Speaker 2 (15:19):
So I called a Little John, so let's make it
new again, and he comes to the studio and we
make We did something something.
Speaker 1 (15:29):
I don't even know. We messed with that song a
little bit, but we did something.
Speaker 2 (15:32):
And he's like, I'm gonna leave some beats, and he
just leaves me some beats. This is like on a Monday.
I sent him. He probably gave me like twenty beats
to listen to. A week later, I sent him like
fourteen songs recorded and he said he.
Speaker 1 (15:49):
Was like, oh, show you serious, son.
Speaker 2 (15:51):
And he sent me like fifteen more beats and I'm
like started recording on those. I'm like just doing them
because they Little John beats some grabbing everything I've gotten,
just you know, because I've been recording for years. I'm like,
I got a lot of shit. And then he's like,
all right, send me in another pack of beasts. I'm like, dude,
I have more than enough for the album. He said, well, shit,
(16:12):
make two albums. I'm like, all right, That's what I'll do. Then,
So what happens after the throwback albums?
Speaker 1 (16:19):
So Too Short?
Speaker 2 (16:20):
Volume one is the Little Giant album, which is called
Drinking Smoke, and it's a little more up tempo, it's
a little more it's reminiscent of the songs that me
and Little John made together.
Speaker 1 (16:31):
And then it's so ignorant. The topics, the shit talking,
all the.
Speaker 2 (16:37):
OG's are like not all the OG's, but the og
idea is like, you're in your fifties, you should be
a mentor, and you should you should.
Speaker 1 (16:49):
Say responsible things on songs now because you have matured.
And not too Short. I'm like, right, where the fuck
I was at nineteen eighty eight. I'm not.
Speaker 2 (16:57):
I can't I can't see being a character called too Short.
And then making the character grow the fuck up.
Speaker 3 (17:03):
Yeah, and also like your fans who are like, I mean,
I'm thirty eight. You know, I obviously was listening to
you when I was a very small child, shot to
my parents for you know, whether or not they were
being good or bad parents for that is. But you know,
people ten years older than me, people five years older
than me, like they don't.
Speaker 1 (17:19):
Want to hear too short, like we we love short
for short.
Speaker 3 (17:22):
Like It's like I just had that conversation with Cube
when he was up here because I thanked him. I
was like, hey man, thank you for this new shit
sounding like ice Cube and not sounded myself trying to
do some young head shit.
Speaker 1 (17:34):
You know. Will Smith was asking Kendrick for advice. He's like,
just talk shit, yeah, be true to yourself. Talk shit, bro.
Speaker 2 (17:44):
So they're gonna talk about the mature the lack of
maturity whatever in the subjects and the and the language
and whatever.
Speaker 1 (17:52):
But then volume three is actually gonna be that thing
that they think a grown rapper should do.
Speaker 2 (17:58):
And you know, sounds like the message in life is
too short, and you know with the with the concerned lyrics.
Speaker 3 (18:04):
I mean even getting it to like a motivational likes.
Speaker 2 (18:08):
I always balanced my career for sure by talking the
most extreme shiite and then talking the most intelligent ship.
And the last album is just I have I make
those kind of songs.
Speaker 1 (18:19):
It's game.
Speaker 2 (18:20):
So I just you know, I'm gonna get my grown
man on on the way out. I want them to
talk a lot of shit, somebody. I want somebody to
talk shit. And like, that's just so childish. Are too
short to drop that, you know in the environment in
the world today is putting all these negative shits about.
Speaker 1 (18:35):
Pimping and hoeing. Hey, it's too short.
Speaker 2 (18:38):
If I was making movies, I wouldn't fucking you know,
change Batman to fucking uh to do something that Batman
wouldn't fucking DoD Damn.
Speaker 1 (18:48):
You got a character, run the character. Yeah, no, that's
I'm excited.
Speaker 3 (18:52):
So when is the like, in terms of when you're
gonna start rolling this stuff out?
Speaker 2 (18:57):
The first volume one drops April eighteenth, so that's Friday. Yeah,
next Friday, And I'm dropping a single this Friday. It's
called still Mackin And then they each one would they
all got to come out before the end of the year,
so they'll be ninety two one hundred twenty days apart
three to four months.
Speaker 3 (19:12):
What is it man, at this point in time in
your career, Like, what is the motivation? A lot of
people get comfortable, a lot of people get lazy, they
stop going to the studio. Why do you still have
the drive? What is it that you attribute that to longevity?
Speaker 2 (19:28):
I stayed in the game so long that I looked around,
I see everything that's going on. I've seen all the
people that came and went. I've heard all the chitter
chatter about hip hop's limitations and how far I can go.
Speaker 1 (19:38):
I remember when you couldn't.
Speaker 2 (19:40):
You couldn't be a thirty something year old rapper because
they're like, what your old dad's doing rapping? Right now,
we have very successful represent their forties and fifties, And
I just think that when you look at people out
there just pushing it constantly on the road, trash, you know,
people staying in the limelight.
Speaker 1 (19:59):
Fat Joe, you know what I'm saying.
Speaker 2 (20:01):
KRS one got twenty some albums and it's always you know,
speaking hip hop and always relevant, you know. So it's like,
you know, rock him, he just got red Man is
dropping dope as freestyles and I'm like, I just think
that we have to.
Speaker 1 (20:19):
Make it.
Speaker 2 (20:20):
You know, we have to own the narrative of like
when does hip hop expire? When does the artist expire?
And the only way to do that is to live it.
We the generation who's poised right now to tell a
story to the infinite version of it, Like who's going
to be the first rapper who is rocking the crowd
(20:42):
at seventy two years old? You know somebody's going to
do it well?
Speaker 3 (20:45):
Also too, like you're kind of I mean, I know
we mentioned like rock him and those guys, but like
in terms of like cultural relevance from your era of music,
cubes in the mix obviously, but like wherever club you
go to in the country, right, you're gonna hear blow
the whistle. Oh yeah, it doesn't matter where you are.
Could be a white club, it could be a hood club,
it could be a bar mitzvah, it could be a
(21:06):
basketball game, it could be anything. Blow the whistle is
getting played. And you have such like a position in
like culture where it's like it's it's almost like the
snoop dog effect, like when people be like, oh too show,
I love too show, Like everyone loves you like it's
pretty crazy, like to be able to kind of have
that kind of grace with with with the public.
Speaker 2 (21:28):
And you don't. That's something that you don't work at.
You just make good music. And you you remember that
thing about you got to have the biggest ego and
be hum humble at the same time.
Speaker 1 (21:40):
Like a lot of people can't do both of those.
Speaker 2 (21:42):
You get you got you got ego maniac and then
you got people like, you know, zero humility, and they
just come in and just shit on people, and it's
just it's not a good energy. And I think that
I always put that good energy out. I've always had
never been too much in a hurry to a picture
or listen to somebody's sixty second story about a too
(22:05):
short experience.
Speaker 1 (22:06):
Just like back in the day I ran into you
at this.
Speaker 2 (22:08):
Moll, I understand that from the start. I understand that
it's gonna.
Speaker 1 (22:14):
Come around full circle. I used to.
Speaker 2 (22:17):
I used to do this thing where it was just
an experiment. It was my first time going on tour
and everybody's.
Speaker 1 (22:24):
Like too short, too short, short dog, And I.
Speaker 2 (22:26):
Said, I'm gonna do this thing where I'm going to
tell all these beautiful women, Hi, my name is Todd.
Speaker 1 (22:32):
Yeah, and just they're like, that's the dumbest shit ever.
Speaker 2 (22:35):
Why are you doing it? I'm like, because at some
point it's gonna be a bunch of beautiful women walking
up to me going high Todd. And I did this
shit for years. It just was like, oh, hi, my
name's Todd. They're like, oh, you know that's your real name. Yeah, Todd,
how you doing Yeah? And I just said this shit forever.
And then all of a sudden I started going places
and it just be some fine chick across the bar, Todd, Todd, I.
Speaker 1 (22:56):
Ain't seen you in a while. And they're like, how
the fuck you know her? And it became this thing
and I.
Speaker 2 (23:00):
Was just like, I just it was just part of
the two short mystique, Like how do you do this shit?
Speaker 1 (23:04):
Bro? And it's it's a little fucking this player ship.
That's that's.
Speaker 2 (23:10):
I studied some og players and I came up with
my own version.
Speaker 1 (23:15):
Yo.
Speaker 3 (23:16):
You uh, you're an artist who has a unique connection
with I look at like a group like Bone. Thugs
like Bone got to work with Biggie, they got to
work with Park, they got to work with Easy, of course,
but you had such an incredible working relationship with Biggie.
(23:37):
But then you also, I mean one of the most
underrated chemistries. I think when we think back to albums
and the amount of songs you guys, did you and
jay Z had a run together where you guys.
Speaker 1 (23:48):
Got three songs of jay three songs are big?
Speaker 3 (23:51):
Yeah, I mean that's that's pretty crazy. Like, first, I'll
start with the Biggie relationship because I know one of
Biggy's last interviews, actually his last interview was in the
Bay I believe it was that came out before you last.
Speaker 1 (24:02):
Yeah, but what was you know?
Speaker 3 (24:05):
And obviously you know you've got Diddy on your ship,
obviously probably to the craziness, but you had such a
connection with Biggie and puffing those guys, Like how did
that relationship kind of start?
Speaker 2 (24:16):
And I've really got to give one hundred credit now,
I'll go fifty to fifty. Half of it was Biggie
reaching out to me, and the other half would probably
I would have to give it to Eric Sermon because
he was my neighbor in Atlanta.
Speaker 1 (24:31):
We made a lot of songs together.
Speaker 2 (24:33):
He really the first song that New Yorker's ever liked
me and by the Masses was a duet with me
and Eric Sermon.
Speaker 1 (24:40):
But the thing that really happened Biggie called me. Nope,
he didn't call me.
Speaker 2 (24:46):
He had puff called me and he said, big On
to do a song with you, and I'm like cool,
and we made the song.
Speaker 1 (24:52):
The world the world filed it. So that actually just
like makes all these New York workers go, oh, man,
I fuck with you. I fuck with you.
Speaker 2 (25:02):
You know what I'm saying, and it just it just became,
you know, a fuck with you. And then I do
this song with jay Z. Real niggas do real things,
and then that opens up another door. I do a
song with Little Kim call Me for the Booty Call soundtrack,
and now I'm like sort of okay in New York.
So me and Eric Sermon had a song called buy
(25:23):
You Something. So now I got like four joints at
all these years of New York ignoring the fuck out
of me, got about four joints.
Speaker 1 (25:31):
But these four joints are with the heavy head it is.
Speaker 2 (25:34):
And then the phone starts ringing and they want me
on the Foxy Brown album and I'm just.
Speaker 1 (25:38):
Doing songs with New yorkers.
Speaker 2 (25:40):
So it was it was Biggie because everybody he was
the hottest motherfucker and then here I am with Big
on a song.
Speaker 1 (25:48):
They're like, well shit, I.
Speaker 2 (25:49):
Got to get two short on the song because also
the word was out that I had ten platinum albums,
but it was like six platinums.
Speaker 1 (25:55):
Four gold. And you know, folks are just like it
with the feet, your thing was starting to pick up.
We didn't used to do features back in the day.
Speaker 3 (26:03):
Yeah, so because obviously nowadays, a lot of features get
done over email. Back then, were you able to be
in the studio.
Speaker 1 (26:08):
Well, yeah, you pretty much all the features were done
in person. What's the studio session? Like with Biggie?
Speaker 2 (26:13):
The first one, the world is Filled? The song was
recorded at a at Bad Boys studio Daddy's house in
New York.
Speaker 1 (26:24):
I got to the session. I had one of my
homies with me.
Speaker 2 (26:29):
And it's people. It's like a vibe, it's people in
the studios. We smoked liquor, the usual session and Puff
Daddy is on the first verse of the song. Carl
Thomas is on the hook.
Speaker 1 (26:44):
I was wondering who did that hook? Yeah, Carl Thomas.
Speaker 2 (26:48):
And the hook is already done and Puffy's excited, you know,
he's always like a high energy. When he's in the room,
he's like playing this shit, loving it. Everybody in the
room is agreeing this is one of the ones. And
I'm sitting there my usual routine, grab a pan paper
and just start vibing. The song is the hook is
(27:09):
saying the world is Philip, Pips and Hose. We'll just
talk about those I know, and it's just you know.
Puff comes on. He's talking some slick shit about balling,
being a baller and shit, and then Big goes in there.
Everybody's laughing and drinking. He goes into booth without like
writing anything. So I'm thinking, I don't know this shit
(27:31):
about the rhyming with no paper within him, no pain.
Him and jay Z and all of them would would
soon make famous, but it wasn't famous on this day.
Speaker 1 (27:40):
I didn't know about it. So he's just sitting around
drinking and smoking.
Speaker 2 (27:44):
He goes, I'm ready to get in the booth, and
I'm like, what the fuck does he meaning?
Speaker 1 (27:48):
Write?
Speaker 2 (27:49):
Like I'm just And he goes in there and he
says he announces because everybody's a little tipsy and having fun.
He's like, I'm gonna do this shit in one take,
and he goes in there, says a couple of lines
and I guess messed up or didn't get the line right,
and he said, run me back, and the next take
he runs his shit front the back sixteen bars, and
(28:12):
when he comes out the booth, it's like cheers.
Speaker 1 (28:15):
And claps and everybody's like whash.
Speaker 2 (28:18):
And I'm like sitting there with an empty piece of
paper like this, and I'm like, the whole song is done.
Speaker 1 (28:24):
Now.
Speaker 2 (28:24):
The song has a blank sixteen bars. Everybody's in the mood,
smoking the air. Ain't nobody pressuring me, but it's I'm pressure.
Speaker 1 (28:31):
You're pressuring yourself. And I'm like, what the fuck.
Speaker 2 (28:34):
So I go to my boy and I'm like, I
should do if you kind of ripped that shit.
Speaker 1 (28:39):
I was like, man, I ain't even wrote nothing. And
my boy, he's from Oakland.
Speaker 2 (28:42):
He said, he said, shit, listen to the hook. I'm like, okay,
you said none of them. Ain't nobody own the song
said anything about what the hook is saying. And I'm
like like, bub okay, I'm just gonna write the story
of the hook. So I told the story about some
pimps and holes. I know, in the end, I start
talking some shit about some pimps and holes I know,
(29:03):
and then I come out the roof and they're like,
oh shit. I'm like, okay, so my guy, he just
he was My guy's not a rapper write a songwriter,
but he's been in many sessions with me and always
he's a gamer. He got game for sure, so he's like,
didn't spit that game. Like one time I was writing
a song and he's like, what you gonna write about it?
Speaker 1 (29:23):
I'm like, I don't know.
Speaker 2 (29:24):
He's like shit, He's like, I tell you a story.
He's like, when I was in fifth grade, I used
to steal cigarettes at the story and then go around
selling cigarettes to adults. That's how I got money. And
I'm like, okay, I wrote a rapper about it. Little
nigga in the fifth grade selling cigarettes. That's one of
my songs. But that's how we used to get down.
So the World Is Filled became a classic, and you know,
(29:47):
I was. It was one of those times where I'm
I'm I'm not trying to jab with Biggie lyric for
lyric in the studio. I know what I'm up against
when I do songs with these super lyricists. But I
always spit game.
Speaker 3 (29:59):
Always sure it's funny because then you end up in
the studio with jay Z, who does the same kind
of thing.
Speaker 1 (30:04):
Yep, you must be like, you know, it was these
New York motherfuckers gonna be writing nothing down.
Speaker 2 (30:08):
And then with jay Z song I actually sent him
the Verse the World the Real Niggas was was a
song that was written when I got the dem with
the demo version that was.
Speaker 3 (30:18):
One on Value one right, I can't remember, and volume
two year on it was all good just a week ago.
Speaker 2 (30:24):
That song was written for him to do a duet
with Scarface. And you always say the stories about jay
Z and UGK and these people. People didn't want to
do songs with certain people because they thought they weren't
friends of Tupacs, and it was always this this thing
of I'm ride with Tupac.
Speaker 1 (30:42):
At that time, it was so East West because that
was like an actual thing that people were cognitive with.
Some people like you Pimpsey was really on that, and
I don't I don't know.
Speaker 2 (30:52):
I think Scarface it was partially because he didn't like
to fly on airplanes at the time. And then you know,
I guess you gotta like some people was just like
I got a ride for the side I fuck with right,
and it just was like that. I can't tell you
if that was Scarface's motivation, but he didn't do the song,
but you kind of fucked with everybody at that time.
And in that song, jay Z says something something about
(31:13):
short he says something about short Dog. But there was
a version where he said Scarface that I heard, and
you know, I knew Face wasn't doing it. But then,
you know, even when I get in the studio with
Scarface e forty, all these motherfuckers just drop gasoline on
the track and look over like what you gonna do now?
And I just always slide in there and just I
(31:34):
never try to out wrap them. I just spit game
and it always works for me.
Speaker 1 (31:38):
Well, you're also like one of the greatest storytellers in
hip hop history. I do that too. I give you
a lesson by example by using a story.
Speaker 2 (31:48):
And I know that when I'm on songs with other
rappers and they doing all this great word play, I'm
really just gonna I'm gonna give it to you, paint
a picture or something, and just it's me, it's my
your style. Yeah, So I like to whenever I get
on the song with a super rapper, I like to
dumb it down a little bit and twang the words
a little bit. I'm doing that thing mine and I
(32:08):
just I'm like, I'm not gonna battle you.
Speaker 1 (32:10):
Broh. Yeah yo.
Speaker 3 (32:12):
One of my favorite songs that you ever put out
was one of the best stories ever told on record,
blowjob Betty.
Speaker 1 (32:21):
That should have been a movie.
Speaker 3 (32:23):
It should have been a movie. For people who haven't
heard the song, go please go listen to it. It's
essentially about Too Short had a girl who he had
to kick to the curve because she was tripping, and.
Speaker 1 (32:35):
She ended up I'd like to fuck for free. Yeah,
she because she was a real hoe, right and uh.
Speaker 3 (32:41):
It all wraps up with Short running into a bathroom,
running into her in a bathroom after she gets done
serving a bunch of strangers, and Too Short says one
more go and then busting under her mouth, she chokes
on it.
Speaker 1 (32:53):
Shot that fatal nut. Yes, she dies.
Speaker 3 (32:57):
Too Short doesn't find out about it until later when
he's was it the newspaper the news?
Speaker 1 (33:01):
I forget And it was on the news. The young
girl died just last night.
Speaker 3 (33:06):
She choked on sperman or wind pipe. Sorry to say
there's no suspect I busted down and killed the bitch anyway.
You know what, when I wrote that song, please tell
me yes.
Speaker 2 (33:18):
When I wrote that song, the first thing I wrote
on the paper was I busting that and killed the bitch.
That's the first thing I wrote. I said, this is
gonna be the last thing I say in that song.
And I wrote the song to catch up to that
one line.
Speaker 3 (33:31):
That's so crazy, Yeah, because you found you know where
the ending's going.
Speaker 2 (33:35):
I mean, I was like, I thought of that, and
I'm like, I gotta do something with this. Wrote it down,
busting that and killed the bitch.
Speaker 1 (33:41):
That's what we're gonna get to.
Speaker 3 (33:43):
Did like fans take that and like there wasn't Google
back then, But was there any like a lord that
this was like a true story kind of or some
semi truth.
Speaker 2 (33:51):
I mean, truthfully, people really in the eighties and nineties,
they really thought I pimped a lot of holes.
Speaker 1 (34:00):
And I really thought that, oh, that shit was rude.
I thought that it's just like that's because hip hop
still had that mystique. I assumed you were.
Speaker 2 (34:07):
I mean, man, but I used to hang with a
lot of pimps. And it was very pimpish. But you know,
I had a really good job. I used to like
cops would have harassed me a little bit, and I'm like, bro,
I got a really fucking good job. I'm like, why
would I sell dope? Why would I pimp hose? I
get a fucking, you know, million dollar check every fucking
six months. What are you talking about?
Speaker 3 (34:26):
Yeah, Plus, you grow up in the Bay, so it's
like you're telling the story of like a culture from
a place that's like very much pimps and hosea.
Speaker 2 (34:35):
I was very fortunate enough to end up in Oakland, California,
and a lot of too short is the story of Oakland.
Speaker 1 (34:44):
It's not the story of me.
Speaker 2 (34:46):
It's me looking at Oakland and interpreting what I'm seeing
in songs, Like I literally could just think of some
shit that happened and write a song. That's how exciting
Oakland is when I'm coming up of age, and it's
not you know, the streets.
Speaker 1 (35:04):
It's always been a wild city, but you could go
out and venture through the city. You're not gonna worry
about getting killed or any kind of problem happening somewhere.
I just had It's rough right now, for sure.
Speaker 2 (35:17):
I just had free roam with the city and it
was like a blank canvas, and I wrote hundreds of
songs about Oakland.
Speaker 1 (35:24):
Yeah.
Speaker 3 (35:25):
Yeah, it's it's interesting too because you were kind of,
you know, the first rapper, at least one of the
first rappers to really I mean, uh, cuss and talk
the way you talked for real, you know what I'm saying.
Speaker 1 (35:40):
I mean, because you were like I mean, technically you
were pre Nwa right before. I mean technically technically in
the streets. Yeah, in the streets.
Speaker 2 (35:48):
I was famous in Oakland at the same time run
DMC and ll COOJ were famous, you know.
Speaker 1 (35:54):
Essentially like the West Coast. It starts with too short
and nice tea, right, is that fair?
Speaker 3 (35:58):
What?
Speaker 1 (35:59):
No?
Speaker 2 (35:59):
You gotta remember you had l A was making a
lot of dance music. It was I'm talking about just.
Speaker 1 (36:05):
Like rappers like that, like we would. I got a
you know, I got an Egyptian lover and l A
dream team, you know, even when you know doctor Dre
and then they were doing an up temple thing, the
world Class Worcking Crewer. Yeah, I was buying those records.
I was still in high school, but I was a rapper.
Speaker 2 (36:23):
I was a pretty popular fucking rapper around the Bay
at the same time. So I was one of the
first rappers I met that was like on because he
had did breaking and he was was doing like a
six in the morning and all that ship, and he
actually like chopped it up with me and gave me
some game, and I was I was motivated after having
(36:44):
a conversation with you know, young Ice t Young Too Short,
and I always remember that he would do that with
a lot of us, just give us a little game
about what we're getting into. Also a player, you know,
I do consider myself fully a part of the West
Coast emerging as a hip hop powerhouse.
Speaker 3 (37:04):
I do, yeah, I mean you're you're like, what were
the like the blowback being one of the first artists
to have I mean you name it so on cusswords, right,
Like that's something that you know, it's like, hey, we're
cussing on songs.
Speaker 1 (37:21):
This is this is this is not of the norm
per se, Like, yeah, the legitimate journalists who had all
the attention.
Speaker 2 (37:31):
Because they were in the hip hop publications and you
know it could be fucking I don't know, everybody said
this ship there was like this guy too short he
really can't rap, and he just curses.
Speaker 1 (37:43):
And basically the album would.
Speaker 2 (37:46):
Come out and they would go platinum, and then I
put another one out and they go, yeah, he's you know,
the music's mediocre. You don't think, don't think this style
is gonna last too much longer, you know. And then
I have this Big Records, another platinum. I'm talking about
five six platinums in a row, and the review is
(38:09):
still coming out pretty mediocre, can't really wrap that good.
Speaker 1 (38:13):
And I'm like, stupid, motherfucker.
Speaker 2 (38:14):
I'm rapping like this on purpose because people can hear
what I'm saying and they feel it and they learned
every word and I'm spitting game and the basses HeLa deep,
and they like missing the whole point that we have
all these different styles of rap YEP, and you have
these lyricists who the wordplay is is is infectious and
you fucking want.
Speaker 1 (38:33):
To learn it and rap alone.
Speaker 3 (38:34):
We don't even feel like though back then, like if
we're talking like eighty seven, eighty eight, eighty nine, and
it's like ll you got Kine, you got Rockim, you
got rock Kim, but you were I just I always
felt like your music was so it resonated so clearly,
like you said, like you would say the fly shit.
Speaker 1 (38:52):
In the simplest way, where'd be like, oh shit.
Speaker 2 (38:54):
But there were a lot of hip hop heads who
were like one to ten. I just saw the phumod
report card. I never even knew about it. Yes, I
got a C plus, And I'm looking at his categories
and I'm like, of course I would give me a
C plus, But he was missing categories like how the
fuck you just rock that crowd or how the fuck
(39:14):
you make a song that that you know, motherfucker's in
the hood love they.
Speaker 1 (39:18):
Don't need a radio station and shit.
Speaker 2 (39:20):
And you know, if he could have seen the forest
forest sight to the future, it should have been a
category on there, Carl longevity, because I'd have got an
A plus and that motherfucker.
Speaker 1 (39:29):
And I just always knew, man, this is what I'm
telling you.
Speaker 2 (39:33):
I always knew that I didn't want to be a lyricist,
that I could easily put the words together and spit
the flow.
Speaker 1 (39:41):
But it was that lane was taken.
Speaker 2 (39:43):
And I'm sitting there like I chose to represent this
Oakland style of like pimpshit street shit, and I'm like,
that ain't the way people was talking, I'm gonna talk
like the pimps talk on this song and fucking like
I would just.
Speaker 1 (39:58):
My get back was off.
Speaker 2 (40:00):
Always live in concert, I'm like, just get on the show.
Put I don't let I never would be the headliner. Mostly,
I wouldn't be the headliner. We have these shows with
like you know, ten seven ten groups, and I'm like
somewhere in the middle, and I'm just like, watch, just
watch the motherfucker to go on before me, and the
motherfucker is going after me. It's gonna be a problem
(40:20):
for y'all too, motherfuckers, and probably all night. Like I
just I would just take pride and just going out
there everybody like dancing and DJs and tricks and spinning around.
Speaker 1 (40:31):
Shut just walk out there. You don't even got to
introduce me.
Speaker 2 (40:34):
I just walked the fuck out there and start rapping,
and the whole crowd is singing every word, and I'm like,
I just rapped. I stopped rapping and just let the
whole house sing it and just tell the crowd to
say shit, and.
Speaker 1 (40:44):
They're like, who the fuck are you? And then just
I just you know, keep it real nonchal line. What's
up man? Now? You know player and here from Oakland
kept the lights on a jive man.
Speaker 2 (40:59):
Yeah, I'm one of those aretists who saved the label
one year they had for they had a bad year
and I had a big record.
Speaker 3 (41:04):
I just remember, like the only I got that Jive
logo and the way all the CDs kind of looked
the same. I just remember it was you and Forty
would always have the Jive logo on your ship. Like
as a kid, I'm like, yeah, I didn't even know
anybody else will sign.
Speaker 2 (41:16):
The jib for a while, well a few people signed
the jib because I was on jive. Yeah, I straight
up like ugk ugk was on jives right because too
Short was on jive.
Speaker 1 (41:27):
Wow, that was the only reason. What are studio sessions
in which it's too short and PIMPC? Like in life, PIMPC.
Speaker 2 (41:37):
Is serious in the studio, He's very serious, doesn't really
he's not He's not slow by any means.
Speaker 1 (41:44):
It happens quick. Pimp C could make beats. He made
a lot of sure, amazing producer.
Speaker 2 (41:50):
Pimp C also sings and you hear the song like
it's funky, but just listen, he's in the studio singing
like he's still in the fucking high school quot on
those songs, and he's really putting his all into it.
So PIMC is the kind of motherfucker that come to
the studio and first thing he wanted to do is
smoke some weed. That's that's why we say that on
(42:11):
the songs. He like smoke something like he really would
smoke something.
Speaker 1 (42:14):
That's not just a tag. He really would say that.
When he walk in the room, she think we walked
to walk in and smokes something. Man, what's that?
Speaker 2 (42:22):
And and he's just immediately it's like, well we making
If it's something on, he's getting involved.
Speaker 1 (42:28):
If it's nothing coming through the speakers, he's like, man,
this ship up.
Speaker 3 (42:31):
Man.
Speaker 2 (42:32):
Let's say he just immediately started kicking out a drum pattern,
put a baseline on it, and he got a hook
for it immediately, and we're making a song. Most I
think most of the songs I haven't made with PIMC,
he's doing the hook because that's wow. That's how it
always went down. He would just he was just quick
like that. And he's also one of those guys who
he's like me in a sense that he's not feeling
(42:55):
lyrically beat you down with this vocabulary and his cadence.
But when he goes into booth and comes out, it's
just fire. Like he I think of that song Murder
with him and bun which is my one. I mean,
I just posted this song like maybe a week ago.
Speaker 1 (43:11):
Listening to it, I was like, how is this? It's
two of the best verses ever, but for different reasons,
Like bun Bee.
Speaker 3 (43:16):
Was more of the like intricately the lyricist. Yes, but
Pimps ship just hit so two people.
Speaker 2 (43:24):
A lot of people can do it, but it's two
people that always distinctively make a record and make you
bounce when you hear it, Like you want to bounce
to the beat.
Speaker 1 (43:33):
And the record. A lot of songs producers make.
Speaker 2 (43:37):
The beat bounce, but if you like take like MJG
from A B and MG, every time he raps the
fucking beat, just start bouncing.
Speaker 1 (43:43):
Same thing with Pimps. Like Little John told me a
secret one day.
Speaker 2 (43:46):
He said, I was in the booth rapping and I'm
just rapping to the song, and he like, if you
want the song to bounce, you gotta bounce while you
wrapped the lyrics.
Speaker 1 (44:00):
He's like, you ain't in there. Bouncing.
Speaker 2 (44:02):
I gotta bounce and do the ship, and now the
lyrics start bounce. He's like, yeah, like that love John
taught me. Taught me some ship in the lab.
Speaker 1 (44:09):
Yeah. I remember we made Shake that Monkey and he
gave me the beat.
Speaker 2 (44:14):
There was no hook on it, and I came to
the studio when he wasn't there, and I recorded three
verses with a hook, whole fucking song. Come back the
next day and he and he is there and I
play it for him and I didn't even think. He
let the whole song play. He was like click.
Speaker 1 (44:32):
He's like, that's not the idea I have for that beat,
and just goes the hook.
Speaker 2 (44:36):
Dumped my ship, and then he goes in. He goes
in there and does the hook, which is him fucking
he's doing. He does like fifty takes and consolidates him
and makes it sound like one hundred people.
Speaker 1 (44:50):
And he's like, that's the song. So I went back
to the hotel we were in Miami. I wrote Shake
that Monkey. I came back. He's like, that's the song. Okay, okay.
Speaker 2 (44:58):
So that's how we record. Really like working with producers
that produce. I work with a lot of beat makers
who give you a beat, and then I end up
producing it. But I like working with producers who you know,
the jazzy phase and banks, and for producers who tell
you words are cup but the flow is wrong, you know,
or do your voice like this on that part right there,
(45:19):
or switch that line and say that you know, just
a little shit that makes the song better, and they
produce a song. Because I am very much a producer
who doesn't ever really want credit for it. I produced
them near the majority of I produce a lot of
two stresses, a lot a lot I made the beats,
and a lot of the ones that people gave me
(45:40):
the beats, I still went and produced the fucking song.
But I like when I'm working with somebody who's telling
me how to make a song, because I can make
these two short songs all day, but I want the
different flavor by every now and then. I would let
one of the homies write a song for me, Like
why you gotta let a homie write a song so
I have a different flow on certain songs. Every album
(46:00):
I've ever made, I probably let one homie write me
a song just to get a little different shit.
Speaker 1 (46:04):
Father Dom wrote some songs for me Dangerous Dame wrote
some songs for me.
Speaker 3 (46:10):
You end up putting out this album that's on the desk,
shout to getting it, which it might be my favorite
album of yours. This was supposed to be your last album, right,
was this? This was the retirement album? YEP, album number ten.
Not a lot of rappers had ten albums at that time.
I don't think anybody, dude.
Speaker 1 (46:29):
Yeah, because this is ninety six, so that's fuck yeah.
I don't think. I mean ten albums by nineteen ninety
six is insane. Yeah, I don't think anyone artists had
ten albums yet.
Speaker 3 (46:36):
Plus you had the Dangerous Coup album, like, by the way,
great album, but you take that that hiatus and then
you come back we Can't Stay Away, which had some
shit jay Z's on that album. I think Jermaine and
Prieze on that album. What brought you to the point
in ninety six to be like this is it, I'm out?
And then take me through those three years where you
(46:58):
get pull pulled back in and you make Can't Stay Away?
Speaker 1 (47:01):
Well, it wasn't even about retiring. It was about.
Speaker 2 (47:04):
Announcing the retirement. You're thinking you want to do something,
you know, something that rappers don't do.
Speaker 1 (47:12):
And I'm like, I know you're the first guy to
fake retire. Yeah, so yeah, master P did it. A
few people did it after, but it was just an idea.
Speaker 2 (47:21):
I'm like, I say it on the beginning of the album,
when the song Getting It comes on, I'm like, it's
getting close to the end, y'alls the last album. It's
just bait because I'm talking, I'm talking shit that the
album was supposed to be named album number ten, but
Getting It, Getting It came out so amazing with Parliament
fucking delic They shot the video with and were just like,
(47:44):
you gotta name this album this because it's gonna be
a big record. It's gonna get you more sales, right,
So we compromised an album number ten is in parentheses.
But the whole thing was just popping my college ten albums.
Of those ten albums at this this was about to
be the sixth platinum. So I'm at the time I'm
coming up with this concept. I've already got five platinum
albums and I got like one or two gold albums
(48:06):
at the time, and I'm like, when I announced that
I got ten albums, I retire, I'm the winner. You
know what I mean, Like I'm ahead of everybody in
the count the guy who was like he can't wrap,
the guy who's like he can't do it again.
Speaker 1 (48:21):
It's like your victory lap.
Speaker 2 (48:22):
Kind of like all the industry, I'm just slapping the whole,
all the haters in the face with actual numbers, like
this is out number ten, This is fucking numbers. So
the kickback was I did a lot of features after this.
I was getting probably like this nineteen mid nineties. I'm
getting you know, forty to fifty even up for a
feature just to come on somebody's album sixteen bars.
Speaker 1 (48:46):
And I was my hustle for a while. I was
in New York. I'm doing deals about labels and.
Speaker 2 (48:52):
Budgets and shitting fucking it, getting all kind of people
paid and shit and just willing and Dylan.
Speaker 1 (48:57):
But it was never any tension of like retiring. The
whole was a marketing ploy.
Speaker 2 (49:03):
So what we did with me and Jive Records and
everybody whose mind was working on the campaign was we
literally said too shorts retiring and instantly got the entire
media all across the board to give us free advertising.
Speaker 1 (49:23):
And that's exactly we had.
Speaker 2 (49:25):
We held a fucking retirement party, heavy media invites. We
held a press conference, heavy Meat, and it.
Speaker 1 (49:33):
Just the story went everywhere.
Speaker 2 (49:35):
The fucking album came out the box platinum, so that
was that wasn't really a retirement, that.
Speaker 3 (49:40):
Was just and then three years later you could do
the opposite two shorts return album.
Speaker 1 (49:44):
It gives you a whole other free advertising play like.
Speaker 2 (49:49):
And you know, through these different phases of my career,
which I think that was a very big turning point.
Moving to Atlanta was a turning point. Yeah, coming back
in two thousand and four and catching some heat with
Shake that Monkey, and then.
Speaker 1 (50:07):
A year later Blow the Whistle, and that just kicked
in a whole new phase.
Speaker 2 (50:11):
And you know, and even now, like I feel like
whatever I did before twenty twenty, I dropped the album
called the Fucking Pimp Tape, and the Pimp Tape did
good for me, made me a lot of money. It
was some good looks, you know, some nice little features
and shit. But when the twenty twenties came in, I
(50:34):
started thinking, well, damn, I had a lot of traction
in the eighties, major major run in the nineties, it
was a lot of love for Blow the whistles Shake
that Monkey in early two thousands, the twenty tens, I
was pimping the shit out of Blow the Whistle and
Shake that Monkey forever.
Speaker 1 (50:56):
You know, got a little good little look did the
duet album with E forty You also have some like
other Gangsters and Strippers is a classic? Yeah, And I
dropped some underground albums that they vibe.
Speaker 3 (51:06):
I was.
Speaker 2 (51:06):
I was really doing a lot of a lot of
making a lot of money off off with Empire, off
of just digital only releases, which you know, no matter
where it got to, it got to these pockets, right,
and then the pimp and then you and forty have
this like obviously, yeah, you guys are like putting out
joint albums together, and you guys are synonymous with each other.
The pimp tape comes out, I'm active in the twenty teens,
(51:29):
and then I'm like, Okay, we're doing this thing like
I was naming the E forties in the Fat Joe's
where we're trying to we're trying to write the story
of how old can a rapper be, how long can
he be popular? How who's the oldest guy that's gonna
rock a crowd right stadium? And rap because we look,
what are we looking at? Blues singers and rock and
(51:49):
roll bands and.
Speaker 1 (51:50):
Yeah, oh zones are still touring and like Jags Mick
Jaggers seventy eight something like that.
Speaker 2 (51:57):
Yeah, if you gave me the Temptations, Diana Ross and
you're going the four Time Show, I'm pulling up. I'm
pulling per So I think that that is my motivation
right now to do this in the twenty twenties, to
be a part of the movie. Drop three albums in
one year, keep doing these big shows. I'm doing really
(52:18):
big crowds every weekend every month.
Speaker 1 (52:22):
Yeah you are, You are busy on the road.
Speaker 2 (52:24):
And I'll be fifty nine years old this month, and
I'm just like, you can't tell me. You cannot tell me.
Stay home and sit in a rocking chair and tell
old stories about being on tour.
Speaker 1 (52:36):
Every time I talk with T. K. Kirkling the other day,
Tk's like, you know he's older as well, he's older
than me. Yeah, he's my homie. Yeah. Tk's like, you know,
this is it's on your mind, you know what I mean?
Like age, Like he's said the same thing.
Speaker 3 (52:49):
He's like, no one's gonna tell you know, the rolling
stones to stop touring like exactly.
Speaker 1 (52:54):
You know, as long as I got this game, people
will pull up.
Speaker 2 (52:57):
So to the other guys that are ogs that are
still pushing forward, I'm just I'm being a part of
that movement. And I don't bash the young artists. I
support them one. I like a lot of the new music.
I think that a lot of stuff back in the
day that we don't remember was garbage, for sure, and
hip hop had a lot of garbage from day one
(53:20):
until this day. And to sit there and be the
kind of og who goes all that new shit is
garbage is a lie because most of that old shit
was garbage. And the ship that rose to the top
was the good shit that we remember, and we call
it the golden era of these certain years, and man,
with old.
Speaker 1 (53:38):
School shit was dope, but you forgot all the whack
people that.
Speaker 2 (53:43):
Oh God, if I could just go through my crates
of records, I probably stopped buying records in the early nineties.
I can go through my crates and you just be like,
I never heard this garbage because I.
Speaker 1 (53:53):
Bought everything that came out. So's it's never changed.
Speaker 3 (53:57):
Is there anybody from let's say, like the newer class
of mcs that kind of you have a little bit
like kind of remind you of yourself a little in
terms of just maybe subject matter swagger.
Speaker 2 (54:09):
I mean, for a while there, I was seeing the
movement in like YG like too short ish, like I
see it, and he was just you know, he wasn't
trying to be a super lyricist, right, always talking shit,
pull up with all the homies and just be like
y'all can't say shit, and you know it was the
same kind of vibe. But you know, anybody that's spitting
(54:30):
that game is I think that you have DNA hip
hop DNA, and you see it in the rappers.
Speaker 1 (54:40):
Sue evolved from jay Z, the ones who evolved from
Lil Wayne, you know what I mean. You see sim
I think Simba.
Speaker 3 (54:46):
I mean it's weird to say, cause Simba plays you
in a movie, but Simba, he's like a great MC.
Speaker 1 (54:52):
But sometimes Symbol.
Speaker 3 (54:53):
Will deliver the most player ill lines in the simplest
way that make people like and he's freestyles.
Speaker 1 (55:00):
He got like damn like.
Speaker 2 (55:02):
So then you know, the DNA of two short e
forty is like considered to be that bass shit. But
if you take away the geography of it and just
go that game that just I'm Gonna Save Me and.
Speaker 1 (55:19):
Forty because it's a lot of people that do it.
Speaker 2 (55:21):
But if you take just away like that's a base
shit and just say these two rappers, it's a lot
of hip hop DNA that came from the game that
we spit. And it's a lot of rappers that spit
that game because they grew up on that. Snoop Dogg
is from that lineage, you know, all the way down
to guys like ge Perico, Like it's it's a lot
(55:43):
of them, and they when they sit there and say,
I'm this type of lyricist, this is my look, but
you still from the game. I can hear it when
you rap if all your ship gotta be gamed up,
like like Gwap Dad is a dope ass rapper, but
he gotta he gotta spit.
Speaker 1 (55:58):
Game because he comes from the game DNA. And it's
a lot of them.
Speaker 2 (56:03):
So you know, even the Russell's hot right now, but
he's spitting game. Listen to the punch lines.
Speaker 1 (56:10):
Is and it's real. It's easily consumable. The way he
says shit, you'd be like, oh shit, like why nobody
ever say it that way. But he ain't say nothing
about pimper and hole and selling dope. For sure.
Speaker 2 (56:21):
He's still spitting game and that game cloth is. It's
very prevalent in hip hop.
Speaker 3 (56:29):
You know.
Speaker 1 (56:29):
T I comes from that, ball and G come from that.
Speaker 2 (56:33):
It's a lot of motherfuckers that if you if you
from the UGK DNA, then you from the too short DNA,
because that's what UGK.
Speaker 1 (56:41):
They wanted to spit game. Like when they seen Born
in Mac.
Speaker 2 (56:45):
PIMC said, when I saw that fucking album cover to
Born to Mac, he said, before he even heard the music,
he said, that's what I want to do.
Speaker 1 (56:51):
That shit right there.
Speaker 3 (56:52):
Yo. It's crazy too because you have your album covers
were so ill like that's one thing about too short, Like, bro,
you got them like first like I don't know, six
seven eight album covers were so fire, like look at.
Speaker 1 (57:07):
The first Outcast album, DRE three thousand is wearing a
pimp had. That's some too short ship. Yeah that you know,
they probably said what you want to do.
Speaker 2 (57:15):
I just I just put out of I think at
the game where you fit in with the pimp had
And then I was I was putting it in the
videos too. I was wearing the pimp hat driving in
the Cadillac. Motherfuckers like I want that.
Speaker 3 (57:26):
Short dogs in the house with the cartoon and illustration.
That was before doggie style, right, Yeah.
Speaker 2 (57:32):
Snoop Dogg's first album cover is very reminiscent of one
of my album covers.
Speaker 1 (57:36):
And you know, I mean you were the first dog
to Snoop dog You know what I mean? You know
it was that's my guy. Of you guys did a
album to guy.
Speaker 2 (57:48):
As we became friends, I was kind of thrown off
early on, but then we became really good friends.
Speaker 3 (57:54):
What was that a thing cognitive like cognitzant of that?
I can't see the word, but were you like cognizant?
Speaker 1 (58:00):
I mean they were saying beach Snoop Dog, Well, I'm
short dog. It was you're from l A. You know
y'all say bit like from the start, I took it
as flattering. And I also the level of how it
blew up is Doctor dre Is Death Road is blowing up.
I'm like, this ship is helping me. There's no way
(58:21):
I'm going to rock the boat and say, man, them
dude's over there stole my ship. Whatever, Like they I
immediately saw for what it was. But when he told
me then I knew. I knew I was right. Like
he said, he said, man, we grew up listening to
two show.
Speaker 2 (58:39):
They was probably like middle school, bumping that ship and
fucking he like they put me in the studio. I
started rapping and just said bitch like I'm like, I
get it. I mean, you know, Ice Cube said it
at one point he was doing a I think it
was a bitch as a bitch.
Speaker 1 (58:56):
He gets it. End the song, he just yell out bitch.
Speaker 2 (58:58):
I think he's the first person that said it outside
of me, And people go, why didn't you trade market?
Speaker 1 (59:03):
Why don't you make people have to actually permission to
say it.
Speaker 2 (59:05):
I'm like, it wouldn't be an iconic pop thing if
I controlled it and said I'm the only one that
could do it.
Speaker 1 (59:11):
It's a gift to the world. When I heard.
Speaker 2 (59:14):
Comedians do it, I seen I saw sitcoms doing it,
it just became something that everybody knew. You got to
give a lot of credit to Snoop Dogg for helping
put that out there in the universe. And then I
think when I say what's my favorite word and blow
the whistle. That kind of solidifies my ownership. I really
(59:38):
said that in the song because I overheard a conversation
one day. You have an album called that, yeah, and
I really was on that I'm not gonna let this
get away from me. I heard a conversation one day
that I was not involved in, and they were saying, bitch,
that's the Snoop Dogg shit. And somebody was like, no,
(59:59):
true Short been saying that, and it was like, no, bro,
I don't know who the fuck too Short is that
Snoop Dogg shit. And I'm like, Okay, I gotta get
my shit back. I just started doing stuff like name
the album, say it.
Speaker 1 (01:00:12):
In a single. Just just give me my shit back
a little bit.
Speaker 3 (01:00:16):
You know.
Speaker 1 (01:00:17):
I don't care it belongs to the world, right, No,
but I mean in hip hop it like it's your thing.
Speaker 2 (01:00:22):
But me and Freddie B came with that, and Lone
before us, there was a guy named Rudy Raymore Dolomite
who was in movies yelling.
Speaker 3 (01:00:31):
Out the bitch lone before us Dolomite. So I remember
Dolomite doing skits sound like some Snoop albums and shit.
Speaker 1 (01:00:38):
Yeah.
Speaker 2 (01:00:38):
So yeah, So I'm not the inventor. But you know
I put my touch on it. He yelled at in
a few movies, so you know, we give we give
the credit to Dolomite.
Speaker 3 (01:00:48):
What has been the craziest blow the Whistle moment for you?
Where you were like, this is insane. I mean, obviously
it gets played everywhere. Fucking Jay's He's got a classic.
Speaker 1 (01:01:00):
For a lot of viral clips, a lot of viral
clips that are funny as fuck. With Blow the Whistle,
it's like, no matter if you got if you got
a Grandma, you.
Speaker 2 (01:01:06):
Got a I could do top ten viral. It's just
moments with the song. But I mean the one that
a clip that I can think of that stands out.
I actually heard the story without singing the clip multiple times,
and it's the one about babies. There's a clip I
saw where a baby is watching Blow the Whistle video
(01:01:30):
and the mom turns it off and the baby cries.
She turns it on, the baby smiles, turns it off,
cry And people actually have told me that story multiple
times that Blow the Whistle is the song I play
for my baby and to cheer cheer up the baby.
And I think that if you had to go scientifically
(01:01:51):
on that song. It is hitting those notes. It's something
in the vibration can soothe, is hit no notes and
it actually it's probably one of the only songs I
ever had that the grandmother's and the grand babies like
so you.
Speaker 3 (01:02:08):
Just got new life to When the Eagles won the
Super Bowl, they adopted it as their song, and.
Speaker 1 (01:02:12):
Some people out there thought it was a new song.
Speaker 3 (01:02:14):
Yeah, it was just so random because you see you
see Gilly just turning up to blow the whistle.
Speaker 2 (01:02:19):
Believe me, I thanked him personally appreciate it. Yeah, it's
just it's good vibrations.
Speaker 1 (01:02:26):
And it's who asked me this ship one day?
Speaker 2 (01:02:30):
Oh, Jermaine dupre ASTs me. We were at a club
this many years ago in Vegas and he knew Little
John produced it because that's his boy. They're like really close, right,
And he said, man, I just want to ask. She
was like, what the fuck did you and Little John
put in that song?
Speaker 1 (01:02:49):
Like, like what was the ingredients? Like, I don't know, bro,
listen to it.
Speaker 2 (01:02:53):
As basic as fuck, Like as basic as fuck the production,
it ain't a lot going on, Yeah.
Speaker 1 (01:03:00):
But it's it's infectious.
Speaker 3 (01:03:02):
Man, It's it's just me and dj A men talk
about the ship all the time when we're like, what's
like the West Coast national anthem and like that includes
la that I'm just the entire West Coast and it's
it's I just you know, he's got his Bay Area bias.
Speaker 1 (01:03:19):
But I think it's blowla whistle. I was like, I
think it's if you just think.
Speaker 3 (01:03:22):
Of the national anthem for the West Coast, obviously there's like,
you know, nothing but a g thing, and you know
there's records, but blow the Whistle's done it.
Speaker 1 (01:03:31):
And I feel like me and forty have a.
Speaker 2 (01:03:35):
Lifelong friendly competition where it's okay to talk ship to
each other, it's okay to critique and help each other.
Speaker 1 (01:03:44):
And I wasn't keeping.
Speaker 2 (01:03:46):
Tabs, but obviously he was, Oh he's yeah, I'm sure
he's keeping tabs of.
Speaker 3 (01:03:52):
Tell me when to go versus bull the whistles. A
lot of fans figure trying to figure that out. Another debate,
and I.
Speaker 2 (01:04:00):
Forget what his logic was, but recently he said, all right, bro,
you won, you won, you won something.
Speaker 1 (01:04:06):
He got it.
Speaker 2 (01:04:06):
If we talked to him, he'll tell us what his
logic was. But that's funny, you know, they they both
took a long time to go platinum. They've officially platinum,
but something he has some mathematical.
Speaker 1 (01:04:17):
Equation where it blow the whistle one.
Speaker 3 (01:04:19):
I don't know. Yeah, it's interesting you are when I'm
a kid. My picture of who you are is too short,
scy one hundred bitches around him at all times, he's
just fucking fighting bitches off of sticks. If you had
to estimate not to get into your first what would
you say, is your body count well, Chamberlain like, because
(01:04:41):
you also have a song.
Speaker 2 (01:04:42):
About nineteen nine bitches. Yes, that was s must be
a funny song.
Speaker 1 (01:04:48):
It was hilarious, by the way. It was great with
the animated videos.
Speaker 2 (01:04:52):
So two short is a character that I made up,
and I don't think a lot of women would really
appreciate too Short per se. I've never tried to be
that way with women in real life. Yeah, all that
bit shit and some my dick bits, and I don't
do that. I played kind of the opposite a lot.
Speaker 1 (01:05:16):
Of times, like really like Todd is a different guy.
Speaker 2 (01:05:18):
Really like gentlemen. But now when you get over to
Todd Shaw, I've always even before I was famous, I
always had like girlfriends and just like cute girlfriends, and
they was like, you ugly motherfucking fuck up teeth, how
you get all these cute girls?
Speaker 1 (01:05:35):
And it was just always the game. I learned it
at a young age. And people come and say, well,
what's the count, what's the count? I'm just like, it
ain't no count.
Speaker 2 (01:05:49):
You know what it is like literally, Like you talked
to some of the people that roll with me over
the years, I'm super low key with everything these days,
but for fucking about a.
Speaker 1 (01:06:01):
Thirty year run, I had a bit of two or
three or four with me.
Speaker 2 (01:06:06):
At all times, like falsely wake up, everywhere we go,
going to lunch, go to the barbershop, it's bitch in
the car, Like I just I just love to be
around beautiful women. So whether I would be fucking her
or not, I'm like, let's go run around for a day,
(01:06:26):
let's hang out for the next three days, just whatever.
And I had a lot of female friends who fucking
dine pieces, who would stay with me, pack up shit
and just stay with me, and we would never even
have sex. But while I'm with her, i'd probably fuck
another girl and she'd just be helping me or cheering
(01:06:47):
me on to.
Speaker 1 (01:06:48):
Some bringer hold me through, just like, what was the
most amount of women you've been with it? Once? I
guess I can answer that. One man never like talking
about this kind of ship. But I figured, like.
Speaker 2 (01:07:05):
I figured, like in one night I had over and
over and over again all night with like four chicks,
and just it was just me, not having a fivesome,
but just all night, all morning, however long, just anytime
I wanted to just hit any one of the four.
(01:07:26):
And you know, it's not really like anything to brag,
not anything to brag on, because at some point it
becomes a burden on the individual who's supposedly, you know,
trying to pull this feet off. It's not it's your
tall task, yes, because but I was. I tell you
one thing that that that kind of shook me up
(01:07:46):
a little bit. They got they got to a point,
it's many many years ago that I would do my
little bragging and whatnot.
Speaker 1 (01:07:54):
I would be like, oh, you see her over there,
I hit that one time, two times or whatever, and.
Speaker 2 (01:08:00):
Some some a group of like super bad bitches walked
into a club or wherever we were one night and
I told my homie, I said, I fucked all four
of them. Not at the same time, Like over years,
I fucked all four of them, And he said, you
ever thought that maybe they fucked you?
Speaker 1 (01:08:20):
And I'm like, like what, they passed me around. He's
like maybe maybe.
Speaker 3 (01:08:24):
I'm like, damn, hey, because that's that's how you would
look at it. If one girl fucked your whole crew,
you'd be like, yeah, we passed her around, like you're
the whole grow I'm like, dang, the look at They
might have looked at you the same way.
Speaker 2 (01:08:37):
One of them told him it was cool, and then
the other one tried and they spread me around over.
Speaker 1 (01:08:41):
They passed me around.
Speaker 2 (01:08:42):
So you know, when you think about that and you
wake up after a night of like letting four women
have their way with you, and then you see another
group of four women that you had over a period
of time and they're all friends.
Speaker 1 (01:08:54):
It's not a good feeling, bro. It's not a good feeling.
Speaker 2 (01:08:57):
Like if I was a pimp and those are my
ex holes, so I'd be like, yeah, a bit, just
got money for me. But that wasn't the case. So
you know, after a while, I started being a little more.
I was a rock star at a young age. I
did that shit.
Speaker 1 (01:09:09):
I probably went on three tours and just was a
fucking horror. But yeah, I mean that's that was kind
of the game back.
Speaker 2 (01:09:15):
But I've also been in love and had long stretches
of not being a whole right, So I love life.
Speaker 1 (01:09:21):
Man.
Speaker 2 (01:09:21):
I enjoyed it, and I think I remember I was
like hitting thirty and I was like, I just want
to be a fun motherfucker for a while.
Speaker 1 (01:09:30):
I don't want to, man, you gotta settle down. You
ain't you get thirty nine. I just kind of want
to be fun for a little while. Over this is fun,
So I just have fun.
Speaker 3 (01:09:37):
Which you have really three chapters of your career, but
I would say like two definitive chapters. And it's really
it's really like, you know, the eighties up until it's
called it like oh one two or whatever. But then
you have this other era where the hyphie movement comes in.
(01:09:58):
You start working with different, different sounding production. You get
you know, there she goes slide down the pole and
gangsters and strippers and.
Speaker 1 (01:10:06):
I'm the log I'm forty years old, yeah, forty something.
Speaker 3 (01:10:09):
And all these records that like don't sound like old,
too short, but there they make you like they like
you said it earlier, like blow the Whistle gave you
career relevance forever, but like it. You have this whole
library of songs from the last twenty years that don't
sound anything like getting It.
Speaker 1 (01:10:30):
Don't you know that song don't act like a bitch? Yeah?
Speaker 2 (01:10:34):
I gave that song to E forty. That song came
from the Trunk Boys. The Trunk Boys had the song,
same hook, everything.
Speaker 1 (01:10:41):
And the shit fifty seven got on right. Yeah.
Speaker 2 (01:10:44):
The Trunk Boys is local group from the Bay and
they wanted to get me on a verse for a remix.
So the producer who made the song was like, when
we first made it, it was made for too short
to get on it. So I did the remix with them,
and some time went by, everybout a year or so,
(01:11:04):
and I just kept really feeling like that song was something,
and I got E forty to get on it, and
Forty was like, I want to put this on my album.
Speaker 1 (01:11:14):
So I called the Trunk Boys.
Speaker 2 (01:11:15):
I'm like, hey, forty wants to put a version out
with just me and him, but because it's your song,
both of us are going to give you guys a
free verse on whatever you want. And there was a
lot of little little drama with the song, but we
did it. It comes out it instantly, it hit now,
(01:11:35):
mind you, this was this was a song from there
mixtape two years before we dropped it.
Speaker 1 (01:11:42):
And then fifty gets on it. They probably feel even
more like, what the fuck fifties, even though we both
gave them verses? They had nine members in the group,
probably like it's a real barrier wang right there.
Speaker 2 (01:11:52):
Yeah, like five was cool and four was like, fuck that,
that's our song, you know what. The forty brought them
out on stage. We did a lot of I really
appreciate that the young homies, you know, let me do that.
But they had mixed emotions about it, and I understand
the whole way. But that is a big record for
(01:12:12):
E forty.
Speaker 1 (01:12:12):
Yeah, and I just literally go, here's a song, and
that's how we get down. Though. What is like your
favorite era?
Speaker 3 (01:12:18):
Though? But if you had to say the two when
if you divide your career kind of in half, I mean,
you're kind of doing it with this new series a bit.
Speaker 2 (01:12:26):
Okay, so early on we're just like kids, you know,
twenty twenty one. I even had an early career too,
Like I was pretty fucking famous in the Bay before
I coore jump out, and I was doing shows and
having a ball and living the rap life. But when
I go on tour, I was on the straight out
(01:12:47):
of the Compton tour with NWA. Easy hit me up,
you want to go, I'm going on tour.
Speaker 1 (01:12:51):
You want to go? Hell yeah, I want to go.
Speaker 2 (01:12:53):
So I go on tour with them, and DC's on
tour above the Laws on the tour. JJ FADDs on
the tour and I'm a fucking instant rock star.
Speaker 1 (01:13:04):
Is that the tour hosted?
Speaker 2 (01:13:06):
Yeah, he's the comedian coming out in between all the acts.
Nineteen eighty nine and I'm a fucking rock star day
and night, every day. Even when the tour ends, you know,
I'm still doing my two shirt show. I'm a fucking
rock star.
Speaker 1 (01:13:21):
Next year, ice Cube is no longer in n WA.
He drops then album. He wants to go on tour.
Speaker 2 (01:13:28):
Me and him became really good friends on the Struggle
after tour, so we go out co headline of tour,
fucking rock star.
Speaker 1 (01:13:35):
I The next year, Spice.
Speaker 2 (01:13:40):
One gets hot. Spice One, man, you know, I'm on
like third platinum Altum, Like, let's go out.
Speaker 1 (01:13:46):
Me and Spice One go.
Speaker 2 (01:13:47):
Out fucking rock star also on drive right, Yeah, yeah,
because of me by way of you know, this is
just the affiliation.
Speaker 1 (01:13:54):
But that was a lot of fun, fucking fun. They're
talking about like five years of just fuck it man,
also having fun without having to worry about the social media.
Yeah at a page, I've called you back if I
feel like you know. And I think that stands out,
(01:14:17):
just that run of just being young, not having it
and not knowing better almoment, not having to call nobody.
You know, I didn't have a girlfriend. I was just
like floating and that was a fun run.
Speaker 2 (01:14:31):
But then later on, I'm well established, I know how
to move around. I got the right people around me.
I always had good people around me. But I'm seasoned,
and now I.
Speaker 1 (01:14:44):
Get this run with blow the whistle and shake that monkey.
I literally.
Speaker 2 (01:14:49):
Started doing a hustle or I was like, if it's
Monday through Thursday, you can give me five six seven grand,
I'll come to.
Speaker 1 (01:14:58):
Your club and rap, blow the whistle and shake that
monkey and leave.
Speaker 2 (01:15:03):
And I would do two three clubs in the night,
like I would. I would make a lot of money
on the weekends, but I would make a lot of
money during the week just walking in the clubs and
we're having fun, like set me up at a table bottles,
and it just looked like I'm out there just balling
everywhere I get on.
Speaker 1 (01:15:17):
The mic, rock and shit.
Speaker 2 (01:15:18):
So I did that ship for probably fucking ten years,
and that got me through the recession. The recession hit
I'm partying and shit ain't really like on my a
game on, like you know, my multiple hustles clicking. Shit
caught it caught the motherfucker off guard. I'm talking like
eight oh no concert, shit slowed down, motherfucker start penny pinsion.
(01:15:39):
But these two songs allowed me to go make fucking
twenty grand a week, you know, fucking around if I go,
you know, or.
Speaker 1 (01:15:46):
More just doing walk through. They called them to walk through,
like the cheap ass promoter.
Speaker 2 (01:15:51):
Sure that didn't really want to you know, you want
to put out the flyer too short live, but I'm
really only going to sing two songs and they call
it to walk through.
Speaker 1 (01:15:58):
The walk through was cool. I don't really do them
shits no more, but that was a fun erra though,
I like not really I was doing.
Speaker 2 (01:16:06):
Shows, the real show, but this this little floating around
the West coast or wherever popping up. I'm gonna go
to Scottsdale as a forty something, you're a rapper, and
shit was fun and it's like I'm every time I'm
doing this to this very day. The census is you're
(01:16:28):
supposed to be expired. Bro, Like, you're not supposed to
be in Seattle last night rocking twenty thousand people like,
what the fuck are you doing?
Speaker 1 (01:16:38):
I'm like, can't stop me.
Speaker 3 (01:16:40):
So you guys dropped Mount Wesmore, which you guys did
a dope run on the road with that.
Speaker 1 (01:16:47):
I think it.
Speaker 3 (01:16:49):
I would would you say that a lot like the
fans might have been a little little disappointed with the album.
Speaker 1 (01:16:55):
I think that people don't know for bosses, four egos,
for different sound, four busy schedules, it was a very
small window of everybody on the same page.
Speaker 2 (01:17:11):
And literally what I think happened was we did a
lot of shit, a lot of songs, a lot of
putting together the project, and then it started getting a
little too close to the Snoop Dogg super Bowl.
Speaker 1 (01:17:31):
Appearance and stoops on his crypto wave try to do
the NFT. He just shit started happening, And I think
that the schedules, the schedules started clashing to where it
would have been a tour, it would have been all
this other ship, and time just ran out where that
(01:17:54):
window of everybody on the same page, it just kind
of ran out.
Speaker 2 (01:17:58):
That's that's my personal opinion. I'm sure you will get
four different answers if all four of us.
Speaker 1 (01:18:03):
I think I talked to Cube about it. He caun't
pretty much share the same sentiment.
Speaker 3 (01:18:06):
But we have.
Speaker 2 (01:18:08):
Another album and a half worth of music that sounds
really fucking good, and everybody's I send a little sarcastic
text messages in the group text every now and then
because I'm like, I'm like, I know, you guys are
all rich and busy and shit, but we got this
dope ass album laying around, Like, let's come up with
(01:18:29):
a scheme, any kind of scheme. You don't have to
put the album out. We could just start putting singles out.
Let's just do what the fuck this goodass music laying around.
And I always started off like, I'm like, you guys
are just too fucking rich to Yeah.
Speaker 3 (01:18:42):
Cube just got his ship out right, Yeah, God the
Missionary came out, so maybe you know, but it's like
you said, everybody's too fucking rich, to.
Speaker 1 (01:18:49):
Busy too they give a fuck. So I think.
Speaker 2 (01:18:55):
I think that at some point the fans are gonna
hear it. I think that the album that came out
would have been worked if it came out a little sooner.
Speaker 3 (01:19:05):
Yeah, and then you guys also did like an NFT
release on it first, which is kind of weird.
Speaker 2 (01:19:09):
But then you gotta flip to the positive side because
I did an album with Snoop Dogg E forty and Ice.
Speaker 1 (01:19:15):
Can you did a tour?
Speaker 2 (01:19:16):
And I promise you, I would promise you that Mount
Westmore made millions of dollars.
Speaker 1 (01:19:25):
No matter where you think of landed. They they they
have so many deals intact that it was.
Speaker 2 (01:19:32):
It was a very good It was very good for everybody.
It was great, and it would have been we actually,
and I've never been involved with anything like this in
my life. We turned down like fucking like a twenty
million dollar tour or some shit that was only probably
like fucking it was only it wasn't twenty shows.
Speaker 1 (01:19:49):
It was you were You were probably like about, who
the fuck does this are we voting on this? Because
if so?
Speaker 2 (01:19:56):
So, yeah, it's that kind of And I know I'm
like I'm in is super group, and I'm like, it's
not the kind of situation where you try to boss
up because everybody's a fucking boss.
Speaker 1 (01:20:10):
So it's like, we just got to work together, find
the compromise. Find I took the role in the group.
Speaker 2 (01:20:18):
I'm like, I will go through all kind of links
of making sure the music is organized and all the
files are in the right place, and all the songs
get ready for whoever's gonna mix them in. Every everybody's
verse gets turned in and put in the same session
and all this shit. But I'm not gonna fucking come
(01:20:40):
up with the marketing plan. I'm not telling you motherfuckers
when the tour. I'm not picking the merch company. I
ain't doing none of that shit because all you boss
motherfuckers know everything.
Speaker 1 (01:20:48):
I'm like, y'all know everything. Just just my job is
the music, So let me organize everything. Yeah, so that's
what I did, get the sessions together. All that forty
was our number one beat picker. It sounds like it.
He calls this of a beat picker.
Speaker 3 (01:21:02):
That actually makes a lot of sense hearing it. Yeah,
you know the thing you're talking about Oakland. A little
bit earlier, you know, obviously the Bays crazy place right now,
the Bipping is out of control. You know, it's a
pretty wild place. You recently lost your brother earlier this year.
(01:21:22):
I currently imagine you're still mourning that loss.
Speaker 1 (01:21:28):
How you feeling man like? I mean that that was
in January, you know where, Yeah, when you.
Speaker 2 (01:21:36):
Lived the life that we lived, Me, my brothers, some
of the homies. You know, we we've survived a lot
of shit. And not not like I was wilding in
the streets selling dope and drugs, but I've been in
the streets a lot of my life. And when you
in that environment, that chance is always there. I've been around.
Speaker 1 (01:21:57):
Dozens of shootings.
Speaker 2 (01:22:01):
I caldn't even count how many times I've been around
when somebody started shooting very close to where we're at.
I've been in situations where close friends of mine were
sworn that they were going to murder each other and
we were all good friends, and they're like, kill that
motherfucker when I see him. And I've been around, you
know a lot of situations where we had to bury
(01:22:22):
the homies. You know, we grew up and we started
burying the homies kids through violence. And you just think
that My brother was about to be sixty two, and
you just think that you made it past that shit.
You know, I try to stay out the way. A
lot of og say I try to stay out the way,
(01:22:45):
but how far out the way is out the way?
Because what happened to him came to find him. He
wasn't out in no bullshit. It came to where he's
always at. He didn't move around a lot, and you know,
he was just defending the spot where he was at.
So you know, I know how it all went down.
It's some township.
Speaker 3 (01:23:06):
It was.
Speaker 1 (01:23:08):
It was some ship that you know. It's just it's
the town bro like it's and.
Speaker 2 (01:23:14):
Uh, you just gotta deal with it. You gotta deal
with it, and however the way, however which way you
want to deal with it.
Speaker 1 (01:23:19):
I think.
Speaker 2 (01:23:22):
I have received so many blessings from Oakland, California, that
I can't blame.
Speaker 1 (01:23:29):
The city for what happened. It's not it's not Oakland's fault.
Speaker 2 (01:23:33):
The environment whatever created the problem that caused that. But
I don't blame Oakland, not the Oakland that I love.
And somebody worded it to me in a way that
that sticks with me. And they just said to me
they said, this town we love can really be mean sometimes,
(01:23:56):
and it really can, and it can really be fun
and really educational, and you know, it's revolutionary, and there's
a lot of shit. So I just think that sixty
one years gun down, that's that's an anomaly. It's not
not a real normal thing. So you know, it's just
some shit that happened. And you know, my brother was
(01:24:18):
the kind of person who I talked. I talked to
a lot of people about this shit. Like somebody rammed
a car into the garage door, and he went out
there pistol in hand to go see what happened, and
he as they were shooting at him, he was shooting
at them.
Speaker 1 (01:24:36):
Most of us would have the same gun that he had.
Speaker 2 (01:24:40):
Somebody would ram that garage door, and we might probably
probably try to be sort of strategic and like, well,
if this motherfucker comes in, I'm gonna be behind here.
And you know, but my brother he runs out shooting.
That's that's that was him. And we all, all of
us that know and love him, was like, what else was.
Speaker 1 (01:24:58):
He gonna do? That's him?
Speaker 2 (01:25:00):
You know I could have told him a million times, Bro,
you got all these angles in the building, probably when
they come in the door.
Speaker 1 (01:25:07):
But he ain't think like that, So you know, I
don't I don't mourn him in a way that this
was a sad thing that happened. It was some township.
It could have happened that anybody, you know, And it's
just like I just I just I wrestled with the
part about the age. I'm like Dad, we made it
(01:25:27):
past it.
Speaker 2 (01:25:28):
We talked so much about all the homies, about surviving,
about doing it right, about not doing stupid shit, and
then this happened. So you know, I got a lot
of a lot of love. I don't know how you
would feel about it, but a lot of people reached
out just to you know, just to acknowledge what happened,
and a lot of people that knew him, and a
(01:25:49):
lot of people that knew me, and you know, shit,
it was very impactful.
Speaker 1 (01:25:57):
In the industry, Like it just yeah, a lot of
people to your brother, because remember talking a few folks
from the Bay and not you know, he had a
lot of friends that were my friends. He had a
lot of high regard people that he knew that I
didn't even know.
Speaker 2 (01:26:10):
So I'm just getting shipped from everywhere. He also lived
in Atlanta with me, So we had a lot of
friends out there. Uh, you know, then my whole life,
a lot of people in LA family.
Speaker 1 (01:26:20):
Right, so yeah, you know L R. P. Wayne Lowe
for sure. All right, So this album is coming out
next Friday, the first of four three three part serious three. Okay,
that's well.
Speaker 3 (01:26:31):
You know why I said that, because you told me
you were doing the double album Little John, or you
did two albums.
Speaker 2 (01:26:35):
Well, the Little John will come out and there will
be sorry, a bunch of reserve songs.
Speaker 3 (01:26:42):
Yeah.
Speaker 1 (01:26:42):
In my head, I'm putting the Little.
Speaker 2 (01:26:44):
John extra songs in the same folder as the unreleased
Mount Wes Moore song. Got it And I just listened
to him, love him, keep them to myself, playing with people,
riding in my car.
Speaker 1 (01:26:54):
They like, put this ship out. I hear that so much.
You don't put this ship out.
Speaker 3 (01:27:00):
Listen, man, you were one of the greatest rappers of
all time. I appreciate you sitting down and uh, I
can't wait to hear the new ship because yeah.
Speaker 2 (01:27:08):
We're stretching the the age limit. We're swimming, floating off
into the uncharted waters of hip hop.
Speaker 1 (01:27:17):
How far can this go? How far can you extend?
How long can you extend it? Do you do you
still keep in contact with Hove at all? Or is
that somebody who like because he seems like such an
unreachable Well, we never were telephone buddies. Okay, so you guys,
you guys, just it was just a work relationship. Yeah,
you get to the sixty second was a yeah, what's up, hey,
I got something for you. I'm gonna say it your way.
(01:27:38):
It's always a you know, a you know, a salute
when you see him. A lot a lot of us
are like that. Man.
Speaker 2 (01:27:44):
It's you know, we don't choose the prior into each
other's personal lives, but when I see you, what's up, hommy?
Speaker 1 (01:27:50):
Yeah?
Speaker 3 (01:27:51):
Well look listening to the album on the eighteenth pre
order it new single coming this week, still macking, still macking, man.
I'm happy to hear aunt bass on.
Speaker 1 (01:28:02):
I brought the Cadillac back to I re whipped the Cadillac.
Speaker 2 (01:28:06):
I called the homies in Alabama, spokes and vogues, and
they built me a white on white on white Cadillac.
Speaker 3 (01:28:13):
First I had the black so like similar to the
Born to Mac car. Yeah, same car, oh, same car,
same car, not the exact same same model, same year
or whatever.
Speaker 2 (01:28:22):
Yeah, then I took that one, made it three times burgundy,
and now we're all white.
Speaker 1 (01:28:26):
I love triple white. There it is, man short, dog
too short. I appreciate you, bro, for sure. There it
is
Yo, what's up y'all?
Speaker 2 (00:00):
Ship boy too short, make sure you check me out
on the Bootleg keV Podcast Dope Show.
Speaker 3 (00:07):
Hey, before we start the episode, we're gonna remind everybody, man,
we got one of the biggest radio shows in the
country syndicated in almost one hundred cities all over. Shout
out to iHeartRadio. All right, some of the latest cities
that we've been able to add. Man, We want to
give a shout out to ninety three point nine and
the Beat in Honolulu. That's right, Hawaii, we over there
going crazy. I also want to give a shout out
(00:28):
Hot ninety eight three and Tucson.
Speaker 1 (00:29):
Shout out to Tucson going crazy.
Speaker 3 (00:31):
Also want to give a shout out to Wild ninety
four one in Tampa going crazy. We just got Richmond.
We also just got the good folks in Bakersfield at
Hot one O four to seven. So we're going crazy
on the radio with my partner James Andre Jefferson Junior
for the Bootleg keV Show. So make sure you tune
in and you can listen anywhere on that iHeart Radio app.
(00:51):
That's right, let's get into the interview, all right, bootlet
cav Podcast. Man, we have got a legend, my first
favorite rapper of all time, Too Short.
Speaker 1 (01:05):
It's in the motherfucking building. What's up, God, how you doing,
brother running Man? Just living living legendary for sure. Yeah.
Speaker 3 (01:13):
Look, man, uh, you know you're one of them guys,
man who just meant so much to my life and
like my childhood. And you know, I remember the first
time I heard cuss words and you were like the
only rapper my dad fucked us.
Speaker 1 (01:25):
I hear this so much. Yeah, my dad was like
an old white dude. He fucking loved Too Short.
Speaker 2 (01:30):
But you know, I just think it's it's the ship
talking man, It's it's the comedy. It's like the it's
at the time it was. It was in this little
space where nobody was even doing it, like quite like
I was.
Speaker 1 (01:43):
So I had a little, a little laying to myself
for quite a while.
Speaker 3 (01:46):
Yeah, I think obviously, uh, there's a shot to the
new movie that drop over our boy Simba plays you. Yeah,
did he have to tap in with you? I mean
he has to know your mannerisms. But obviously, like he
killed it. He looked just like you too, Like it
looks kind of crazy.
Speaker 2 (01:59):
I just named it couple of music videos. He called
me said, I just want to get a little insight.
I just named him. I said, watch these two videos
and then called mister Fab and whatever he tells you
that she gets you there because Fab is a good mimicer.
He kind of knows his good his story, and he
can do people's style, rap, he can do your voice,
he can do everything. I saw some footage of Fab
(02:21):
when he was young and he was mimicking me, So
I'm like, he'd be a.
Speaker 1 (02:24):
Good reference for you. Yeah, Like, I can't tell you
he's got the tics. Yeah, I can tell you how
to impersonate me. Just watch.
Speaker 3 (02:31):
Yeah, you were watching your whole life. It's crazy, yo.
You uh so someone kind of broke it down. Some
shit you're working on. You and Little John got a
whole album coming.
Speaker 1 (02:41):
Yeah.
Speaker 3 (02:42):
So for people who are not aware, I kind of
give you a lot of credit to obviously the Bay Area,
but there was this Atlanta era that you were very
instrumental in bringing to the forefront of like commercial music,
and and Little John on the East Side boys. Remember
that first song I ever heard you on with them,
It's my Shit let my Nuts Go.
Speaker 1 (03:06):
That's super underground by the way, too.
Speaker 3 (03:08):
But it was, Oh my god, that song is a classic,
and that was the first, like the end of it
when Little John's like.
Speaker 1 (03:14):
I heard you all on my nuts like a trick.
I heard you was at jail house, bitch.
Speaker 3 (03:20):
But you had like a lot to do with the
crunk era kind of being pushed through on the mainstream
front in terms of like you were like one of
the first artists outside of the South that embraced that.
I mean, obviously, you know you worked with three six
month you back in the day two and all that,
But what was that cause what what year did you
(03:40):
end up moving to Atlanta ninety three?
Speaker 1 (03:43):
Crazy ninety three.
Speaker 2 (03:44):
Yeah, it wasn't a lot. It wasn't a lot of
music going on out there. The Face Records was there
out Cast, I mean Outcast was a year after I
moved there, but it was when I first got there,
it was like TLC and Tony Braxton. The Face was
like in a real R and B space. They hadn't
yet done Outcash yet, and there was some things moving around.
Jermaine Dupree was was active, but he definitely he was
(04:07):
just doing criss cross and it was you know, it
was it was. It was a good time to be
in Atlanta because big things were about to happen.
Speaker 1 (04:14):
But my.
Speaker 2 (04:16):
Whole thing is a lot of people don't know my
connection with New Orleans. My mother's from New Orleans, and
I spent a lot of my childhood in New Orleans.
So that's a very different sound than anywhere else, with
the jazz and the second line dancing and just you know,
my cousins were in marching bands and they were just
into whatever, you know, the hot dance whatever, And I
(04:36):
just kind of always had that New Orleans culture embedded
in me.
Speaker 1 (04:40):
But I'm growing up in LA moved to the Bay.
Speaker 2 (04:42):
I'm getting all these different flavors, and no one really
knows this unless you really know.
Speaker 1 (04:48):
The two short history.
Speaker 2 (04:49):
I actually lived in Atlanta for about a year when
I was a kid, a little over a year.
Speaker 3 (04:52):
Wow.
Speaker 2 (04:53):
I was in the seventh grade, part of the seventh
grade and part of the eighth grade. We moved there,
and I guess my mother wasn't feeling the vibe and
we moved.
Speaker 1 (05:01):
Back to California.
Speaker 2 (05:02):
And you know, I just have all these things musically
in me from a kid. So when I get to Atlanta,
and I moved to Atlanta, I immediately I'm already on
you know, probably my fourth platinum album. So I'm showing
up to Atlanta and I'm on like some Michael Jackson status,
you know.
Speaker 1 (05:23):
And they were one of the biggest rappers in the world. Yeah,
they're just like loving too Short.
Speaker 2 (05:26):
So I'm I'm looking at Bobby Brown out there having fun.
I'm bumping into Tupac. I'm like, oh shit, I'm about
to have me some fun out here in Atlanta and
had a lot of fun. But at the same time,
the music scene was accelerating. It was I mean, it
was just you know, the Tis and the outcasts were
just coming, you know, left and right, just new artists,
and Atlanta was getting hot.
Speaker 1 (05:47):
So the reason why I'm embedded in the.
Speaker 2 (05:51):
Crunk culture is because I was a fan of Little
John as a DJ. He was also the pretty popular
DJ before or anybody knew him in the world in Atlanta,
and he was also producing records for So So Deaf.
He produced some big records.
Speaker 1 (06:09):
He was in the scene. But I was a real
big fan.
Speaker 2 (06:13):
Of the way he would dj because he DJed different
than other DJs. His whole set was all about the crowd.
Speaker 1 (06:20):
You know.
Speaker 2 (06:20):
Mike just he was like doing it like a rapper,
like he was rocking the crowd, but he was playing
songs and his parties would just go up, and I
was like, I like this dude.
Speaker 1 (06:28):
Then he put out he put out a record.
Speaker 2 (06:30):
He put out a record called who You w Yep,
and nobody was rapping on there. It was a bunch
of chants. So I just I had not really had
a relationship.
Speaker 1 (06:40):
With him at all.
Speaker 2 (06:40):
We hadn't talked or we probably said what's up, and
I just went to one day. I said, man, you
should have let me do the remix on that song
and put.
Speaker 1 (06:48):
Some raps on there.
Speaker 2 (06:49):
And he was like, nah, we should just do some
new shit. And I'm like, all right, we'll come out
of the studio. And he came by when I wasn't there,
and he just left this song. It had vocals on it.
It was the song was called Couldn't be a Better Player?
Speaker 1 (07:02):
That's what I named it. But he was just uh
doing those chants. He always did those chants, and he
he left that record. I rapped on it.
Speaker 2 (07:13):
I wrapped three four verses and we shot a video
to it, and it just became like you know, in
that region record that was was that, No, it was
before that you started out.
Speaker 1 (07:24):
I said, you couldn't be a better player to leave it.
Speaker 2 (07:27):
Couldn't be a better player was the first song we
did it and it just went big. So we just
started making records together. Little John at the time had
when he I guess when he put out who You Went?
Speaker 1 (07:41):
He signed who You Wit? He signed to a small
label and prior to tv T.
Speaker 2 (07:47):
Yeah, yeah, and he was having this dispute. You know,
they weren't seeing eye to eye. And I always tell
people it's no gangster shit involved in nothing.
Speaker 1 (07:56):
The guy who.
Speaker 2 (07:58):
Had the contract with John was somebody that I had
worked with, right, and you know, it was just he.
I asked Little John was the problem?
Speaker 1 (08:05):
You know? They was both saying f each other. And uh.
Speaker 2 (08:09):
His version was, well, I spent money on Little John
and I'm not budget. I get my money back back there.
Little John's version was, well, man, I'm not happy, so
I'm not making music with him. So I just figured
out what the amount was, put whatever the sauce on
it paid him.
Speaker 1 (08:24):
It was like, man, I got business with Little Johnny, and.
Speaker 2 (08:26):
You know it was you know, it wasn't like I
was buying out some super hot artists or something. But
Little John had offers on the table like the TVT
and some other stuff, and it was stopping him from
from getting there. So I basically just stepped in played
the stepping stone, you know.
Speaker 1 (08:42):
I said, look, I bought you out the contract you free.
Speaker 2 (08:45):
You know, I could be like saying signed to me
or something, but I would much rather cause he works
for so so differ.
Speaker 1 (08:51):
He's a DJ who's breaking records.
Speaker 2 (08:54):
I realized his full potential. He I heard the beats,
and I'm like, do what you gotta do. Just put
me on.
Speaker 1 (09:01):
The forever list of Little John beats. You know.
Speaker 2 (09:04):
That was that was my pay and you know it
paid off. I had people in my earback then going, man.
Speaker 1 (09:12):
That's Little John White and the son you had him.
I'm like, no, bro, And then you know.
Speaker 3 (09:16):
Fast off because one of the biggest hip hop songs
of all time ended up being blow the Whistle.
Speaker 2 (09:19):
Yeah, and he did shake that monkey, so he kind
of which is my ship. So I'm at a point
in my career when he does those two songs. Two
thousand and four five was when we recorded him, I'm like, potentially,
like on the fence, you know, could I go, you know,
fall over with the other OG's who are like retiring
one after the other, not voluntarily.
Speaker 1 (09:39):
Right because you had retired and what.
Speaker 2 (09:42):
But mine was you know, the rap game will retire you.
Sure it will park you, and nobody will call you anymore.
And you know, those songs gave me like the infinite
extension of my career forever.
Speaker 3 (09:56):
Yeah, no, that's a fact, dude. I think a lot
of people don't unders stand or they're very surprised when
they learned that, uh, blow the whistle is produced by
someone from Atlanta.
Speaker 2 (10:07):
So in essence, little John is you know forever, like
you know, my guy because of what he's done for
me and vice versa. So you know, And and then
he becomes super instrumental in the emergence of crunk music.
Speaker 1 (10:22):
He is the main player, he's the face of it.
Speaker 2 (10:25):
And then he comes over to California and catches win
of the Hyphee movement and he starts giving people Hyphee records,
not just Barrier people either. He went and gave Yin
Yang some Hyphee songs and Pete Pablo.
Speaker 3 (10:38):
He also did tell me when they go right, Yes
he did, so he I mean those are I mean,
are those are the two biggest Bay Area raps.
Speaker 1 (10:46):
I wouldn't say those were the best Hyphee songs.
Speaker 3 (10:49):
I would just say, but they're the two biggest Bay arias.
I mean, like Hammer and all that.
Speaker 2 (10:53):
But then he forty had a phone call one day
and we decided to stamp the Hyphee movement and we're like,
I like what the youngsters are doing. Let's do something,
because you guys are old g's at that point. Yeah,
let's do something to help it move. He did tell
me when to go. I did blow the whistle. We
did some more little sprinkles of other songs with the vibe,
and we support the movie. We never stepped up and
said this is our movement. It was always the little
Hole music was.
Speaker 1 (11:13):
Always it was always the young generation.
Speaker 2 (11:14):
Yeah, yeah, it was mac dre is kind of up there,
but it was still Mac dra keeped the sneak and
you know, the Federation and the Team and all these
groups that you know, like the Pack and all these
groups that were thriving.
Speaker 1 (11:25):
At the time. So, you know, I think that helping
little John get in the game just I didn't. He
did it on his own. I just got the obstacle. Op.
You're very instrumental in it for sure. And then this
new album. It helped music a lot. We got a
lot of songs for them, oh man, for that one thing,
he gave us a lot of music. You know.
Speaker 3 (11:43):
I go back and listen to Crunk Juice and Kings
of Crunk so much. Yeah, so much. Those two albums
are just I mean, man. And then some of the
collaborations he was putting together, like putting the ice Cube
and nas on Grand for Now, Oh yeah, just some
of the shit, like Little John was just throwing so
much gumbo into the pot that you would even expect
(12:06):
to go crazy.
Speaker 1 (12:06):
He'd be like, oh, this is crazy.
Speaker 2 (12:08):
Like, yeah, he's got that song or turned down for
what of course, and he it sounds like a little
John beat, But he didn't produce that.
Speaker 1 (12:16):
I think maybe DJ Snake produced it.
Speaker 2 (12:18):
Snake did, yeah, yeah, But Little John says what maybe
ten twelve words?
Speaker 1 (12:23):
I think he might say like, yeah, ten maybe ten,
And it's.
Speaker 2 (12:26):
Like it's like the biggest shit ever. All I said
was ten words. So crazy.
Speaker 1 (12:30):
That's amazing. Man. Not a lot of us could make
a ten words song.
Speaker 3 (12:33):
Sonically, where is this album that you guys are working on?
Is it more of the like newer era stuff because so.
Speaker 1 (12:39):
You got to get the big picture. Man.
Speaker 2 (12:41):
So uh, for a long time now, probably since COVID,
I've probably recorded one hundred and two short songs, seventy
five songs I don't know, right, but then I also
recorded another fifty songs with Mount westmore Right and always
doing shows. Always you've been You're very busy on this
(13:03):
and that and just doing stuff, but not really announcing
to people how much I really how much time I
really spent in the studio really making dope ass records
that I really haven't been putting out.
Speaker 1 (13:14):
And it's a lot of them, and you're sparring NonStop.
Speaker 2 (13:16):
Yeah, I said, people around and start playing two short songs.
They're like, what the fuck is your problem? Is this
shit not out? But there was always a plan, and
I knew that the Freaky Tales movie was coming. This
has been years in the making, like, uh, you know it.
The deal of the process of making the movie has
probably been a four year process, you know now.
Speaker 1 (13:36):
I remember SEMBA hit me pretty early on and was like,
don't tell anybody, I'm about to play too short in
a movie.
Speaker 2 (13:42):
And I'm like, so I was on when they were
trying to get to the part where they even shoot
the movie, you know, before the cast for sure, and
I just figured, let's just time this out and wait
till the movie comes out. And then I started my
little movement. So I have a series of albums. It's
(14:03):
called Sir Too Short. That was originally my name before
too Short, when I first broke out, and I'm like,
this is me. I was ser too Short. I used
to write it, tag it everywhere all over the Bay.
Anywhere I would stop for five minutes, I would tag
Sir too Short. And I decided to make a throwback
album and Banks, well.
Speaker 1 (14:22):
And Banks's production is all over it.
Speaker 2 (14:24):
A lot of music with a Banks recently so and
it was he was I couldn't do it without.
Speaker 1 (14:28):
Him, so they player short shit. Yeah.
Speaker 2 (14:31):
So the first installment is the sort of Me and
and Banks flavor. It's real Bay. I knew what the
movie was gonna be about. I knew the movie was
gonna be set in nineteen eighty seven. So instead of
me trying to, you know, put out an album and like,
you know, Kendrick's coming out next week, I'm coming out
of the weekend. I'm like, I'm just gonna go in
my zone and make some og as too short shit.
Speaker 1 (14:53):
So that's what I did.
Speaker 2 (14:54):
And then I was trying to do one song that
me and Little John had recorded a about six seven
years ago. It was laying around Ghazi from Empire. Shout
to Gazi heard the song way back when. So every
two years he goes, hey, man, let's put let's put
out that Little John song. I'm like, all right, And
then two years later.
Speaker 1 (15:13):
Let's put that song out.
Speaker 2 (15:14):
So once again, no one. I'm getting ready to try
to put something out of the movie. He's like, you
gotta put that Little John.
Speaker 1 (15:19):
Song on there.
Speaker 2 (15:19):
So I called a Little John, so let's make it
new again, and he comes to the studio and we
make We did something something.
Speaker 1 (15:29):
I don't even know. We messed with that song a
little bit, but we did something.
Speaker 2 (15:32):
And he's like, I'm gonna leave some beats, and he
just leaves me some beats. This is like on a Monday.
I sent him. He probably gave me like twenty beats
to listen to. A week later, I sent him like
fourteen songs recorded and he said he.
Speaker 1 (15:49):
Was like, oh, show you serious, son.
Speaker 2 (15:51):
And he sent me like fifteen more beats and I'm
like started recording on those. I'm like just doing them
because they Little John beats some grabbing everything I've gotten,
just you know, because I've been recording for years. I'm like,
I got a lot of shit. And then he's like,
all right, send me in another pack of beasts. I'm like, dude,
I have more than enough for the album. He said, well, shit,
(16:12):
make two albums. I'm like, all right, That's what I'll do. Then,
So what happens after the throwback albums?
Speaker 1 (16:19):
So Too Short?
Speaker 2 (16:20):
Volume one is the Little Giant album, which is called
Drinking Smoke, and it's a little more up tempo, it's
a little more it's reminiscent of the songs that me
and Little John made together.
Speaker 1 (16:31):
And then it's so ignorant. The topics, the shit talking,
all the.
Speaker 2 (16:37):
OG's are like not all the OG's, but the og
idea is like, you're in your fifties, you should be
a mentor, and you should you should.
Speaker 1 (16:49):
Say responsible things on songs now because you have matured.
And not too Short. I'm like, right, where the fuck
I was at nineteen eighty eight. I'm not.
Speaker 2 (16:57):
I can't I can't see being a character called too Short.
And then making the character grow the fuck up.
Speaker 3 (17:03):
Yeah, and also like your fans who are like, I mean,
I'm thirty eight. You know, I obviously was listening to
you when I was a very small child, shot to
my parents for you know, whether or not they were
being good or bad parents for that is. But you know,
people ten years older than me, people five years older
than me, like they don't.
Speaker 1 (17:19):
Want to hear too short, like we we love short
for short.
Speaker 3 (17:22):
Like It's like I just had that conversation with Cube
when he was up here because I thanked him. I
was like, hey man, thank you for this new shit
sounding like ice Cube and not sounded myself trying to
do some young head shit.
Speaker 1 (17:34):
You know. Will Smith was asking Kendrick for advice. He's like,
just talk shit, yeah, be true to yourself. Talk shit, bro.
Speaker 2 (17:44):
So they're gonna talk about the mature the lack of
maturity whatever in the subjects and the and the language
and whatever.
Speaker 1 (17:52):
But then volume three is actually gonna be that thing
that they think a grown rapper should do.
Speaker 2 (17:58):
And you know, sounds like the message in life is
too short, and you know with the with the concerned lyrics.
Speaker 3 (18:04):
I mean even getting it to like a motivational likes.
Speaker 2 (18:08):
I always balanced my career for sure by talking the
most extreme shiite and then talking the most intelligent ship.
And the last album is just I have I make
those kind of songs.
Speaker 1 (18:19):
It's game.
Speaker 2 (18:20):
So I just you know, I'm gonna get my grown
man on on the way out. I want them to
talk a lot of shit, somebody. I want somebody to
talk shit. And like, that's just so childish. Are too
short to drop that, you know in the environment in
the world today is putting all these negative shits about.
Speaker 1 (18:35):
Pimping and hoeing. Hey, it's too short.
Speaker 2 (18:38):
If I was making movies, I wouldn't fucking you know,
change Batman to fucking uh to do something that Batman
wouldn't fucking DoD Damn.
Speaker 1 (18:48):
You got a character, run the character. Yeah, no, that's
I'm excited.
Speaker 3 (18:52):
So when is the like, in terms of when you're
gonna start rolling this stuff out?
Speaker 2 (18:57):
The first volume one drops April eighteenth, so that's Friday. Yeah,
next Friday, And I'm dropping a single this Friday. It's
called still Mackin And then they each one would they
all got to come out before the end of the year,
so they'll be ninety two one hundred twenty days apart
three to four months.
Speaker 3 (19:12):
What is it man, at this point in time in
your career, Like, what is the motivation? A lot of
people get comfortable, a lot of people get lazy, they
stop going to the studio. Why do you still have
the drive? What is it that you attribute that to longevity?
Speaker 2 (19:28):
I stayed in the game so long that I looked around,
I see everything that's going on. I've seen all the
people that came and went. I've heard all the chitter
chatter about hip hop's limitations and how far I can go.
Speaker 1 (19:38):
I remember when you couldn't.
Speaker 2 (19:40):
You couldn't be a thirty something year old rapper because
they're like, what your old dad's doing rapping? Right now,
we have very successful represent their forties and fifties, And
I just think that when you look at people out
there just pushing it constantly on the road, trash, you know,
people staying in the limelight.
Speaker 1 (19:59):
Fat Joe, you know what I'm saying.
Speaker 2 (20:01):
KRS one got twenty some albums and it's always you know,
speaking hip hop and always relevant, you know. So it's like,
you know, rock him, he just got red Man is
dropping dope as freestyles and I'm like, I just think
that we have to.
Speaker 1 (20:19):
Make it.
Speaker 2 (20:20):
You know, we have to own the narrative of like
when does hip hop expire? When does the artist expire?
And the only way to do that is to live it.
We the generation who's poised right now to tell a
story to the infinite version of it, Like who's going
to be the first rapper who is rocking the crowd
(20:42):
at seventy two years old? You know somebody's going to
do it well?
Speaker 3 (20:45):
Also too, like you're kind of I mean, I know
we mentioned like rock him and those guys, but like
in terms of like cultural relevance from your era of music,
cubes in the mix obviously, but like wherever club you
go to in the country, right, you're gonna hear blow
the whistle. Oh yeah, it doesn't matter where you are.
Could be a white club, it could be a hood club,
it could be a bar mitzvah, it could be a
(21:06):
basketball game, it could be anything. Blow the whistle is
getting played. And you have such like a position in
like culture where it's like it's it's almost like the
snoop dog effect, like when people be like, oh too show,
I love too show, Like everyone loves you like it's
pretty crazy, like to be able to kind of have
that kind of grace with with with the public.
Speaker 2 (21:28):
And you don't. That's something that you don't work at.
You just make good music. And you you remember that
thing about you got to have the biggest ego and
be hum humble at the same time.
Speaker 1 (21:40):
Like a lot of people can't do both of those.
Speaker 2 (21:42):
You get you got you got ego maniac and then
you got people like, you know, zero humility, and they
just come in and just shit on people, and it's
just it's not a good energy. And I think that
I always put that good energy out. I've always had
never been too much in a hurry to a picture
or listen to somebody's sixty second story about a too
(22:05):
short experience.
Speaker 1 (22:06):
Just like back in the day I ran into you
at this.
Speaker 2 (22:08):
Moll, I understand that from the start. I understand that
it's gonna.
Speaker 1 (22:14):
Come around full circle. I used to.
Speaker 2 (22:17):
I used to do this thing where it was just
an experiment. It was my first time going on tour
and everybody's.
Speaker 1 (22:24):
Like too short, too short, short dog, And I.
Speaker 2 (22:26):
Said, I'm gonna do this thing where I'm going to
tell all these beautiful women, Hi, my name is Todd.
Speaker 1 (22:32):
Yeah, and just they're like, that's the dumbest shit ever.
Speaker 2 (22:35):
Why are you doing it? I'm like, because at some
point it's gonna be a bunch of beautiful women walking
up to me going high Todd. And I did this
shit for years. It just was like, oh, hi, my
name's Todd. They're like, oh, you know that's your real name. Yeah, Todd,
how you doing Yeah? And I just said this shit forever.
And then all of a sudden I started going places
and it just be some fine chick across the bar, Todd, Todd, I.
Speaker 1 (22:56):
Ain't seen you in a while. And they're like, how
the fuck you know her? And it became this thing
and I.
Speaker 2 (23:00):
Was just like, I just it was just part of
the two short mystique, Like how do you do this shit?
Speaker 1 (23:04):
Bro? And it's it's a little fucking this player ship.
That's that's.
Speaker 2 (23:10):
I studied some og players and I came up with
my own version.
Speaker 1 (23:15):
Yo.
Speaker 3 (23:16):
You uh, you're an artist who has a unique connection
with I look at like a group like Bone. Thugs
like Bone got to work with Biggie, they got to
work with Park, they got to work with Easy, of course,
but you had such an incredible working relationship with Biggie.
(23:37):
But then you also, I mean one of the most
underrated chemistries. I think when we think back to albums
and the amount of songs you guys, did you and
jay Z had a run together where you guys.
Speaker 1 (23:48):
Got three songs of jay three songs are big?
Speaker 3 (23:51):
Yeah, I mean that's that's pretty crazy. Like, first, I'll
start with the Biggie relationship because I know one of
Biggy's last interviews, actually his last interview was in the
Bay I believe it was that came out before you last.
Speaker 1 (24:02):
Yeah, but what was you know?
Speaker 3 (24:05):
And obviously you know you've got Diddy on your ship,
obviously probably to the craziness, but you had such a
connection with Biggie and puffing those guys, Like how did
that relationship kind of start?
Speaker 2 (24:16):
And I've really got to give one hundred credit now,
I'll go fifty to fifty. Half of it was Biggie
reaching out to me, and the other half would probably
I would have to give it to Eric Sermon because
he was my neighbor in Atlanta.
Speaker 1 (24:31):
We made a lot of songs together.
Speaker 2 (24:33):
He really the first song that New Yorker's ever liked
me and by the Masses was a duet with me
and Eric Sermon.
Speaker 1 (24:40):
But the thing that really happened Biggie called me. Nope,
he didn't call me.
Speaker 2 (24:46):
He had puff called me and he said, big On
to do a song with you, and I'm like cool,
and we made the song.
Speaker 1 (24:52):
The world the world filed it. So that actually just
like makes all these New York workers go, oh, man,
I fuck with you. I fuck with you.
Speaker 2 (25:02):
You know what I'm saying, and it just it just became,
you know, a fuck with you. And then I do
this song with jay Z. Real niggas do real things,
and then that opens up another door. I do a
song with Little Kim call Me for the Booty Call soundtrack,
and now I'm like sort of okay in New York.
So me and Eric Sermon had a song called buy
(25:23):
You Something. So now I got like four joints at
all these years of New York ignoring the fuck out
of me, got about four joints.
Speaker 1 (25:31):
But these four joints are with the heavy head it is.
Speaker 2 (25:34):
And then the phone starts ringing and they want me
on the Foxy Brown album and I'm just.
Speaker 1 (25:38):
Doing songs with New yorkers.
Speaker 2 (25:40):
So it was it was Biggie because everybody he was
the hottest motherfucker and then here I am with Big
on a song.
Speaker 1 (25:48):
They're like, well shit, I.
Speaker 2 (25:49):
Got to get two short on the song because also
the word was out that I had ten platinum albums,
but it was like six platinums.
Speaker 1 (25:55):
Four gold. And you know, folks are just like it
with the feet, your thing was starting to pick up.
We didn't used to do features back in the day.
Speaker 3 (26:03):
Yeah, so because obviously nowadays, a lot of features get
done over email. Back then, were you able to be
in the studio.
Speaker 1 (26:08):
Well, yeah, you pretty much all the features were done
in person. What's the studio session? Like with Biggie?
Speaker 2 (26:13):
The first one, the world is Filled? The song was
recorded at a at Bad Boys studio Daddy's house in
New York.
Speaker 1 (26:24):
I got to the session. I had one of my
homies with me.
Speaker 2 (26:29):
And it's people. It's like a vibe, it's people in
the studios. We smoked liquor, the usual session and Puff
Daddy is on the first verse of the song. Carl
Thomas is on the hook.
Speaker 1 (26:44):
I was wondering who did that hook? Yeah, Carl Thomas.
Speaker 2 (26:48):
And the hook is already done and Puffy's excited, you know,
he's always like a high energy. When he's in the room,
he's like playing this shit, loving it. Everybody in the
room is agreeing this is one of the ones. And
I'm sitting there my usual routine, grab a pan paper
and just start vibing. The song is the hook is
(27:09):
saying the world is Philip, Pips and Hose. We'll just
talk about those I know, and it's just you know.
Puff comes on. He's talking some slick shit about balling,
being a baller and shit, and then Big goes in there.
Everybody's laughing and drinking. He goes into booth without like
writing anything. So I'm thinking, I don't know this shit
(27:31):
about the rhyming with no paper within him, no pain.
Him and jay Z and all of them would would
soon make famous, but it wasn't famous on this day.
Speaker 1 (27:40):
I didn't know about it. So he's just sitting around
drinking and smoking.
Speaker 2 (27:44):
He goes, I'm ready to get in the booth, and
I'm like, what the fuck does he meaning?
Speaker 1 (27:48):
Write?
Speaker 2 (27:49):
Like I'm just And he goes in there and he
says he announces because everybody's a little tipsy and having fun.
He's like, I'm gonna do this shit in one take,
and he goes in there, says a couple of lines
and I guess messed up or didn't get the line right,
and he said, run me back, and the next take
he runs his shit front the back sixteen bars, and
(28:12):
when he comes out the booth, it's like cheers.
Speaker 1 (28:15):
And claps and everybody's like whash.
Speaker 2 (28:18):
And I'm like sitting there with an empty piece of
paper like this, and I'm like, the whole song is done.
Speaker 1 (28:24):
Now.
Speaker 2 (28:24):
The song has a blank sixteen bars. Everybody's in the mood,
smoking the air. Ain't nobody pressuring me, but it's I'm pressure.
Speaker 1 (28:31):
You're pressuring yourself. And I'm like, what the fuck.
Speaker 2 (28:34):
So I go to my boy and I'm like, I
should do if you kind of ripped that shit.
Speaker 1 (28:39):
I was like, man, I ain't even wrote nothing. And
my boy, he's from Oakland.
Speaker 2 (28:42):
He said, he said, shit, listen to the hook. I'm like, okay,
you said none of them. Ain't nobody own the song
said anything about what the hook is saying. And I'm
like like, bub okay, I'm just gonna write the story
of the hook. So I told the story about some
pimps and holes. I know, in the end, I start
talking some shit about some pimps and holes I know,
(29:03):
and then I come out the roof and they're like,
oh shit. I'm like, okay, so my guy, he just
he was My guy's not a rapper write a songwriter,
but he's been in many sessions with me and always
he's a gamer. He got game for sure, so he's like,
didn't spit that game. Like one time I was writing
a song and he's like, what you gonna write about it?
Speaker 1 (29:23):
I'm like, I don't know.
Speaker 2 (29:24):
He's like shit, He's like, I tell you a story.
He's like, when I was in fifth grade, I used
to steal cigarettes at the story and then go around
selling cigarettes to adults. That's how I got money. And
I'm like, okay, I wrote a rapper about it. Little
nigga in the fifth grade selling cigarettes. That's one of
my songs. But that's how we used to get down.
So the World Is Filled became a classic, and you know,
(29:47):
I was. It was one of those times where I'm
I'm I'm not trying to jab with Biggie lyric for
lyric in the studio. I know what I'm up against
when I do songs with these super lyricists. But I
always spit game.
Speaker 3 (29:59):
Always sure it's funny because then you end up in
the studio with jay Z, who does the same kind
of thing.
Speaker 1 (30:04):
Yep, you must be like, you know, it was these
New York motherfuckers gonna be writing nothing down.
Speaker 2 (30:08):
And then with jay Z song I actually sent him
the Verse the World the Real Niggas was was a
song that was written when I got the dem with
the demo version that was.
Speaker 3 (30:18):
One on Value one right, I can't remember, and volume
two year on it was all good just a week ago.
Speaker 2 (30:24):
That song was written for him to do a duet
with Scarface. And you always say the stories about jay
Z and UGK and these people. People didn't want to
do songs with certain people because they thought they weren't
friends of Tupacs, and it was always this this thing
of I'm ride with Tupac.
Speaker 1 (30:42):
At that time, it was so East West because that
was like an actual thing that people were cognitive with.
Some people like you Pimpsey was really on that, and
I don't I don't know.
Speaker 2 (30:52):
I think Scarface it was partially because he didn't like
to fly on airplanes at the time. And then you know,
I guess you gotta like some people was just like
I got a ride for the side I fuck with right,
and it just was like that. I can't tell you
if that was Scarface's motivation, but he didn't do the song,
but you kind of fucked with everybody at that time.
And in that song, jay Z says something something about
(31:13):
short he says something about short Dog. But there was
a version where he said Scarface that I heard, and
you know, I knew Face wasn't doing it. But then,
you know, even when I get in the studio with
Scarface e forty, all these motherfuckers just drop gasoline on
the track and look over like what you gonna do now?
And I just always slide in there and just I
(31:34):
never try to out wrap them. I just spit game
and it always works for me.
Speaker 1 (31:38):
Well, you're also like one of the greatest storytellers in
hip hop history. I do that too. I give you
a lesson by example by using a story.
Speaker 2 (31:48):
And I know that when I'm on songs with other
rappers and they doing all this great word play, I'm
really just gonna I'm gonna give it to you, paint
a picture or something, and just it's me, it's my
your style. Yeah, So I like to whenever I get
on the song with a super rapper, I like to
dumb it down a little bit and twang the words
a little bit. I'm doing that thing mine and I
(32:08):
just I'm like, I'm not gonna battle you.
Speaker 1 (32:10):
Broh. Yeah yo.
Speaker 3 (32:12):
One of my favorite songs that you ever put out
was one of the best stories ever told on record,
blowjob Betty.
Speaker 1 (32:21):
That should have been a movie.
Speaker 3 (32:23):
It should have been a movie. For people who haven't
heard the song, go please go listen to it. It's
essentially about Too Short had a girl who he had
to kick to the curve because she was tripping, and.
Speaker 1 (32:35):
She ended up I'd like to fuck for free. Yeah,
she because she was a real hoe, right and uh.
Speaker 3 (32:41):
It all wraps up with Short running into a bathroom,
running into her in a bathroom after she gets done
serving a bunch of strangers, and Too Short says one
more go and then busting under her mouth, she chokes
on it.
Speaker 1 (32:53):
Shot that fatal nut. Yes, she dies.
Speaker 3 (32:57):
Too Short doesn't find out about it until later when
he's was it the newspaper the news?
Speaker 1 (33:01):
I forget And it was on the news. The young
girl died just last night.
Speaker 3 (33:06):
She choked on sperman or wind pipe. Sorry to say
there's no suspect I busted down and killed the bitch anyway.
You know what, when I wrote that song, please tell
me yes.
Speaker 2 (33:18):
When I wrote that song, the first thing I wrote
on the paper was I busting that and killed the bitch.
That's the first thing I wrote. I said, this is
gonna be the last thing I say in that song.
And I wrote the song to catch up to that
one line.
Speaker 3 (33:31):
That's so crazy, Yeah, because you found you know where
the ending's going.
Speaker 2 (33:35):
I mean, I was like, I thought of that, and
I'm like, I gotta do something with this. Wrote it down,
busting that and killed the bitch.
Speaker 1 (33:41):
That's what we're gonna get to.
Speaker 3 (33:43):
Did like fans take that and like there wasn't Google
back then, But was there any like a lord that
this was like a true story kind of or some
semi truth.
Speaker 2 (33:51):
I mean, truthfully, people really in the eighties and nineties,
they really thought I pimped a lot of holes.
Speaker 1 (34:00):
And I really thought that, oh, that shit was rude.
I thought that it's just like that's because hip hop
still had that mystique. I assumed you were.
Speaker 2 (34:07):
I mean, man, but I used to hang with a
lot of pimps. And it was very pimpish. But you know,
I had a really good job. I used to like
cops would have harassed me a little bit, and I'm like, bro,
I got a really fucking good job. I'm like, why
would I sell dope? Why would I pimp hose? I
get a fucking, you know, million dollar check every fucking
six months. What are you talking about?
Speaker 3 (34:26):
Yeah, Plus, you grow up in the Bay, so it's
like you're telling the story of like a culture from
a place that's like very much pimps and hosea.
Speaker 2 (34:35):
I was very fortunate enough to end up in Oakland, California,
and a lot of too short is the story of Oakland.
Speaker 1 (34:44):
It's not the story of me.
Speaker 2 (34:46):
It's me looking at Oakland and interpreting what I'm seeing
in songs, Like I literally could just think of some
shit that happened and write a song. That's how exciting
Oakland is when I'm coming up of age, and it's
not you know, the streets.
Speaker 1 (35:04):
It's always been a wild city, but you could go
out and venture through the city. You're not gonna worry
about getting killed or any kind of problem happening somewhere.
I just had It's rough right now, for sure.
Speaker 2 (35:17):
I just had free roam with the city and it
was like a blank canvas, and I wrote hundreds of
songs about Oakland.
Speaker 1 (35:24):
Yeah.
Speaker 3 (35:25):
Yeah, it's it's interesting too because you were kind of,
you know, the first rapper, at least one of the
first rappers to really I mean, uh, cuss and talk
the way you talked for real, you know what I'm saying.
Speaker 1 (35:40):
I mean, because you were like I mean, technically you
were pre Nwa right before. I mean technically technically in
the streets. Yeah, in the streets.
Speaker 2 (35:48):
I was famous in Oakland at the same time run
DMC and ll COOJ were famous, you know.
Speaker 1 (35:54):
Essentially like the West Coast. It starts with too short
and nice tea, right, is that fair?
Speaker 3 (35:58):
What?
Speaker 1 (35:59):
No?
Speaker 2 (35:59):
You gotta remember you had l A was making a
lot of dance music. It was I'm talking about just.
Speaker 1 (36:05):
Like rappers like that, like we would. I got a
you know, I got an Egyptian lover and l A
dream team, you know, even when you know doctor Dre
and then they were doing an up temple thing, the
world Class Worcking Crewer. Yeah, I was buying those records.
I was still in high school, but I was a rapper.
Speaker 2 (36:23):
I was a pretty popular fucking rapper around the Bay
at the same time. So I was one of the
first rappers I met that was like on because he
had did breaking and he was was doing like a
six in the morning and all that ship, and he
actually like chopped it up with me and gave me
some game, and I was I was motivated after having
(36:44):
a conversation with you know, young Ice t Young Too Short,
and I always remember that he would do that with
a lot of us, just give us a little game
about what we're getting into. Also a player, you know,
I do consider myself fully a part of the West
Coast emerging as a hip hop powerhouse.
Speaker 3 (37:04):
I do, yeah, I mean you're you're like, what were
the like the blowback being one of the first artists
to have I mean you name it so on cusswords, right,
Like that's something that you know, it's like, hey, we're
cussing on songs.
Speaker 1 (37:21):
This is this is this is not of the norm
per se, Like, yeah, the legitimate journalists who had all
the attention.
Speaker 2 (37:31):
Because they were in the hip hop publications and you
know it could be fucking I don't know, everybody said
this ship there was like this guy too short he
really can't rap, and he just curses.
Speaker 1 (37:43):
And basically the album would.
Speaker 2 (37:46):
Come out and they would go platinum, and then I
put another one out and they go, yeah, he's you know,
the music's mediocre. You don't think, don't think this style
is gonna last too much longer, you know. And then
I have this Big Records, another platinum. I'm talking about
five six platinums in a row, and the review is
(38:09):
still coming out pretty mediocre, can't really wrap that good.
Speaker 1 (38:13):
And I'm like, stupid, motherfucker.
Speaker 2 (38:14):
I'm rapping like this on purpose because people can hear
what I'm saying and they feel it and they learned
every word and I'm spitting game and the basses HeLa deep,
and they like missing the whole point that we have
all these different styles of rap YEP, and you have
these lyricists who the wordplay is is is infectious and
you fucking want.
Speaker 1 (38:33):
To learn it and rap alone.
Speaker 3 (38:34):
We don't even feel like though back then, like if
we're talking like eighty seven, eighty eight, eighty nine, and
it's like ll you got Kine, you got Rockim, you
got rock Kim, but you were I just I always
felt like your music was so it resonated so clearly,
like you said, like you would say the fly shit.
Speaker 1 (38:52):
In the simplest way, where'd be like, oh shit.
Speaker 2 (38:54):
But there were a lot of hip hop heads who
were like one to ten. I just saw the phumod
report card. I never even knew about it. Yes, I
got a C plus, And I'm looking at his categories
and I'm like, of course I would give me a
C plus, But he was missing categories like how the
fuck you just rock that crowd or how the fuck
(39:14):
you make a song that that you know, motherfucker's in
the hood love they.
Speaker 1 (39:18):
Don't need a radio station and shit.
Speaker 2 (39:20):
And you know, if he could have seen the forest
forest sight to the future, it should have been a
category on there, Carl longevity, because I'd have got an
A plus and that motherfucker.
Speaker 1 (39:29):
And I just always knew, man, this is what I'm
telling you.
Speaker 2 (39:33):
I always knew that I didn't want to be a lyricist,
that I could easily put the words together and spit
the flow.
Speaker 1 (39:41):
But it was that lane was taken.
Speaker 2 (39:43):
And I'm sitting there like I chose to represent this
Oakland style of like pimpshit street shit, and I'm like,
that ain't the way people was talking, I'm gonna talk
like the pimps talk on this song and fucking like
I would just.
Speaker 1 (39:58):
My get back was off.
Speaker 2 (40:00):
Always live in concert, I'm like, just get on the show.
Put I don't let I never would be the headliner. Mostly,
I wouldn't be the headliner. We have these shows with
like you know, ten seven ten groups, and I'm like
somewhere in the middle, and I'm just like, watch, just
watch the motherfucker to go on before me, and the
motherfucker is going after me. It's gonna be a problem
(40:20):
for y'all too, motherfuckers, and probably all night. Like I
just I would just take pride and just going out
there everybody like dancing and DJs and tricks and spinning around.
Speaker 1 (40:31):
Shut just walk out there. You don't even got to
introduce me.
Speaker 2 (40:34):
I just walked the fuck out there and start rapping,
and the whole crowd is singing every word, and I'm like,
I just rapped. I stopped rapping and just let the
whole house sing it and just tell the crowd to
say shit, and.
Speaker 1 (40:44):
They're like, who the fuck are you? And then just
I just you know, keep it real nonchal line. What's
up man? Now? You know player and here from Oakland
kept the lights on a jive man.
Speaker 2 (40:59):
Yeah, I'm one of those aretists who saved the label
one year they had for they had a bad year
and I had a big record.
Speaker 3 (41:04):
I just remember, like the only I got that Jive
logo and the way all the CDs kind of looked
the same. I just remember it was you and Forty
would always have the Jive logo on your ship. Like
as a kid, I'm like, yeah, I didn't even know
anybody else will sign.
Speaker 2 (41:16):
The jib for a while, well a few people signed
the jib because I was on jive. Yeah, I straight
up like ugk ugk was on jives right because too
Short was on jive.
Speaker 1 (41:27):
Wow, that was the only reason. What are studio sessions
in which it's too short and PIMPC? Like in life, PIMPC.
Speaker 2 (41:37):
Is serious in the studio, He's very serious, doesn't really
he's not He's not slow by any means.
Speaker 1 (41:44):
It happens quick. Pimp C could make beats. He made
a lot of sure, amazing producer.
Speaker 2 (41:50):
Pimp C also sings and you hear the song like
it's funky, but just listen, he's in the studio singing
like he's still in the fucking high school quot on
those songs, and he's really putting his all into it.
So PIMC is the kind of motherfucker that come to
the studio and first thing he wanted to do is
smoke some weed. That's that's why we say that on
(42:11):
the songs. He like smoke something like he really would
smoke something.
Speaker 1 (42:14):
That's not just a tag. He really would say that.
When he walk in the room, she think we walked
to walk in and smokes something. Man, what's that?
Speaker 2 (42:22):
And and he's just immediately it's like, well we making
If it's something on, he's getting involved.
Speaker 1 (42:28):
If it's nothing coming through the speakers, he's like, man,
this ship up.
Speaker 3 (42:31):
Man.
Speaker 2 (42:32):
Let's say he just immediately started kicking out a drum pattern,
put a baseline on it, and he got a hook
for it immediately, and we're making a song. Most I
think most of the songs I haven't made with PIMC,
he's doing the hook because that's wow. That's how it
always went down. He would just he was just quick
like that. And he's also one of those guys who
he's like me in a sense that he's not feeling
(42:55):
lyrically beat you down with this vocabulary and his cadence.
But when he goes into booth and comes out, it's
just fire. Like he I think of that song Murder
with him and bun which is my one. I mean,
I just posted this song like maybe a week ago.
Speaker 1 (43:11):
Listening to it, I was like, how is this? It's
two of the best verses ever, but for different reasons,
Like bun Bee.
Speaker 3 (43:16):
Was more of the like intricately the lyricist. Yes, but
Pimps ship just hit so two people.
Speaker 2 (43:24):
A lot of people can do it, but it's two
people that always distinctively make a record and make you
bounce when you hear it, Like you want to bounce
to the beat.
Speaker 1 (43:33):
And the record. A lot of songs producers make.
Speaker 2 (43:37):
The beat bounce, but if you like take like MJG
from A B and MG, every time he raps the
fucking beat, just start bouncing.
Speaker 1 (43:43):
Same thing with Pimps. Like Little John told me a
secret one day.
Speaker 2 (43:46):
He said, I was in the booth rapping and I'm
just rapping to the song, and he like, if you
want the song to bounce, you gotta bounce while you
wrapped the lyrics.
Speaker 1 (44:00):
He's like, you ain't in there. Bouncing.
Speaker 2 (44:02):
I gotta bounce and do the ship, and now the
lyrics start bounce. He's like, yeah, like that love John
taught me. Taught me some ship in the lab.
Speaker 1 (44:09):
Yeah. I remember we made Shake that Monkey and he
gave me the beat.
Speaker 2 (44:14):
There was no hook on it, and I came to
the studio when he wasn't there, and I recorded three
verses with a hook, whole fucking song. Come back the
next day and he and he is there and I
play it for him and I didn't even think. He
let the whole song play. He was like click.
Speaker 1 (44:32):
He's like, that's not the idea I have for that beat,
and just goes the hook.
Speaker 2 (44:36):
Dumped my ship, and then he goes in. He goes
in there and does the hook, which is him fucking
he's doing. He does like fifty takes and consolidates him
and makes it sound like one hundred people.
Speaker 1 (44:50):
And he's like, that's the song. So I went back
to the hotel we were in Miami. I wrote Shake
that Monkey. I came back. He's like, that's the song. Okay, okay.
Speaker 2 (44:58):
So that's how we record. Really like working with producers
that produce. I work with a lot of beat makers
who give you a beat, and then I end up
producing it. But I like working with producers who you know,
the jazzy phase and banks, and for producers who tell
you words are cup but the flow is wrong, you know,
or do your voice like this on that part right there,
(45:19):
or switch that line and say that you know, just
a little shit that makes the song better, and they
produce a song. Because I am very much a producer
who doesn't ever really want credit for it. I produced
them near the majority of I produce a lot of
two stresses, a lot a lot I made the beats,
and a lot of the ones that people gave me
(45:40):
the beats, I still went and produced the fucking song.
But I like when I'm working with somebody who's telling
me how to make a song, because I can make
these two short songs all day, but I want the
different flavor by every now and then. I would let
one of the homies write a song for me, Like
why you gotta let a homie write a song so
I have a different flow on certain songs. Every album
(46:00):
I've ever made, I probably let one homie write me
a song just to get a little different shit.
Speaker 1 (46:04):
Father Dom wrote some songs for me Dangerous Dame wrote
some songs for me.
Speaker 3 (46:10):
You end up putting out this album that's on the desk,
shout to getting it, which it might be my favorite
album of yours. This was supposed to be your last album, right,
was this? This was the retirement album? YEP, album number ten.
Not a lot of rappers had ten albums at that time.
I don't think anybody, dude.
Speaker 1 (46:29):
Yeah, because this is ninety six, so that's fuck yeah.
I don't think. I mean ten albums by nineteen ninety
six is insane. Yeah, I don't think anyone artists had
ten albums yet.
Speaker 3 (46:36):
Plus you had the Dangerous Coup album, like, by the way,
great album, but you take that that hiatus and then
you come back we Can't Stay Away, which had some
shit jay Z's on that album. I think Jermaine and
Prieze on that album. What brought you to the point
in ninety six to be like this is it, I'm out?
And then take me through those three years where you
(46:58):
get pull pulled back in and you make Can't Stay Away?
Speaker 1 (47:01):
Well, it wasn't even about retiring. It was about.
Speaker 2 (47:04):
Announcing the retirement. You're thinking you want to do something,
you know, something that rappers don't do.
Speaker 1 (47:12):
And I'm like, I know you're the first guy to
fake retire. Yeah, so yeah, master P did it. A
few people did it after, but it was just an idea.
Speaker 2 (47:21):
I'm like, I say it on the beginning of the album,
when the song Getting It comes on, I'm like, it's
getting close to the end, y'alls the last album. It's
just bait because I'm talking, I'm talking shit that the
album was supposed to be named album number ten, but
Getting It, Getting It came out so amazing with Parliament
fucking delic They shot the video with and were just like,
(47:44):
you gotta name this album this because it's gonna be
a big record. It's gonna get you more sales, right,
So we compromised an album number ten is in parentheses.
But the whole thing was just popping my college ten albums.
Of those ten albums at this this was about to
be the sixth platinum. So I'm at the time I'm
coming up with this concept. I've already got five platinum
albums and I got like one or two gold albums
(48:06):
at the time, and I'm like, when I announced that
I got ten albums, I retire, I'm the winner. You
know what I mean, Like I'm ahead of everybody in
the count the guy who was like he can't wrap,
the guy who's like he can't do it again.
Speaker 1 (48:21):
It's like your victory lap.
Speaker 2 (48:22):
Kind of like all the industry, I'm just slapping the whole,
all the haters in the face with actual numbers, like
this is out number ten, This is fucking numbers. So
the kickback was I did a lot of features after this.
I was getting probably like this nineteen mid nineties. I'm
getting you know, forty to fifty even up for a
feature just to come on somebody's album sixteen bars.
Speaker 1 (48:46):
And I was my hustle for a while. I was
in New York. I'm doing deals about labels and.
Speaker 2 (48:52):
Budgets and shitting fucking it, getting all kind of people
paid and shit and just willing and Dylan.
Speaker 1 (48:57):
But it was never any tension of like retiring. The
whole was a marketing ploy.
Speaker 2 (49:03):
So what we did with me and Jive Records and
everybody whose mind was working on the campaign was we
literally said too shorts retiring and instantly got the entire
media all across the board to give us free advertising.
Speaker 1 (49:23):
And that's exactly we had.
Speaker 2 (49:25):
We held a fucking retirement party, heavy media invites. We
held a press conference, heavy Meat, and it.
Speaker 1 (49:33):
Just the story went everywhere.
Speaker 2 (49:35):
The fucking album came out the box platinum, so that
was that wasn't really a retirement, that.
Speaker 3 (49:40):
Was just and then three years later you could do
the opposite two shorts return album.
Speaker 1 (49:44):
It gives you a whole other free advertising play like.
Speaker 2 (49:49):
And you know, through these different phases of my career,
which I think that was a very big turning point.
Moving to Atlanta was a turning point. Yeah, coming back
in two thousand and four and catching some heat with
Shake that Monkey, and then.
Speaker 1 (50:07):
A year later Blow the Whistle, and that just kicked
in a whole new phase.
Speaker 2 (50:11):
And you know, and even now, like I feel like
whatever I did before twenty twenty, I dropped the album
called the Fucking Pimp Tape, and the Pimp Tape did
good for me, made me a lot of money. It
was some good looks, you know, some nice little features
and shit. But when the twenty twenties came in, I
(50:34):
started thinking, well, damn, I had a lot of traction
in the eighties, major major run in the nineties, it
was a lot of love for Blow the whistles Shake
that Monkey in early two thousands, the twenty tens, I
was pimping the shit out of Blow the Whistle and
Shake that Monkey forever.
Speaker 1 (50:56):
You know, got a little good little look did the
duet album with E forty You also have some like
other Gangsters and Strippers is a classic? Yeah, And I
dropped some underground albums that they vibe.
Speaker 3 (51:06):
I was.
Speaker 2 (51:06):
I was really doing a lot of a lot of
making a lot of money off off with Empire, off
of just digital only releases, which you know, no matter
where it got to, it got to these pockets, right,
and then the pimp and then you and forty have
this like obviously, yeah, you guys are like putting out
joint albums together, and you guys are synonymous with each other.
The pimp tape comes out, I'm active in the twenty teens,
(51:29):
and then I'm like, Okay, we're doing this thing like
I was naming the E forties in the Fat Joe's
where we're trying to we're trying to write the story
of how old can a rapper be, how long can
he be popular? How who's the oldest guy that's gonna
rock a crowd right stadium? And rap because we look,
what are we looking at? Blues singers and rock and
(51:49):
roll bands and.
Speaker 1 (51:50):
Yeah, oh zones are still touring and like Jags Mick
Jaggers seventy eight something like that.
Speaker 2 (51:57):
Yeah, if you gave me the Temptations, Diana Ross and
you're going the four Time Show, I'm pulling up. I'm
pulling per So I think that that is my motivation
right now to do this in the twenty twenties, to
be a part of the movie. Drop three albums in
one year, keep doing these big shows. I'm doing really
(52:18):
big crowds every weekend every month.
Speaker 1 (52:22):
Yeah you are, You are busy on the road.
Speaker 2 (52:24):
And I'll be fifty nine years old this month, and
I'm just like, you can't tell me. You cannot tell me.
Stay home and sit in a rocking chair and tell
old stories about being on tour.
Speaker 1 (52:36):
Every time I talk with T. K. Kirkling the other day,
Tk's like, you know he's older as well, he's older
than me. Yeah, he's my homie. Yeah. Tk's like, you know,
this is it's on your mind, you know what I mean?
Like age, Like he's said the same thing.
Speaker 3 (52:49):
He's like, no one's gonna tell you know, the rolling
stones to stop touring like exactly.
Speaker 1 (52:54):
You know, as long as I got this game, people
will pull up.
Speaker 2 (52:57):
So to the other guys that are ogs that are
still pushing forward, I'm just I'm being a part of
that movement. And I don't bash the young artists. I
support them one. I like a lot of the new music.
I think that a lot of stuff back in the
day that we don't remember was garbage, for sure, and
hip hop had a lot of garbage from day one
(53:20):
until this day. And to sit there and be the
kind of og who goes all that new shit is
garbage is a lie because most of that old shit
was garbage. And the ship that rose to the top
was the good shit that we remember, and we call
it the golden era of these certain years, and man,
with old.
Speaker 1 (53:38):
School shit was dope, but you forgot all the whack
people that.
Speaker 2 (53:43):
Oh God, if I could just go through my crates
of records, I probably stopped buying records in the early nineties.
I can go through my crates and you just be like,
I never heard this garbage because I.
Speaker 1 (53:53):
Bought everything that came out. So's it's never changed.
Speaker 3 (53:57):
Is there anybody from let's say, like the newer class
of mcs that kind of you have a little bit
like kind of remind you of yourself a little in
terms of just maybe subject matter swagger.
Speaker 2 (54:09):
I mean, for a while there, I was seeing the
movement in like YG like too short ish, like I
see it, and he was just you know, he wasn't
trying to be a super lyricist, right, always talking shit,
pull up with all the homies and just be like
y'all can't say shit, and you know it was the
same kind of vibe. But you know, anybody that's spitting
(54:30):
that game is I think that you have DNA hip
hop DNA, and you see it in the rappers.
Speaker 1 (54:40):
Sue evolved from jay Z, the ones who evolved from
Lil Wayne, you know what I mean. You see sim
I think Simba.
Speaker 3 (54:46):
I mean it's weird to say, cause Simba plays you
in a movie, but Simba, he's like a great MC.
Speaker 1 (54:52):
But sometimes Symbol.
Speaker 3 (54:53):
Will deliver the most player ill lines in the simplest
way that make people like and he's freestyles.
Speaker 1 (55:00):
He got like damn like.
Speaker 2 (55:02):
So then you know, the DNA of two short e
forty is like considered to be that bass shit. But
if you take away the geography of it and just
go that game that just I'm Gonna Save Me and.
Speaker 1 (55:19):
Forty because it's a lot of people that do it.
Speaker 2 (55:21):
But if you take just away like that's a base
shit and just say these two rappers, it's a lot
of hip hop DNA that came from the game that
we spit. And it's a lot of rappers that spit
that game because they grew up on that. Snoop Dogg
is from that lineage, you know, all the way down
to guys like ge Perico, Like it's it's a lot
(55:43):
of them, and they when they sit there and say,
I'm this type of lyricist, this is my look, but
you still from the game. I can hear it when
you rap if all your ship gotta be gamed up,
like like Gwap Dad is a dope ass rapper, but
he gotta he gotta spit.
Speaker 1 (55:58):
Game because he comes from the game DNA. And it's
a lot of them.
Speaker 2 (56:03):
So you know, even the Russell's hot right now, but
he's spitting game. Listen to the punch lines.
Speaker 1 (56:10):
Is and it's real. It's easily consumable. The way he
says shit, you'd be like, oh shit, like why nobody
ever say it that way. But he ain't say nothing
about pimper and hole and selling dope. For sure.
Speaker 2 (56:21):
He's still spitting game and that game cloth is. It's
very prevalent in hip hop.
Speaker 3 (56:29):
You know.
Speaker 1 (56:29):
T I comes from that, ball and G come from that.
Speaker 2 (56:33):
It's a lot of motherfuckers that if you if you
from the UGK DNA, then you from the too short DNA,
because that's what UGK.
Speaker 1 (56:41):
They wanted to spit game. Like when they seen Born
in Mac.
Speaker 2 (56:45):
PIMC said, when I saw that fucking album cover to
Born to Mac, he said, before he even heard the music,
he said, that's what I want to do.
Speaker 1 (56:51):
That shit right there.
Speaker 3 (56:52):
Yo. It's crazy too because you have your album covers
were so ill like that's one thing about too short, Like, bro,
you got them like first like I don't know, six
seven eight album covers were so fire, like look at.
Speaker 1 (57:07):
The first Outcast album, DRE three thousand is wearing a
pimp had. That's some too short ship. Yeah that you know,
they probably said what you want to do.
Speaker 2 (57:15):
I just I just put out of I think at
the game where you fit in with the pimp had
And then I was I was putting it in the
videos too. I was wearing the pimp hat driving in
the Cadillac. Motherfuckers like I want that.
Speaker 3 (57:26):
Short dogs in the house with the cartoon and illustration.
That was before doggie style, right, Yeah.
Speaker 2 (57:32):
Snoop Dogg's first album cover is very reminiscent of one
of my album covers.
Speaker 1 (57:36):
And you know, I mean you were the first dog
to Snoop dog You know what I mean? You know
it was that's my guy. Of you guys did a
album to guy.
Speaker 2 (57:48):
As we became friends, I was kind of thrown off
early on, but then we became really good friends.
Speaker 3 (57:54):
What was that a thing cognitive like cognitzant of that?
I can't see the word, but were you like cognizant?
Speaker 1 (58:00):
I mean they were saying beach Snoop Dog, Well, I'm
short dog. It was you're from l A. You know
y'all say bit like from the start, I took it
as flattering. And I also the level of how it
blew up is Doctor dre Is Death Road is blowing up.
I'm like, this ship is helping me. There's no way
(58:21):
I'm going to rock the boat and say, man, them
dude's over there stole my ship. Whatever, Like they I
immediately saw for what it was. But when he told
me then I knew. I knew I was right. Like
he said, he said, man, we grew up listening to
two show.
Speaker 2 (58:39):
They was probably like middle school, bumping that ship and
fucking he like they put me in the studio. I
started rapping and just said bitch like I'm like, I
get it. I mean, you know, Ice Cube said it
at one point he was doing a I think it
was a bitch as a bitch.
Speaker 1 (58:56):
He gets it. End the song, he just yell out bitch.
Speaker 2 (58:58):
I think he's the first person that said it outside
of me, And people go, why didn't you trade market?
Speaker 1 (59:03):
Why don't you make people have to actually permission to
say it.
Speaker 2 (59:05):
I'm like, it wouldn't be an iconic pop thing if
I controlled it and said I'm the only one that
could do it.
Speaker 1 (59:11):
It's a gift to the world. When I heard.
Speaker 2 (59:14):
Comedians do it, I seen I saw sitcoms doing it,
it just became something that everybody knew. You got to
give a lot of credit to Snoop Dogg for helping
put that out there in the universe. And then I
think when I say what's my favorite word and blow
the whistle. That kind of solidifies my ownership. I really
(59:38):
said that in the song because I overheard a conversation
one day. You have an album called that, yeah, and
I really was on that I'm not gonna let this
get away from me. I heard a conversation one day
that I was not involved in, and they were saying, bitch,
that's the Snoop Dogg shit. And somebody was like, no,
(59:59):
true Short been saying that, and it was like, no, bro,
I don't know who the fuck too Short is that
Snoop Dogg shit. And I'm like, Okay, I gotta get
my shit back. I just started doing stuff like name
the album, say it.
Speaker 1 (01:00:12):
In a single. Just just give me my shit back
a little bit.
Speaker 3 (01:00:16):
You know.
Speaker 1 (01:00:17):
I don't care it belongs to the world, right, No,
but I mean in hip hop it like it's your thing.
Speaker 2 (01:00:22):
But me and Freddie B came with that, and Lone
before us, there was a guy named Rudy Raymore Dolomite
who was in movies yelling.
Speaker 3 (01:00:31):
Out the bitch lone before us Dolomite. So I remember
Dolomite doing skits sound like some Snoop albums and shit.
Speaker 1 (01:00:38):
Yeah.
Speaker 2 (01:00:38):
So yeah, So I'm not the inventor. But you know
I put my touch on it. He yelled at in
a few movies, so you know, we give we give
the credit to Dolomite.
Speaker 3 (01:00:48):
What has been the craziest blow the Whistle moment for you?
Where you were like, this is insane. I mean, obviously
it gets played everywhere. Fucking Jay's He's got a classic.
Speaker 1 (01:01:00):
For a lot of viral clips, a lot of viral
clips that are funny as fuck. With Blow the Whistle,
it's like, no matter if you got if you got
a Grandma, you.
Speaker 2 (01:01:06):
Got a I could do top ten viral. It's just
moments with the song. But I mean the one that
a clip that I can think of that stands out.
I actually heard the story without singing the clip multiple times,
and it's the one about babies. There's a clip I
saw where a baby is watching Blow the Whistle video
(01:01:30):
and the mom turns it off and the baby cries.
She turns it on, the baby smiles, turns it off,
cry And people actually have told me that story multiple
times that Blow the Whistle is the song I play
for my baby and to cheer cheer up the baby.
And I think that if you had to go scientifically
(01:01:51):
on that song. It is hitting those notes. It's something
in the vibration can soothe, is hit no notes and
it actually it's probably one of the only songs I
ever had that the grandmother's and the grand babies like
so you.
Speaker 3 (01:02:08):
Just got new life to When the Eagles won the
Super Bowl, they adopted it as their song, and.
Speaker 1 (01:02:12):
Some people out there thought it was a new song.
Speaker 3 (01:02:14):
Yeah, it was just so random because you see you
see Gilly just turning up to blow the whistle.
Speaker 2 (01:02:19):
Believe me, I thanked him personally appreciate it. Yeah, it's
just it's good vibrations.
Speaker 1 (01:02:26):
And it's who asked me this ship one day?
Speaker 2 (01:02:30):
Oh, Jermaine dupre ASTs me. We were at a club
this many years ago in Vegas and he knew Little
John produced it because that's his boy. They're like really close, right,
And he said, man, I just want to ask. She
was like, what the fuck did you and Little John
put in that song?
Speaker 1 (01:02:49):
Like, like what was the ingredients? Like, I don't know, bro,
listen to it.
Speaker 2 (01:02:53):
As basic as fuck, Like as basic as fuck the production,
it ain't a lot going on, Yeah.
Speaker 1 (01:03:00):
But it's it's infectious.
Speaker 3 (01:03:02):
Man, It's it's just me and dj A men talk
about the ship all the time when we're like, what's
like the West Coast national anthem and like that includes
la that I'm just the entire West Coast and it's
it's I just you know, he's got his Bay Area bias.
Speaker 1 (01:03:19):
But I think it's blowla whistle. I was like, I
think it's if you just think.
Speaker 3 (01:03:22):
Of the national anthem for the West Coast, obviously there's like,
you know, nothing but a g thing, and you know
there's records, but blow the Whistle's done it.
Speaker 1 (01:03:31):
And I feel like me and forty have a.
Speaker 2 (01:03:35):
Lifelong friendly competition where it's okay to talk ship to
each other, it's okay to critique and help each other.
Speaker 1 (01:03:44):
And I wasn't keeping.
Speaker 2 (01:03:46):
Tabs, but obviously he was, Oh he's yeah, I'm sure
he's keeping tabs of.
Speaker 3 (01:03:52):
Tell me when to go versus bull the whistles. A
lot of fans figure trying to figure that out. Another debate,
and I.
Speaker 2 (01:04:00):
Forget what his logic was, but recently he said, all right, bro,
you won, you won, you won something.
Speaker 1 (01:04:06):
He got it.
Speaker 2 (01:04:06):
If we talked to him, he'll tell us what his
logic was. But that's funny, you know, they they both
took a long time to go platinum. They've officially platinum,
but something he has some mathematical.
Speaker 1 (01:04:17):
Equation where it blow the whistle one.
Speaker 3 (01:04:19):
I don't know. Yeah, it's interesting you are when I'm
a kid. My picture of who you are is too short,
scy one hundred bitches around him at all times, he's
just fucking fighting bitches off of sticks. If you had
to estimate not to get into your first what would
you say, is your body count well, Chamberlain like, because
(01:04:41):
you also have a song.
Speaker 2 (01:04:42):
About nineteen nine bitches. Yes, that was s must be
a funny song.
Speaker 1 (01:04:48):
It was hilarious, by the way. It was great with
the animated videos.
Speaker 2 (01:04:52):
So two short is a character that I made up,
and I don't think a lot of women would really
appreciate too Short per se. I've never tried to be
that way with women in real life. Yeah, all that
bit shit and some my dick bits, and I don't
do that. I played kind of the opposite a lot.
Speaker 1 (01:05:16):
Of times, like really like Todd is a different guy.
Speaker 2 (01:05:18):
Really like gentlemen. But now when you get over to
Todd Shaw, I've always even before I was famous, I
always had like girlfriends and just like cute girlfriends, and
they was like, you ugly motherfucking fuck up teeth, how
you get all these cute girls?
Speaker 1 (01:05:35):
And it was just always the game. I learned it
at a young age. And people come and say, well,
what's the count, what's the count? I'm just like, it
ain't no count.
Speaker 2 (01:05:49):
You know what it is like literally, Like you talked
to some of the people that roll with me over
the years, I'm super low key with everything these days,
but for fucking about a.
Speaker 1 (01:06:01):
Thirty year run, I had a bit of two or
three or four with me.
Speaker 2 (01:06:06):
At all times, like falsely wake up, everywhere we go,
going to lunch, go to the barbershop, it's bitch in
the car, Like I just I just love to be
around beautiful women. So whether I would be fucking her
or not, I'm like, let's go run around for a day,
(01:06:26):
let's hang out for the next three days, just whatever.
And I had a lot of female friends who fucking
dine pieces, who would stay with me, pack up shit
and just stay with me, and we would never even
have sex. But while I'm with her, i'd probably fuck
another girl and she'd just be helping me or cheering
(01:06:47):
me on to.
Speaker 1 (01:06:48):
Some bringer hold me through, just like, what was the
most amount of women you've been with it? Once? I
guess I can answer that. One man never like talking
about this kind of ship. But I figured, like.
Speaker 2 (01:07:05):
I figured, like in one night I had over and
over and over again all night with like four chicks,
and just it was just me, not having a fivesome,
but just all night, all morning, however long, just anytime
I wanted to just hit any one of the four.
(01:07:26):
And you know, it's not really like anything to brag,
not anything to brag on, because at some point it
becomes a burden on the individual who's supposedly, you know,
trying to pull this feet off. It's not it's your
tall task, yes, because but I was. I tell you
one thing that that that kind of shook me up
(01:07:46):
a little bit. They got they got to a point,
it's many many years ago that I would do my
little bragging and whatnot.
Speaker 1 (01:07:54):
I would be like, oh, you see her over there,
I hit that one time, two times or whatever, and.
Speaker 2 (01:08:00):
Some some a group of like super bad bitches walked
into a club or wherever we were one night and
I told my homie, I said, I fucked all four
of them. Not at the same time, Like over years,
I fucked all four of them, And he said, you
ever thought that maybe they fucked you?
Speaker 1 (01:08:20):
And I'm like, like what, they passed me around. He's
like maybe maybe.
Speaker 3 (01:08:24):
I'm like, damn, hey, because that's that's how you would
look at it. If one girl fucked your whole crew,
you'd be like, yeah, we passed her around, like you're
the whole grow I'm like, dang, the look at They
might have looked at you the same way.
Speaker 2 (01:08:37):
One of them told him it was cool, and then
the other one tried and they spread me around over.
Speaker 1 (01:08:41):
They passed me around.
Speaker 2 (01:08:42):
So you know, when you think about that and you
wake up after a night of like letting four women
have their way with you, and then you see another
group of four women that you had over a period
of time and they're all friends.
Speaker 1 (01:08:54):
It's not a good feeling, bro. It's not a good feeling.
Speaker 2 (01:08:57):
Like if I was a pimp and those are my
ex holes, so I'd be like, yeah, a bit, just
got money for me. But that wasn't the case. So
you know, after a while, I started being a little more.
I was a rock star at a young age. I
did that shit.
Speaker 1 (01:09:09):
I probably went on three tours and just was a
fucking horror. But yeah, I mean that's that was kind
of the game back.
Speaker 2 (01:09:15):
But I've also been in love and had long stretches
of not being a whole right, So I love life.
Speaker 1 (01:09:21):
Man.
Speaker 2 (01:09:21):
I enjoyed it, and I think I remember I was
like hitting thirty and I was like, I just want
to be a fun motherfucker for a while.
Speaker 1 (01:09:30):
I don't want to, man, you gotta settle down. You
ain't you get thirty nine. I just kind of want
to be fun for a little while. Over this is fun,
So I just have fun.
Speaker 3 (01:09:37):
Which you have really three chapters of your career, but
I would say like two definitive chapters. And it's really
it's really like, you know, the eighties up until it's
called it like oh one two or whatever. But then
you have this other era where the hyphie movement comes in.
(01:09:58):
You start working with different, different sounding production. You get
you know, there she goes slide down the pole and
gangsters and strippers and.
Speaker 1 (01:10:06):
I'm the log I'm forty years old, yeah, forty something.
Speaker 3 (01:10:09):
And all these records that like don't sound like old,
too short, but there they make you like they like
you said it earlier, like blow the Whistle gave you
career relevance forever, but like it. You have this whole
library of songs from the last twenty years that don't
sound anything like getting It.
Speaker 1 (01:10:30):
Don't you know that song don't act like a bitch? Yeah?
Speaker 2 (01:10:34):
I gave that song to E forty. That song came
from the Trunk Boys. The Trunk Boys had the song,
same hook, everything.
Speaker 1 (01:10:41):
And the shit fifty seven got on right. Yeah.
Speaker 2 (01:10:44):
The Trunk Boys is local group from the Bay and
they wanted to get me on a verse for a remix.
So the producer who made the song was like, when
we first made it, it was made for too short
to get on it. So I did the remix with them,
and some time went by, everybout a year or so,
(01:11:04):
and I just kept really feeling like that song was something,
and I got E forty to get on it, and
Forty was like, I want to put this on my album.
Speaker 1 (01:11:14):
So I called the Trunk Boys.
Speaker 2 (01:11:15):
I'm like, hey, forty wants to put a version out
with just me and him, but because it's your song,
both of us are going to give you guys a
free verse on whatever you want. And there was a
lot of little little drama with the song, but we
did it. It comes out it instantly, it hit now,
(01:11:35):
mind you, this was this was a song from there
mixtape two years before we dropped it.
Speaker 1 (01:11:42):
And then fifty gets on it. They probably feel even
more like, what the fuck fifties, even though we both
gave them verses? They had nine members in the group,
probably like it's a real barrier wang right there.
Speaker 2 (01:11:52):
Yeah, like five was cool and four was like, fuck that,
that's our song, you know what. The forty brought them
out on stage. We did a lot of I really
appreciate that the young homies, you know, let me do that.
But they had mixed emotions about it, and I understand
the whole way. But that is a big record for
(01:12:12):
E forty.
Speaker 1 (01:12:12):
Yeah, and I just literally go, here's a song, and
that's how we get down. Though. What is like your
favorite era?
Speaker 3 (01:12:18):
Though? But if you had to say the two when
if you divide your career kind of in half, I mean,
you're kind of doing it with this new series a bit.
Speaker 2 (01:12:26):
Okay, so early on we're just like kids, you know,
twenty twenty one. I even had an early career too,
Like I was pretty fucking famous in the Bay before
I coore jump out, and I was doing shows and
having a ball and living the rap life. But when
I go on tour, I was on the straight out
(01:12:47):
of the Compton tour with NWA. Easy hit me up,
you want to go, I'm going on tour.
Speaker 1 (01:12:51):
You want to go? Hell yeah, I want to go.
Speaker 2 (01:12:53):
So I go on tour with them, and DC's on
tour above the Laws on the tour. JJ FADDs on
the tour and I'm a fucking instant rock star.
Speaker 1 (01:13:04):
Is that the tour hosted?
Speaker 2 (01:13:06):
Yeah, he's the comedian coming out in between all the acts.
Nineteen eighty nine and I'm a fucking rock star day
and night, every day. Even when the tour ends, you know,
I'm still doing my two shirt show. I'm a fucking
rock star.
Speaker 1 (01:13:21):
Next year, ice Cube is no longer in n WA.
He drops then album. He wants to go on tour.
Speaker 2 (01:13:28):
Me and him became really good friends on the Struggle
after tour, so we go out co headline of tour,
fucking rock star.
Speaker 1 (01:13:35):
I The next year, Spice.
Speaker 2 (01:13:40):
One gets hot. Spice One, man, you know, I'm on
like third platinum Altum, Like, let's go out.
Speaker 1 (01:13:46):
Me and Spice One go.
Speaker 2 (01:13:47):
Out fucking rock star also on drive right, Yeah, yeah,
because of me by way of you know, this is
just the affiliation.
Speaker 1 (01:13:54):
But that was a lot of fun, fucking fun. They're
talking about like five years of just fuck it man,
also having fun without having to worry about the social media.
Yeah at a page, I've called you back if I
feel like you know. And I think that stands out,
(01:14:17):
just that run of just being young, not having it
and not knowing better almoment, not having to call nobody.
You know, I didn't have a girlfriend. I was just
like floating and that was a fun run.
Speaker 2 (01:14:31):
But then later on, I'm well established, I know how
to move around. I got the right people around me.
I always had good people around me. But I'm seasoned,
and now I.
Speaker 1 (01:14:44):
Get this run with blow the whistle and shake that monkey.
I literally.
Speaker 2 (01:14:49):
Started doing a hustle or I was like, if it's
Monday through Thursday, you can give me five six seven grand,
I'll come to.
Speaker 1 (01:14:58):
Your club and rap, blow the whistle and shake that
monkey and leave.
Speaker 2 (01:15:03):
And I would do two three clubs in the night,
like I would. I would make a lot of money
on the weekends, but I would make a lot of
money during the week just walking in the clubs and
we're having fun, like set me up at a table bottles,
and it just looked like I'm out there just balling
everywhere I get on.
Speaker 1 (01:15:17):
The mic, rock and shit.
Speaker 2 (01:15:18):
So I did that ship for probably fucking ten years,
and that got me through the recession. The recession hit
I'm partying and shit ain't really like on my a
game on, like you know, my multiple hustles clicking. Shit
caught it caught the motherfucker off guard. I'm talking like
eight oh no concert, shit slowed down, motherfucker start penny pinsion.
(01:15:39):
But these two songs allowed me to go make fucking
twenty grand a week, you know, fucking around if I go,
you know, or.
Speaker 1 (01:15:46):
More just doing walk through. They called them to walk through,
like the cheap ass promoter.
Speaker 2 (01:15:51):
Sure that didn't really want to you know, you want
to put out the flyer too short live, but I'm
really only going to sing two songs and they call
it to walk through.
Speaker 1 (01:15:58):
The walk through was cool. I don't really do them
shits no more, but that was a fun erra though,
I like not really I was doing.
Speaker 2 (01:16:06):
Shows, the real show, but this this little floating around
the West coast or wherever popping up. I'm gonna go
to Scottsdale as a forty something, you're a rapper, and
shit was fun and it's like I'm every time I'm
doing this to this very day. The census is you're
(01:16:28):
supposed to be expired. Bro, Like, you're not supposed to
be in Seattle last night rocking twenty thousand people like,
what the fuck are you doing?
Speaker 1 (01:16:38):
I'm like, can't stop me.
Speaker 3 (01:16:40):
So you guys dropped Mount Wesmore, which you guys did
a dope run on the road with that.
Speaker 1 (01:16:47):
I think it.
Speaker 3 (01:16:49):
I would would you say that a lot like the
fans might have been a little little disappointed with the album.
Speaker 1 (01:16:55):
I think that people don't know for bosses, four egos,
for different sound, four busy schedules, it was a very
small window of everybody on the same page.
Speaker 2 (01:17:11):
And literally what I think happened was we did a
lot of shit, a lot of songs, a lot of
putting together the project, and then it started getting a
little too close to the Snoop Dogg super Bowl.
Speaker 1 (01:17:31):
Appearance and stoops on his crypto wave try to do
the NFT. He just shit started happening, And I think
that the schedules, the schedules started clashing to where it
would have been a tour, it would have been all
this other ship, and time just ran out where that
(01:17:54):
window of everybody on the same page, it just kind
of ran out.
Speaker 2 (01:17:58):
That's that's my personal opinion. I'm sure you will get
four different answers if all four of us.
Speaker 1 (01:18:03):
I think I talked to Cube about it. He caun't
pretty much share the same sentiment.
Speaker 3 (01:18:06):
But we have.
Speaker 2 (01:18:08):
Another album and a half worth of music that sounds
really fucking good, and everybody's I send a little sarcastic
text messages in the group text every now and then
because I'm like, I'm like, I know, you guys are
all rich and busy and shit, but we got this
dope ass album laying around, Like, let's come up with
(01:18:29):
a scheme, any kind of scheme. You don't have to
put the album out. We could just start putting singles out.
Let's just do what the fuck this goodass music laying around.
And I always started off like, I'm like, you guys
are just too fucking rich to Yeah.
Speaker 3 (01:18:42):
Cube just got his ship out right, Yeah, God the
Missionary came out, so maybe you know, but it's like
you said, everybody's too fucking rich, to.
Speaker 1 (01:18:49):
Busy too they give a fuck. So I think.
Speaker 2 (01:18:55):
I think that at some point the fans are gonna
hear it. I think that the album that came out
would have been worked if it came out a little sooner.
Speaker 3 (01:19:05):
Yeah, and then you guys also did like an NFT
release on it first, which is kind of weird.
Speaker 2 (01:19:09):
But then you gotta flip to the positive side because
I did an album with Snoop Dogg E forty and Ice.
Speaker 1 (01:19:15):
Can you did a tour?
Speaker 2 (01:19:16):
And I promise you, I would promise you that Mount
Westmore made millions of dollars.
Speaker 1 (01:19:25):
No matter where you think of landed. They they they
have so many deals intact that it was.
Speaker 2 (01:19:32):
It was a very good It was very good for everybody.
It was great, and it would have been we actually,
and I've never been involved with anything like this in
my life. We turned down like fucking like a twenty
million dollar tour or some shit that was only probably
like fucking it was only it wasn't twenty shows.
Speaker 1 (01:19:49):
It was you were You were probably like about, who
the fuck does this are we voting on this? Because
if so?
Speaker 2 (01:19:56):
So, yeah, it's that kind of And I know I'm
like I'm in is super group, and I'm like, it's
not the kind of situation where you try to boss
up because everybody's a fucking boss.
Speaker 1 (01:20:10):
So it's like, we just got to work together, find
the compromise. Find I took the role in the group.
Speaker 2 (01:20:18):
I'm like, I will go through all kind of links
of making sure the music is organized and all the
files are in the right place, and all the songs
get ready for whoever's gonna mix them in. Every everybody's
verse gets turned in and put in the same session
and all this shit. But I'm not gonna fucking come
(01:20:40):
up with the marketing plan. I'm not telling you motherfuckers
when the tour. I'm not picking the merch company. I
ain't doing none of that shit because all you boss
motherfuckers know everything.
Speaker 1 (01:20:48):
I'm like, y'all know everything. Just just my job is
the music, So let me organize everything. Yeah, so that's
what I did, get the sessions together. All that forty
was our number one beat picker. It sounds like it.
He calls this of a beat picker.
Speaker 3 (01:21:02):
That actually makes a lot of sense hearing it. Yeah,
you know the thing you're talking about Oakland. A little
bit earlier, you know, obviously the Bays crazy place right now,
the Bipping is out of control. You know, it's a
pretty wild place. You recently lost your brother earlier this year.
(01:21:22):
I currently imagine you're still mourning that loss.
Speaker 1 (01:21:28):
How you feeling man like? I mean that that was
in January, you know where, Yeah, when you.
Speaker 2 (01:21:36):
Lived the life that we lived, Me, my brothers, some
of the homies. You know, we we've survived a lot
of shit. And not not like I was wilding in
the streets selling dope and drugs, but I've been in
the streets a lot of my life. And when you
in that environment, that chance is always there. I've been around.
Speaker 1 (01:21:57):
Dozens of shootings.
Speaker 2 (01:22:01):
I caldn't even count how many times I've been around
when somebody started shooting very close to where we're at.
I've been in situations where close friends of mine were
sworn that they were going to murder each other and
we were all good friends, and they're like, kill that
motherfucker when I see him. And I've been around, you
know a lot of situations where we had to bury
(01:22:22):
the homies. You know, we grew up and we started
burying the homies kids through violence. And you just think
that My brother was about to be sixty two, and
you just think that you made it past that shit.
You know, I try to stay out the way. A
lot of og say I try to stay out the way,
(01:22:45):
but how far out the way is out the way?
Because what happened to him came to find him. He
wasn't out in no bullshit. It came to where he's
always at. He didn't move around a lot, and you know,
he was just defending the spot where he was at.
So you know, I know how it all went down.
It's some township.
Speaker 3 (01:23:06):
It was.
Speaker 1 (01:23:08):
It was some ship that you know. It's just it's
the town bro like it's and.
Speaker 2 (01:23:14):
Uh, you just gotta deal with it. You gotta deal
with it, and however the way, however which way you
want to deal with it.
Speaker 1 (01:23:19):
I think.
Speaker 2 (01:23:22):
I have received so many blessings from Oakland, California, that
I can't blame.
Speaker 1 (01:23:29):
The city for what happened. It's not it's not Oakland's fault.
Speaker 2 (01:23:33):
The environment whatever created the problem that caused that. But
I don't blame Oakland, not the Oakland that I love.
And somebody worded it to me in a way that
that sticks with me. And they just said to me
they said, this town we love can really be mean sometimes,
(01:23:56):
and it really can, and it can really be fun
and really educational, and you know, it's revolutionary, and there's
a lot of shit. So I just think that sixty
one years gun down, that's that's an anomaly. It's not
not a real normal thing. So you know, it's just
some shit that happened. And you know, my brother was
(01:24:18):
the kind of person who I talked. I talked to
a lot of people about this shit. Like somebody rammed
a car into the garage door, and he went out
there pistol in hand to go see what happened, and
he as they were shooting at him, he was shooting
at them.
Speaker 1 (01:24:36):
Most of us would have the same gun that he had.
Speaker 2 (01:24:40):
Somebody would ram that garage door, and we might probably
probably try to be sort of strategic and like, well,
if this motherfucker comes in, I'm gonna be behind here.
And you know, but my brother he runs out shooting.
That's that's that was him. And we all, all of
us that know and love him, was like, what else was.
Speaker 1 (01:24:58):
He gonna do? That's him?
Speaker 2 (01:25:00):
You know I could have told him a million times, Bro,
you got all these angles in the building, probably when
they come in the door.
Speaker 1 (01:25:07):
But he ain't think like that, So you know, I
don't I don't mourn him in a way that this
was a sad thing that happened. It was some township.
It could have happened that anybody, you know, And it's
just like I just I just I wrestled with the
part about the age. I'm like Dad, we made it
(01:25:27):
past it.
Speaker 2 (01:25:28):
We talked so much about all the homies, about surviving,
about doing it right, about not doing stupid shit, and
then this happened. So you know, I got a lot
of a lot of love. I don't know how you
would feel about it, but a lot of people reached
out just to you know, just to acknowledge what happened,
and a lot of people that knew him, and a
(01:25:49):
lot of people that knew me, and you know, shit,
it was very impactful.
Speaker 1 (01:25:57):
In the industry, Like it just yeah, a lot of
people to your brother, because remember talking a few folks
from the Bay and not you know, he had a
lot of friends that were my friends. He had a
lot of high regard people that he knew that I
didn't even know.
Speaker 2 (01:26:10):
So I'm just getting shipped from everywhere. He also lived
in Atlanta with me, So we had a lot of
friends out there. Uh, you know, then my whole life,
a lot of people in LA family.
Speaker 1 (01:26:20):
Right, so yeah, you know L R. P. Wayne Lowe
for sure. All right, So this album is coming out
next Friday, the first of four three three part serious three. Okay,
that's well.
Speaker 3 (01:26:31):
You know why I said that, because you told me
you were doing the double album Little John, or you
did two albums.
Speaker 2 (01:26:35):
Well, the Little John will come out and there will
be sorry, a bunch of reserve songs.
Speaker 3 (01:26:42):
Yeah.
Speaker 1 (01:26:42):
In my head, I'm putting the Little.
Speaker 2 (01:26:44):
John extra songs in the same folder as the unreleased
Mount Wes Moore song. Got it And I just listened
to him, love him, keep them to myself, playing with people,
riding in my car.
Speaker 1 (01:26:54):
They like, put this ship out. I hear that so much.
You don't put this ship out.
Speaker 3 (01:27:00):
Listen, man, you were one of the greatest rappers of
all time. I appreciate you sitting down and uh, I
can't wait to hear the new ship because yeah.
Speaker 2 (01:27:08):
We're stretching the the age limit. We're swimming, floating off
into the uncharted waters of hip hop.
Speaker 1 (01:27:17):
How far can this go? How far can you extend?
How long can you extend it? Do you do you
still keep in contact with Hove at all? Or is
that somebody who like because he seems like such an
unreachable Well, we never were telephone buddies. Okay, so you guys,
you guys, just it was just a work relationship. Yeah,
you get to the sixty second was a yeah, what's up, hey,
I got something for you. I'm gonna say it your way.
(01:27:38):
It's always a you know, a you know, a salute
when you see him. A lot a lot of us
are like that. Man.
Speaker 2 (01:27:44):
It's you know, we don't choose the prior into each
other's personal lives, but when I see you, what's up, hommy?
Speaker 1 (01:27:50):
Yeah?
Speaker 3 (01:27:51):
Well look listening to the album on the eighteenth pre
order it new single coming this week, still macking, still macking, man.
I'm happy to hear aunt bass on.
Speaker 1 (01:28:02):
I brought the Cadillac back to I re whipped the Cadillac.
Speaker 2 (01:28:06):
I called the homies in Alabama, spokes and vogues, and
they built me a white on white on white Cadillac.
Speaker 3 (01:28:13):
First I had the black so like similar to the
Born to Mac car. Yeah, same car, oh, same car,
same car, not the exact same same model, same year
or whatever.
Speaker 2 (01:28:22):
Yeah, then I took that one, made it three times burgundy,
and now we're all white.
Speaker 1 (01:28:26):
I love triple white. There it is, man short, dog
too short. I appreciate you, bro, for sure. There it
is
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