January 9, 2026 • 25 mins
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Speaker 1 (00:03):
Who black Cap Podcast man special guests in here og
wild Child you already know y'all might know him as
a part of the legendary Loop. Pat just dropped your
new album, Child of a Kingsman August, Yeah, August twenty second. Man,
and you've been running around all year? When did the
tour end with Murders Overseas?
Speaker 2 (00:22):
We ended like first week of December? Oh after a
month long? Guess got back? Yeah? Man, just got back.
A whole month was out there? Man? What is like?
Speaker 1 (00:32):
Because I feel like, for whatever reason, like I feel
like overseas they appreciate like real hip hop monk since.
Speaker 2 (00:37):
That you know what I think? When you see things
from Afar and you don't get it, you don't get
a lot of it thrown at you. I think the
level of appreciation is there, to be honest, all the
years I've ever toured, I always keep hearing people say
their appreciation is still there.
Speaker 1 (00:57):
You know what I'm saying, Like they don't take they
never take it for right. I think that's I think
right here?
Speaker 2 (01:02):
Yeah, that's pretty much. Well it all pulled. It all
boils down.
Speaker 1 (01:05):
To what is like the coolest city? Do you think
you guys went to over there in terms of just
like reaction and crowd.
Speaker 2 (01:13):
Portugal Lisbon, Yeah, Lisbon in Portugal. Yeah, that was like because,
to be honest, that was my first time mad lib
Rome's as a louppac. We never played out there. We've
played places that were near where people would travel from
Portugal to come there. So when we happened to land
there this time, I had people coming up saying, twenty
(01:33):
some years ago I flew or went over to this
area to go see you guys. So to see you
in my home city is like bananas, And that was
like probably the most welcomed area that we went to.
Speaker 1 (01:45):
I wonder for you, Like, uh, there's there was like
a such an incredible La Southern California like underground movement
in the nineties and like early two thousands you got
you guys, Dilate J five shit, Calie Agents, shouts to
(02:05):
Roscoe and Planet Asia and there's just so much incredible,
like you know, just dope underground shit going on in LA.
It was almost like this whole other world out here,
like you everyone else here's about gangs, the rap, but
there was this other thing going on in LA. What
was that era? Like, man, you know.
Speaker 2 (02:22):
It was just inspiring because we just loved music. I
got Roams, who's like the vinyl collector of music, mad Lib,
who's always digging for records and jazz and educating me
on that and funk. Then I also have my uncles
who always educated. One was like a bee boy, the
other was like a record collector, which a lot of
(02:43):
people don't know. He was trading records with Madly before
I even met Mahadlib, which is funny. But that vibe
that era was just dope because I remember when every
time a release would come out, we would always be like, Okay,
we know this album is dropping, mad if you be
the one to buy the album, and we all just
sit and vibe it.
Speaker 1 (03:03):
That's how it used to be. People don't understand, like.
Speaker 2 (03:05):
Yeah, we're like who's who, Yeah, who's bye. We used
to literally flip, you know, head rock paper says all right, boom,
and what we would do is we would take that
album and use it as our daily soundtrack to wherever
we're driving at the time. We used to dance on
Soul Trade, so we would roll up to Soul Train
listening to that, or we'd be rolling out to Santa Barbara,
(03:26):
which is where we used to you know, live at
the radio station there, and all we would do is
either play a new release Madams B tape or Far
Side Freestyle Fellowship on repeat. Yeah, you know, but every
time there was always something dope we noticed about each album.
We studied the lyrics, studied the beats, who's producing what,
(03:47):
who's featured on what, and it was just inspiration. You know.
I worked at a record store at the time too,
so it was like in Ox Start, that's where the Licks.
That's how I met the Licks. They came in and
me and now they came in. They actually came in
to look at their first single with King t got
a bad y'all. Yeah, a lot of people don't know.
(04:09):
They came to peep out what was there. And I
didn't really talk that much. I said like the worst
things you could ever say. But instead of playing the
music that I was supposed to play in the store,
I was playing the CDP demo, the lou Packed demo,
And that was pretty much how we the Loupack and
the Licks made the connection, ended up the end up
on the album and turned the party out with on
(04:31):
the twenty one and over. That's how we linked that
with them. Yeah, yeah, yeah, but it was like a
weird you know, progress at that point. But there was
just so much inspiration going on, different people doing stuff,
or there was rumbles of new people coming out the licks,
which that was the first time we're hearing the the
name the alcoholics Wu Tang when no one even knew
who Wu Tang was. Yeah, the far I mad Cap
(04:53):
and all that stuff. But it was inspiration, like I said,
And and I would still myself go to a lot
of B boy events, so I was heavily engulfed in
the dance at that same time too.
Speaker 1 (05:05):
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Speaker 2 (05:59):
There we go.
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socks dot Com. Let's get back to the interview. What
was uh being around Doom? Like, Oh, that was bananas because, uh,
(06:48):
you're in mad Villainy, which is yeah, some people would
consider it like a top ten some people got to
hire than that. Like depending on who you ask, it's
like one of the greatest hip hop albums of all time.
I think it is, but you're on that. So that
was a crazy pocket of Like obviously fast forward a bit,
but what was it like working with dooman kind of
being around during the creation of that body of work?
Speaker 2 (07:11):
Man, I was a fan and I'm still a fan
Recipees Doom respect to his family. It was just crazy
because like when I got that bat signal from mad
Lib to come through, I was really busy with my son,
who was an acting or attempting to get into acting
at that time. So it was one of those things
where like now, if you call someone, y'all want to
do a song, right, and if you say, oh, I'm
(07:32):
busy this week, maybe we could do next week. Maybe.
Back then, it was like you get that car, You're like,
all right, I'm there. I'll be there for forty five minutes.
But when when we're doing what was dope is. I
remember before we even got to the concept of the joint,
we went out to just to celebrate and I was
doing I think I was doing a solo documentary at
(07:53):
the time, the Wilden You where he gave me a
shot out on there and we started talking about the song.
But he was like, ya, I just want to go
out and hang out to celebrate. I'm not really the
avid drinker. I wasn't really clubbing like that. But we
went to go cool out with Doom. So we go
to this club and I remember I'm with mad libing Doom.
But what tripped me out was while everyone's in the
(08:16):
club that are normally naturally used to seeing Loupac be
there and greet us or whatnot, I see other people
like a Charlie Tuna. I think I see my brother
Jay from X Clan, and people coming up talking about
the lou Pac and this and this and that and
times just going on. And the whole time Doom's standing
(08:38):
like right next to me without a mask on, and
no one's even recognizing them, Like Clark Kent, you know
that no one even recognized. So that was the only
thing that was going through my mind. Mad It was
probably normal for mad Lib for them to be like that,
but for me, I was just sitting there like, Okay,
this is bananas and.
Speaker 1 (08:53):
You knew you knew it was him?
Speaker 2 (08:55):
Yeah, I knew it was him, But like I said,
I just never that was the first time being the
outside world.
Speaker 1 (09:01):
You know, he didn't have the mask on, where he
didn't have the mask on. Yeah, Loki, I was like
his disguise.
Speaker 2 (09:06):
I couldn't believe it, man, but it was just dope.
We did the joint and I think there's like an
original because what I think made the album was an
altered version which they took his vocals and threw it
on another joint. And that's how I still ended up.
God blessed staying on the album and then going from
that to even performing the joint during I think Coachella
(09:28):
was the first time my daughter was with me, so
that was her first time meeting him. But what's even
crazy is I never told my son, who was born later,
and it just let me know how much this music
transcends time. Because my son's about to be twenty one now,
and I remember when he was about to be twenty nineteen.
(09:49):
He yells up out of nowhere, like he almost cussed
me out, which is funny. And I go into his room,
like what's wrong, and he's like, how could you not
tell me? You know you on the Math Villain record?
And I'm like, why would you even be know about
that record? Why would we even be having this conversation.
Speaker 1 (10:03):
About that pocket Because my kid's nineteen and him and
all his friends love MF Doom.
Speaker 2 (10:08):
See that's proceeded.
Speaker 1 (10:10):
That's that's crazy.
Speaker 2 (10:11):
It's beyond crazy.
Speaker 1 (10:12):
Like I try to put them on nas and they
don't want to hear. They're just ye doom. Yeah, like
they don't they don't care about imatic, they don't care
about thirty six. They want m F Doom.
Speaker 2 (10:19):
Dude. I took my son to a dance event that
we used to go to annually. He's about five years old.
In Paris. We go to the event. The promoter say, hey,
now that you have your sign here, we're good. We
got a day off. You want to go to this concert?
I heard your boy is in town? Really? Who the
math Doom? Oh? Snap? So you know we get the
(10:40):
people calling our people their people. We get up in there,
but I'm like, wait, I got my cell with me,
is there any way that I could get him in
because of the age. They ended up letting him in
and that ended up being his first rap concert. I
took him to plenty concerts before, but they've always been
fucking soul and all that. But that was his first concert.
Was rap concer was MF. Doom and he's b boying
(11:02):
and dancing in the back, not listening obviously to the lyrics.
But all he ever told me was one day, I
want that mask. So I ended up getting him the mask,
and twenty years later he's getting mad at me that
I didn't tell him that the Mad Villain Project even
happened and stuff. But I just wish Doom was alive
to see that, cause there's there's been so many instances.
(11:22):
Case in point, I went to Coachella, saw this kid
walking around all the thousands of masks he could wear,
He's wearing an MF. Do mask. I'm like, yo, come here, man,
what's up with that mask? What made you wear that?
How old are you? Oh? I'm like sixteen? Oh, man,
come here real quick. So I pulled my camera. I
didn't even say anything. I didn't explain who I was
or nothing, and I'm like, yo, man, and I start recording, Yo,
(11:46):
what's up your mad Lib? I need you to see
this right now. This boy is sixteen years old. Boom
boom boom, and he starts naming all this stuff. But
I think it went over his head who I said
at the beginning, and he was like, wait, you're sending
this to mad Lip. He starts crying, Yeah, sixteen years old,
naming all the lyrics, naming all the songs. So it's
just stuff like that that imagine if Doom was alive
(12:07):
and he was able to see stuff like that. So
I appreciate that from you know.
Speaker 1 (12:11):
When did you realize like Madly was a genius?
Speaker 2 (12:14):
Oh man, when mad It was a genius? I probably
would say, yeah, that's a good question. I think it
was when we used to as a crew, our CDP
crew and stuff, when we would record records. Most people
when they record demos, they end up being labeled as
(12:36):
demos or whatever. When Madli would do it, he was
doing it as practice for all of us as MC's right.
So he was almost like our eight oh five Oxnard
version of Rizard, and he had a vision. He wasn't
really telling us. He would just be like, I need
to join this, jump on this. Me med jump on this.
Oh no, I need to join this. You know, Kazi,
(12:56):
let me have you do this, do the album. But
he wouldn't tell us what it was. When we all
get together and we're going out to a club or
a dance battle we're gonna go to, he's playing what
he had put together and it literally sounded like a
full on album. He would do that almost every other week.
That's when I knew, But I wasn't really grasping because
(13:17):
it was like fun for us. We never knew because
we weren't looking at the future where we would go.
So I just realized when he was doing in real
time it was just dope.
Speaker 1 (13:25):
Yeah, almost like every time you guys would get in
a car and be like, oh shit, you took all that.
Speaker 2 (13:29):
Yeah, yeah, that's exactly That's exactly what he would do.
But it was just it was like he was showing
off how he could produce somebody's record, right. He was
literally from the You know, he might not have the
best mixes, but the rawness is what made it dope,
to be honest. The fact that wasn't mixed made it
even that much dope. So when we heard mad Villain,
it wasn't a surprise. It was like, Okay, we know
(13:52):
he's been doing stuff like this, chopping up vocals, taking it,
flipping it, making the beats in the pocket. He was
always been doing stuff like that. And he's just multi.
He's well rounded in the music listening. You know, his
uncle was John Fattis, famous jazz players. Pops was a singer,
so it was it was inevitable that he would do
(14:13):
what he would, you know, end up becoming what he is.
Speaker 1 (14:16):
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sure you shoot them a visit. Do you get like
are you privy to hearing any of these? You know,
projects that we always hear exist, but I'm not sure
wherever we'll get. Like there's like the Mad Live Mac Miller. Shit,
there's supposedly a Kanye Is it Kanye in mad or
(15:00):
is it Kendrick and mad Lib? I know there's a
lot of music that we always hear, like, oh, Mad
Live did a whole album with so and so. Yeah,
but then and then I know he's going through with
his ex management and all that. Yeah, Like do you
get to hear any of this stuff?
Speaker 2 (15:15):
I've heard some stuff through the rumbles, you know, like
when we would travel he plays something, or if he
was DJing when we're overseas, he would throw you know,
he'll play it so spontaneous without a warning, you know,
and and I'll just be sitting there and I'm a fan,
so I'll be sitting there, you know, hyping the crowd
up form or whatever, and I'll catch myself on the
mic like wait, hold up, what the hell is that?
(15:36):
What you know? And it'll be something yeah that's not
even out, you know what I'm saying. Like case in point,
I remember him playing something with Black Dot and it
was just like YO, and then mac miller, you know, and.
Speaker 1 (15:48):
It's just dope and black black thought and mc miller together. No,
it was separate, separate joints.
Speaker 2 (15:54):
And then it'll be funny because it'll be we get
back in the car and we're headed to the hotel. Yo.
That point you play what's that, He'll be like like, oh, no,
don't worry about it. Don't worry about that. You know
what I'm saying. So it's just dope because he has
that as a disposed as his disposal. But and and shoot,
there was time I remember one time he was playing joints.
Crowd was bananas and he had it on the CD
and me and metaphor was tripping because he had the
(16:16):
CD and he took the CD and threw it at
the crowd.
Speaker 1 (16:20):
Oh, he threw it.
Speaker 2 (16:21):
At the crowd. So anybody in the crowd would have
just dove and oh what, not realizing what they got.
What he's throwing. That's like having for us or DJ's
a white label of something you just got, sure and
throw the white label out. But he threw it at
the crowd. But it didn't go so well because he
threw it and then it hit the barricade of the
crowd and the barricade so the crowd never got access
to it. I'm like, what was you doing? He's like, Nah,
(16:43):
I was just in the moment and just for the people.
If they like it, they like it. And then but
see someone like the way what's Zebra Matt, He'll do
be like it don't matter. By the time it comes out,
it'll be a different version, alredmix it or do something different.
Speaker 1 (16:55):
But if you have the CD, you're like, I got.
Speaker 2 (16:57):
To yeah, you know, that's just him. He's always spontaneous.
I think the one thing that stands out with Malib
that makes it was an imprint on all of us
is he was always like, we'll do the music for
us to make us happy. If the people like it,
hopefully they like it. If they don't, so be it.
Speaker 1 (17:14):
Do you guys feel like coming up in the eight
oh five, like you guys kind of just automatically have
a bit of a chip on your shoulder, because nah,
I feel like Oxnard Ventura like, and we don't really
like I feel like we don't associate that with LA
I know, but if you're if you're not from LA,
you just think it's all right.
Speaker 2 (17:32):
Now, you know what, We just had an appreciation of music.
We we understood who the Mount rushmore of the West
Coast was and the East Coast, and we were fans
still learning, still growing, wishing to collaborate and work with
and get the respect from our peers, and but we
also wanted to show that we got we got that
energy as well to compete and with the best of them,
(17:53):
you know what I'm saying. So it's just like playing basketball.
You come from a city and you get on the
court and you find out all these other guys and
what they came from. But you know, hey, give me
the rock. I know I can handle the two. And
that's pretty much what we ingrained ourself. And we never
had a chip on our shoulder somewhere. We just we
just know that from Oxnard, there's not a lot of
artists that may or may not come out representing that.
(18:14):
So we always made it clear we might live in
LA or go to LA, but we're not from LA.
But it's just dope because I mean, obviously time has grown.
You see other actors come out and from there. Yeah, Yle, yeah, Kyle,
you know what I'm saying. But it's just it's it's
just bananas.
Speaker 1 (18:33):
Man beautiful area too. I feel like people like venture
is such a vibe. Yeah.
Speaker 2 (18:39):
I was watching the Prices right one time and they're like,
you're gonna win a trip all expace trip expense paid
trip to Oxnar count for but most people know it
just for like the calip the Robberry Festival.
Speaker 1 (18:51):
Yeah.
Speaker 2 (18:52):
Yeah, but I mean some people know. I mean, thankfully,
Like I said, with Anderson Pack doing the album titling
that Oxnard that did put Now when we say where
are you from, we say.
Speaker 1 (19:01):
Oxtend speak there in Mambo Mambo out there.
Speaker 2 (19:04):
Yeah that's the fan. That's the fan praying for Mambo
right now in this time what he's going through. But yeah,
but yeah, that's pretty much what we always wanted to do,
is put any stamp we could on ox Start and
let them know cats can do stuff on a on
an art level, whether it be music, dance, acting, like
like in case, I point my son. A lot of
people don't know my son Miles is from the show
(19:26):
Blackish and and even what he's doing inspiring other kids
around the world, and a lot of these kids see
that and they're thinking, all we thought we had to
be part of the Los Angeles Hollywood audience or proud
to make it and so just that inspiration is just the.
Speaker 1 (19:46):
Was he growing up in. Yeah, so you guys are
just come out here for auditions.
Speaker 2 (19:50):
We would come out to auditions, dance events and that
was it. We drove back and forth so many times.
It's ridiculous, Like it's.
Speaker 1 (19:57):
A hard grind man that act. I feel like the
acting game, Like do you feel like I mean, obviously
you're close to it because your son, like m is
the AI thing taken away because I think eventually there's
not going to be extras and some of these like
background parts are just not going to exist.
Speaker 2 (20:13):
It's it's it's pretty scary. I don't know where it's
gonna go. AI. I just feel like I just feel
like sometimes technology might be to ahead of control, which
I don't know if it's meant to be controlled, because
it's like when it's almost reminded me of hip hop.
It just shrum you know, when no one knew it
was going to go the way it went. Here comes AI.
(20:35):
No one knows where it's going to go. Everyone's on
the fearful side. You know. Now you're seeing producers being
rumored to be using AI to benefit them.
Speaker 1 (20:43):
So in the act, Yeah, yeah, I was talking to
my boy and he was like, uh, who were just
talking to the city were using AI for sampling? Thursday,
that's right, Thursday. Yeah. He was saying that when it
came when it comes to certain things like if they
want some vocal samples or something, yes, they'll they could
(21:05):
create it through this app, chop it right, and then
they don't have to worry about getting cleared because they're likeyo,
we're independent. So like clearing like going to reata Franklin
sample or some ship like that, it's tough exactly. So
it's like if I can get a sample to sound
exactly how I want it, and then and I'm still
chopping it, I'm still it's kind of like a new
version of digging. Right, I respect that way, see that,
(21:26):
because that's that's it while still being right. You know,
great artists and created.
Speaker 2 (21:31):
And see that part right there is the key. But
see some people take advantage of it, become lazy and
then now.
Speaker 1 (21:36):
You can take a whole beat.
Speaker 2 (21:38):
Yeah. Like it's like it's like what Prince said, what
do you say, what do you say? Use the computer?
Don't let the computer you get same ship. Yeah, and
you can flip it in the way you can. And
I remember even with the executioners when they were talking
about that level of vinyl to Serrado, how they at
one time didn't like it, but feel like if you
(22:01):
control it and you could flip it in a way
that is beneficial but still be creative and don't lose
the input of the talent that you got, then that's
dope because you're using it as a tool. But when
some people rely on it and now, like AI, it's
taken over people who put their heart, blood and soul
in something, it's a different thing. And that's the thing.
It's like, literally, it's almost reminds me of hip hop.
(22:23):
They wanted hip hop to be like this, but it
blew up to what it is now. And things can
be controlled to a certain degree, to a certain degree,
so it's like, how do you argue that point. Something
that's helping us move forward but it's not controlled. Is
that a good thing or a bad thing?
Speaker 1 (22:39):
Right?
Speaker 2 (22:40):
You know?
Speaker 1 (22:40):
So listen, your album is out, Yes, sir go support it?
Will you guys ever do another loop pack project?
Speaker 2 (22:47):
Do you think you know? This crazy thing is man?
Malid don't rap anymore. That's a lot of people don't
know if he stopped rapping, and they forget that. So
we can't really do a loop packed project. It would
be more or less obviously a full wild tied exactly,
especially with Rome's involved. Crazy thing is case in point
New Year's twenty twenty five. He sent me after what
(23:09):
thirty years of us not really talking about it, but
whenever it was gonna happen, and what happened. He sends
me the first beat and I wake up New Year's
Day this year, Oh snaps, that's what I think it is.
Let's roll. Because he was with me during the whole
process of working on the Child of a Kinsman. So
he was like, all right, I'll refrain from joining this
(23:30):
project and let's get going on a new one. Whenever
it is. I'm like, cool, whenever you Because he got
so much things he's juggling, I get it. Get the beat.
Five days later, his houseprinds down.
Speaker 1 (23:41):
He said, a rough year.
Speaker 2 (23:42):
Yeah.
Speaker 1 (23:43):
Yeah.
Speaker 2 (23:43):
So when that happened, I was just like, what is
God saying here? So he knows I'm always here for him.
Music ain't going to change, and that's my best. That's
my bro right there. So when it happens, it happens,
and God willing, he gets back on his feet and
then we can give the fans what they want.
Speaker 1 (23:58):
There it is will look, we're going to have this
dude wrap on another YouTube video freestyle coming up, wild Child.
The album is out go support. We can be hitting
the road anytime soon or do you kind of resting.
Speaker 2 (24:10):
Rumbling on some things that are coming up for twenty
six It's hard to really speak on it now, but
I know that fans are going to be definitely excited
to see. But we're gonna be represented soon. Just got
linked up to do the Blue Note Lai.
Speaker 1 (24:24):
Yeah, the Blue Note has been putting some dope shows together.
Speaker 2 (24:27):
Yeah.
Speaker 1 (24:27):
Man, so like I don't even like I like see
I'm like wait a minute, yep. Terres Martin's at the
Blue Note, yeah man, or like Killer Mike.
Speaker 2 (24:35):
Or yeah, you never know. That spot is dope. Shout
out to Robert Glasper helping making it happen. But the Multiverse,
which is what I call it, will be coming to
the Blue Note soon.
Speaker 1 (24:43):
There it is good ship, wild Child. Appreciate you, Brotter,
thank you man.
Speaker 2 (24:47):
Appreciate you.
Speaker 1 (24:47):
Boom assass
Who black Cap Podcast man special guests in here og
wild Child you already know y'all might know him as
a part of the legendary Loop. Pat just dropped your
new album, Child of a Kingsman August, Yeah, August twenty second. Man,
and you've been running around all year? When did the
tour end with Murders Overseas?
Speaker 2 (00:22):
We ended like first week of December? Oh after a
month long? Guess got back? Yeah? Man, just got back.
A whole month was out there? Man? What is like?
Speaker 1 (00:32):
Because I feel like, for whatever reason, like I feel
like overseas they appreciate like real hip hop monk since.
Speaker 2 (00:37):
That you know what I think? When you see things
from Afar and you don't get it, you don't get
a lot of it thrown at you. I think the
level of appreciation is there, to be honest, all the
years I've ever toured, I always keep hearing people say
their appreciation is still there.
Speaker 1 (00:57):
You know what I'm saying, Like they don't take they
never take it for right. I think that's I think
right here?
Speaker 2 (01:02):
Yeah, that's pretty much. Well it all pulled. It all
boils down.
Speaker 1 (01:05):
To what is like the coolest city? Do you think
you guys went to over there in terms of just
like reaction and crowd.
Speaker 2 (01:13):
Portugal Lisbon, Yeah, Lisbon in Portugal. Yeah, that was like because,
to be honest, that was my first time mad lib
Rome's as a louppac. We never played out there. We've
played places that were near where people would travel from
Portugal to come there. So when we happened to land
there this time, I had people coming up saying, twenty
(01:33):
some years ago I flew or went over to this
area to go see you guys. So to see you
in my home city is like bananas, And that was
like probably the most welcomed area that we went to.
Speaker 1 (01:45):
I wonder for you, Like, uh, there's there was like
a such an incredible La Southern California like underground movement
in the nineties and like early two thousands you got
you guys, Dilate J five shit, Calie Agents, shouts to
(02:05):
Roscoe and Planet Asia and there's just so much incredible,
like you know, just dope underground shit going on in LA.
It was almost like this whole other world out here,
like you everyone else here's about gangs, the rap, but
there was this other thing going on in LA. What
was that era? Like, man, you know.
Speaker 2 (02:22):
It was just inspiring because we just loved music. I
got Roams, who's like the vinyl collector of music, mad Lib,
who's always digging for records and jazz and educating me
on that and funk. Then I also have my uncles
who always educated. One was like a bee boy, the
other was like a record collector, which a lot of
(02:43):
people don't know. He was trading records with Madly before
I even met Mahadlib, which is funny. But that vibe
that era was just dope because I remember when every
time a release would come out, we would always be like, Okay,
we know this album is dropping, mad if you be
the one to buy the album, and we all just
sit and vibe it.
Speaker 1 (03:03):
That's how it used to be. People don't understand, like.
Speaker 2 (03:05):
Yeah, we're like who's who, Yeah, who's bye. We used
to literally flip, you know, head rock paper says all right, boom,
and what we would do is we would take that
album and use it as our daily soundtrack to wherever
we're driving at the time. We used to dance on
Soul Trade, so we would roll up to Soul Train
listening to that, or we'd be rolling out to Santa Barbara,
(03:26):
which is where we used to you know, live at
the radio station there, and all we would do is
either play a new release Madams B tape or Far
Side Freestyle Fellowship on repeat. Yeah, you know, but every
time there was always something dope we noticed about each album.
We studied the lyrics, studied the beats, who's producing what,
(03:47):
who's featured on what, and it was just inspiration. You know.
I worked at a record store at the time too,
so it was like in Ox Start, that's where the Licks.
That's how I met the Licks. They came in and
me and now they came in. They actually came in
to look at their first single with King t got
a bad y'all. Yeah, a lot of people don't know.
(04:09):
They came to peep out what was there. And I
didn't really talk that much. I said like the worst
things you could ever say. But instead of playing the
music that I was supposed to play in the store,
I was playing the CDP demo, the lou Packed demo,
And that was pretty much how we the Loupack and
the Licks made the connection, ended up the end up
on the album and turned the party out with on
(04:31):
the twenty one and over. That's how we linked that
with them. Yeah, yeah, yeah, but it was like a
weird you know, progress at that point. But there was
just so much inspiration going on, different people doing stuff,
or there was rumbles of new people coming out the licks,
which that was the first time we're hearing the the
name the alcoholics Wu Tang when no one even knew
who Wu Tang was. Yeah, the far I mad Cap
(04:53):
and all that stuff. But it was inspiration, like I said,
And and I would still myself go to a lot
of B boy events, so I was heavily engulfed in
the dance at that same time too.
Speaker 1 (05:05):
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Speaker 2 (05:59):
There we go.
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socks dot Com. Let's get back to the interview. What
was uh being around Doom? Like, Oh, that was bananas because, uh,
(06:48):
you're in mad Villainy, which is yeah, some people would
consider it like a top ten some people got to
hire than that. Like depending on who you ask, it's
like one of the greatest hip hop albums of all time.
I think it is, but you're on that. So that
was a crazy pocket of Like obviously fast forward a bit,
but what was it like working with dooman kind of
being around during the creation of that body of work?
Speaker 2 (07:11):
Man, I was a fan and I'm still a fan
Recipees Doom respect to his family. It was just crazy
because like when I got that bat signal from mad
Lib to come through, I was really busy with my son,
who was an acting or attempting to get into acting
at that time. So it was one of those things
where like now, if you call someone, y'all want to
do a song, right, and if you say, oh, I'm
(07:32):
busy this week, maybe we could do next week. Maybe.
Back then, it was like you get that car, You're like,
all right, I'm there. I'll be there for forty five minutes.
But when when we're doing what was dope is. I
remember before we even got to the concept of the joint,
we went out to just to celebrate and I was
doing I think I was doing a solo documentary at
(07:53):
the time, the Wilden You where he gave me a
shot out on there and we started talking about the song.
But he was like, ya, I just want to go
out and hang out to celebrate. I'm not really the
avid drinker. I wasn't really clubbing like that. But we
went to go cool out with Doom. So we go
to this club and I remember I'm with mad libing Doom.
But what tripped me out was while everyone's in the
(08:16):
club that are normally naturally used to seeing Loupac be
there and greet us or whatnot, I see other people
like a Charlie Tuna. I think I see my brother
Jay from X Clan, and people coming up talking about
the lou Pac and this and this and that and
times just going on. And the whole time Doom's standing
(08:38):
like right next to me without a mask on, and
no one's even recognizing them, Like Clark Kent, you know
that no one even recognized. So that was the only
thing that was going through my mind. Mad It was
probably normal for mad Lib for them to be like that,
but for me, I was just sitting there like, Okay,
this is bananas and.
Speaker 1 (08:53):
You knew you knew it was him?
Speaker 2 (08:55):
Yeah, I knew it was him, But like I said,
I just never that was the first time being the
outside world.
Speaker 1 (09:01):
You know, he didn't have the mask on, where he
didn't have the mask on. Yeah, Loki, I was like
his disguise.
Speaker 2 (09:06):
I couldn't believe it, man, but it was just dope.
We did the joint and I think there's like an
original because what I think made the album was an
altered version which they took his vocals and threw it
on another joint. And that's how I still ended up.
God blessed staying on the album and then going from
that to even performing the joint during I think Coachella
(09:28):
was the first time my daughter was with me, so
that was her first time meeting him. But what's even
crazy is I never told my son, who was born later,
and it just let me know how much this music
transcends time. Because my son's about to be twenty one now,
and I remember when he was about to be twenty nineteen.
(09:49):
He yells up out of nowhere, like he almost cussed
me out, which is funny. And I go into his room,
like what's wrong, and he's like, how could you not
tell me? You know you on the Math Villain record?
And I'm like, why would you even be know about
that record? Why would we even be having this conversation.
Speaker 1 (10:03):
About that pocket Because my kid's nineteen and him and
all his friends love MF Doom.
Speaker 2 (10:08):
See that's proceeded.
Speaker 1 (10:10):
That's that's crazy.
Speaker 2 (10:11):
It's beyond crazy.
Speaker 1 (10:12):
Like I try to put them on nas and they
don't want to hear. They're just ye doom. Yeah, like
they don't they don't care about imatic, they don't care
about thirty six. They want m F Doom.
Speaker 2 (10:19):
Dude. I took my son to a dance event that
we used to go to annually. He's about five years old.
In Paris. We go to the event. The promoter say, hey,
now that you have your sign here, we're good. We
got a day off. You want to go to this concert?
I heard your boy is in town? Really? Who the
math Doom? Oh? Snap? So you know we get the
(10:40):
people calling our people their people. We get up in there,
but I'm like, wait, I got my cell with me,
is there any way that I could get him in
because of the age. They ended up letting him in
and that ended up being his first rap concert. I
took him to plenty concerts before, but they've always been
fucking soul and all that. But that was his first concert.
Was rap concer was MF. Doom and he's b boying
(11:02):
and dancing in the back, not listening obviously to the lyrics.
But all he ever told me was one day, I
want that mask. So I ended up getting him the mask,
and twenty years later he's getting mad at me that
I didn't tell him that the Mad Villain Project even
happened and stuff. But I just wish Doom was alive
to see that, cause there's there's been so many instances.
(11:22):
Case in point, I went to Coachella, saw this kid
walking around all the thousands of masks he could wear,
He's wearing an MF. Do mask. I'm like, yo, come here, man,
what's up with that mask? What made you wear that?
How old are you? Oh? I'm like sixteen? Oh, man,
come here real quick. So I pulled my camera. I
didn't even say anything. I didn't explain who I was
or nothing, and I'm like, yo, man, and I start recording, Yo,
(11:46):
what's up your mad Lib? I need you to see
this right now. This boy is sixteen years old. Boom
boom boom, and he starts naming all this stuff. But
I think it went over his head who I said
at the beginning, and he was like, wait, you're sending
this to mad Lip. He starts crying, Yeah, sixteen years old,
naming all the lyrics, naming all the songs. So it's
just stuff like that that imagine if Doom was alive
(12:07):
and he was able to see stuff like that. So
I appreciate that from you know.
Speaker 1 (12:11):
When did you realize like Madly was a genius?
Speaker 2 (12:14):
Oh man, when mad It was a genius? I probably
would say, yeah, that's a good question. I think it
was when we used to as a crew, our CDP
crew and stuff, when we would record records. Most people
when they record demos, they end up being labeled as
(12:36):
demos or whatever. When Madli would do it, he was
doing it as practice for all of us as MC's right.
So he was almost like our eight oh five Oxnard
version of Rizard, and he had a vision. He wasn't
really telling us. He would just be like, I need
to join this, jump on this. Me med jump on this.
Oh no, I need to join this. You know, Kazi,
(12:56):
let me have you do this, do the album. But
he wouldn't tell us what it was. When we all
get together and we're going out to a club or
a dance battle we're gonna go to, he's playing what
he had put together and it literally sounded like a
full on album. He would do that almost every other week.
That's when I knew, But I wasn't really grasping because
(13:17):
it was like fun for us. We never knew because
we weren't looking at the future where we would go.
So I just realized when he was doing in real
time it was just dope.
Speaker 1 (13:25):
Yeah, almost like every time you guys would get in
a car and be like, oh shit, you took all that.
Speaker 2 (13:29):
Yeah, yeah, that's exactly That's exactly what he would do.
But it was just it was like he was showing
off how he could produce somebody's record, right. He was
literally from the You know, he might not have the
best mixes, but the rawness is what made it dope,
to be honest. The fact that wasn't mixed made it
even that much dope. So when we heard mad Villain,
it wasn't a surprise. It was like, Okay, we know
(13:52):
he's been doing stuff like this, chopping up vocals, taking it,
flipping it, making the beats in the pocket. He was
always been doing stuff like that. And he's just multi.
He's well rounded in the music listening. You know, his
uncle was John Fattis, famous jazz players. Pops was a singer,
so it was it was inevitable that he would do
(14:13):
what he would, you know, end up becoming what he is.
Speaker 1 (14:16):
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(14:36):
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a follow and when you're in Las Vegas and make
sure you shoot them a visit. Do you get like
are you privy to hearing any of these? You know,
projects that we always hear exist, but I'm not sure
wherever we'll get. Like there's like the Mad Live Mac Miller. Shit,
there's supposedly a Kanye Is it Kanye in mad or
(15:00):
is it Kendrick and mad Lib? I know there's a
lot of music that we always hear, like, oh, Mad
Live did a whole album with so and so. Yeah,
but then and then I know he's going through with
his ex management and all that. Yeah, Like do you
get to hear any of this stuff?
Speaker 2 (15:15):
I've heard some stuff through the rumbles, you know, like
when we would travel he plays something, or if he
was DJing when we're overseas, he would throw you know,
he'll play it so spontaneous without a warning, you know,
and and I'll just be sitting there and I'm a fan,
so I'll be sitting there, you know, hyping the crowd
up form or whatever, and I'll catch myself on the
mic like wait, hold up, what the hell is that?
(15:36):
What you know? And it'll be something yeah that's not
even out, you know what I'm saying. Like case in point,
I remember him playing something with Black Dot and it
was just like YO, and then mac miller, you know, and.
Speaker 1 (15:48):
It's just dope and black black thought and mc miller together. No,
it was separate, separate joints.
Speaker 2 (15:54):
And then it'll be funny because it'll be we get
back in the car and we're headed to the hotel. Yo.
That point you play what's that, He'll be like like, oh, no,
don't worry about it. Don't worry about that. You know
what I'm saying. So it's just dope because he has
that as a disposed as his disposal. But and and shoot,
there was time I remember one time he was playing joints.
Crowd was bananas and he had it on the CD
and me and metaphor was tripping because he had the
(16:16):
CD and he took the CD and threw it at
the crowd.
Speaker 1 (16:20):
Oh, he threw it.
Speaker 2 (16:21):
At the crowd. So anybody in the crowd would have
just dove and oh what, not realizing what they got.
What he's throwing. That's like having for us or DJ's
a white label of something you just got, sure and
throw the white label out. But he threw it at
the crowd. But it didn't go so well because he
threw it and then it hit the barricade of the
crowd and the barricade so the crowd never got access
to it. I'm like, what was you doing? He's like, Nah,
(16:43):
I was just in the moment and just for the people.
If they like it, they like it. And then but
see someone like the way what's Zebra Matt, He'll do
be like it don't matter. By the time it comes out,
it'll be a different version, alredmix it or do something different.
Speaker 1 (16:55):
But if you have the CD, you're like, I got.
Speaker 2 (16:57):
To yeah, you know, that's just him. He's always spontaneous.
I think the one thing that stands out with Malib
that makes it was an imprint on all of us
is he was always like, we'll do the music for
us to make us happy. If the people like it,
hopefully they like it. If they don't, so be it.
Speaker 1 (17:14):
Do you guys feel like coming up in the eight
oh five, like you guys kind of just automatically have
a bit of a chip on your shoulder, because nah,
I feel like Oxnard Ventura like, and we don't really
like I feel like we don't associate that with LA
I know, but if you're if you're not from LA,
you just think it's all right.
Speaker 2 (17:32):
Now, you know what, We just had an appreciation of music.
We we understood who the Mount rushmore of the West
Coast was and the East Coast, and we were fans
still learning, still growing, wishing to collaborate and work with
and get the respect from our peers, and but we
also wanted to show that we got we got that
energy as well to compete and with the best of them,
(17:53):
you know what I'm saying. So it's just like playing basketball.
You come from a city and you get on the
court and you find out all these other guys and
what they came from. But you know, hey, give me
the rock. I know I can handle the two. And
that's pretty much what we ingrained ourself. And we never
had a chip on our shoulder somewhere. We just we
just know that from Oxnard, there's not a lot of
artists that may or may not come out representing that.
(18:14):
So we always made it clear we might live in
LA or go to LA, but we're not from LA.
But it's just dope because I mean, obviously time has grown.
You see other actors come out and from there. Yeah, Yle, yeah, Kyle,
you know what I'm saying. But it's just it's it's
just bananas.
Speaker 1 (18:33):
Man beautiful area too. I feel like people like venture
is such a vibe. Yeah.
Speaker 2 (18:39):
I was watching the Prices right one time and they're like,
you're gonna win a trip all expace trip expense paid
trip to Oxnar count for but most people know it
just for like the calip the Robberry Festival.
Speaker 1 (18:51):
Yeah.
Speaker 2 (18:52):
Yeah, but I mean some people know. I mean, thankfully,
Like I said, with Anderson Pack doing the album titling
that Oxnard that did put Now when we say where
are you from, we say.
Speaker 1 (19:01):
Oxtend speak there in Mambo Mambo out there.
Speaker 2 (19:04):
Yeah that's the fan. That's the fan praying for Mambo
right now in this time what he's going through. But yeah,
but yeah, that's pretty much what we always wanted to do,
is put any stamp we could on ox Start and
let them know cats can do stuff on a on
an art level, whether it be music, dance, acting, like
like in case, I point my son. A lot of
people don't know my son Miles is from the show
(19:26):
Blackish and and even what he's doing inspiring other kids
around the world, and a lot of these kids see
that and they're thinking, all we thought we had to
be part of the Los Angeles Hollywood audience or proud
to make it and so just that inspiration is just the.
Speaker 1 (19:46):
Was he growing up in. Yeah, so you guys are
just come out here for auditions.
Speaker 2 (19:50):
We would come out to auditions, dance events and that
was it. We drove back and forth so many times.
It's ridiculous, Like it's.
Speaker 1 (19:57):
A hard grind man that act. I feel like the
acting game, Like do you feel like I mean, obviously
you're close to it because your son, like m is
the AI thing taken away because I think eventually there's
not going to be extras and some of these like
background parts are just not going to exist.
Speaker 2 (20:13):
It's it's it's pretty scary. I don't know where it's
gonna go. AI. I just feel like I just feel
like sometimes technology might be to ahead of control, which
I don't know if it's meant to be controlled, because
it's like when it's almost reminded me of hip hop.
It just shrum you know, when no one knew it
was going to go the way it went. Here comes AI.
(20:35):
No one knows where it's going to go. Everyone's on
the fearful side. You know. Now you're seeing producers being
rumored to be using AI to benefit them.
Speaker 1 (20:43):
So in the act, Yeah, yeah, I was talking to
my boy and he was like, uh, who were just
talking to the city were using AI for sampling? Thursday,
that's right, Thursday. Yeah. He was saying that when it
came when it comes to certain things like if they
want some vocal samples or something, yes, they'll they could
(21:05):
create it through this app, chop it right, and then
they don't have to worry about getting cleared because they're likeyo,
we're independent. So like clearing like going to reata Franklin
sample or some ship like that, it's tough exactly. So
it's like if I can get a sample to sound
exactly how I want it, and then and I'm still
chopping it, I'm still it's kind of like a new
version of digging. Right, I respect that way, see that,
(21:26):
because that's that's it while still being right. You know,
great artists and created.
Speaker 2 (21:31):
And see that part right there is the key. But
see some people take advantage of it, become lazy and
then now.
Speaker 1 (21:36):
You can take a whole beat.
Speaker 2 (21:38):
Yeah. Like it's like it's like what Prince said, what
do you say, what do you say? Use the computer?
Don't let the computer you get same ship. Yeah, and
you can flip it in the way you can. And
I remember even with the executioners when they were talking
about that level of vinyl to Serrado, how they at
one time didn't like it, but feel like if you
(22:01):
control it and you could flip it in a way
that is beneficial but still be creative and don't lose
the input of the talent that you got, then that's
dope because you're using it as a tool. But when
some people rely on it and now, like AI, it's
taken over people who put their heart, blood and soul
in something, it's a different thing. And that's the thing.
It's like, literally, it's almost reminds me of hip hop.
(22:23):
They wanted hip hop to be like this, but it
blew up to what it is now. And things can
be controlled to a certain degree, to a certain degree,
so it's like, how do you argue that point. Something
that's helping us move forward but it's not controlled. Is
that a good thing or a bad thing?
Speaker 1 (22:39):
Right?
Speaker 2 (22:40):
You know?
Speaker 1 (22:40):
So listen, your album is out, Yes, sir go support it?
Will you guys ever do another loop pack project?
Speaker 2 (22:47):
Do you think you know? This crazy thing is man?
Malid don't rap anymore. That's a lot of people don't
know if he stopped rapping, and they forget that. So
we can't really do a loop packed project. It would
be more or less obviously a full wild tied exactly,
especially with Rome's involved. Crazy thing is case in point
New Year's twenty twenty five. He sent me after what
(23:09):
thirty years of us not really talking about it, but
whenever it was gonna happen, and what happened. He sends
me the first beat and I wake up New Year's
Day this year, Oh snaps, that's what I think it is.
Let's roll. Because he was with me during the whole
process of working on the Child of a Kinsman. So
he was like, all right, I'll refrain from joining this
(23:30):
project and let's get going on a new one. Whenever
it is. I'm like, cool, whenever you Because he got
so much things he's juggling, I get it. Get the beat.
Five days later, his houseprinds down.
Speaker 1 (23:41):
He said, a rough year.
Speaker 2 (23:42):
Yeah.
Speaker 1 (23:43):
Yeah.
Speaker 2 (23:43):
So when that happened, I was just like, what is
God saying here? So he knows I'm always here for him.
Music ain't going to change, and that's my best. That's
my bro right there. So when it happens, it happens,
and God willing, he gets back on his feet and
then we can give the fans what they want.
Speaker 1 (23:58):
There it is will look, we're going to have this
dude wrap on another YouTube video freestyle coming up, wild Child.
The album is out go support. We can be hitting
the road anytime soon or do you kind of resting.
Speaker 2 (24:10):
Rumbling on some things that are coming up for twenty
six It's hard to really speak on it now, but
I know that fans are going to be definitely excited
to see. But we're gonna be represented soon. Just got
linked up to do the Blue Note Lai.
Speaker 1 (24:24):
Yeah, the Blue Note has been putting some dope shows together.
Speaker 2 (24:27):
Yeah.
Speaker 1 (24:27):
Man, so like I don't even like I like see
I'm like wait a minute, yep. Terres Martin's at the
Blue Note, yeah man, or like Killer Mike.
Speaker 2 (24:35):
Or yeah, you never know. That spot is dope. Shout
out to Robert Glasper helping making it happen. But the Multiverse,
which is what I call it, will be coming to
the Blue Note soon.
Speaker 1 (24:43):
There it is good ship, wild Child. Appreciate you, Brotter,
thank you man.
Speaker 2 (24:47):
Appreciate you.
Speaker 1 (24:47):
Boom assass
Hosts And Creators
James Andre Jefferson Jr.
Bootleg Kev
Brian Baumgartner
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