#655 - TF & DJ Muggs Break Down “Don’t Call Me Lucky” (Album + Movie), Soul Assassins, Cypress Hill & More

https://youtu.be/VTx6Ypg4CQI

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Episode Transcript

Speaker 1 (00:03):
Bootleg Cat Podcast special guests in here. We have got
a legend DJ Muggs.

Speaker 2 (00:08):
We have got my.

Speaker 1 (00:09):
Guy representing the Los Angeles, California TF they got a
new album and movie. Don't call Me Lucky artificially right now,
fellas welcome, Yes, sir, I told you guys off off
the camera. I gotta give you flowers on the came.
This is to me the top three albums of the year.
This album is fucking It's so good and I was like,

(00:29):
it's crazy because it's an easy listen, but I was
like disappointed when it was over. I was like, damn,
I wish this shit had like three or four more records.
It's good, man, It's a dope, dope album.

Speaker 3 (00:37):
Dude. Thanks.

Speaker 2 (00:38):
How long were you guys working on this musically?

Speaker 3 (00:42):
You know, we started making music about two years ago,
just songs.

Speaker 4 (00:46):
Yo.

Speaker 3 (00:46):
We'd be working out. Steve comes over and works out
with me. Yeah, knocked out a song, knock out a song.
I got a song, and then I was like, all right,
man's let's start wrapping this up. So I gave him
a couple of new beats. He knocked those out and
I was like, Yo, this is sound different. I go
the album starts today, let's start, Let's rerecord the whole
whole album, so I think, And then within six weeks
we knocked it out. We kept three of the original

(01:08):
songs and everything else was brand new.

Speaker 2 (01:11):
Did the title start with that sample?

Speaker 4 (01:14):
No?

Speaker 3 (01:14):
The The original tide of the album and movie was
Another Day in Paradise, okay. But he had a line
that said, don't call me Lucky, and he said it again,
and I'm thinking of it, and I was talking to
him and I was like, Yo, that line is so strong, bro,
because you know, like this is blood, sweat and tears,
years of work, man, stand up to six in the
morning to achieve our goals and our dreams and our ambition.
So I was like, hey, you down to flip this

(01:35):
title to don't call Me Lucky? And he's like, yeah,
let's run it. And then I added those samples in
at the end.

Speaker 2 (01:40):
Where do you where do you?

Speaker 3 (01:41):
Like?

Speaker 1 (01:41):
I mean, I don't want to obviously the sample snitches
and not out, but like, was it hard to find that?

Speaker 2 (01:45):
I dug?

Speaker 3 (01:46):
Baby, I dug because you gotta dig to find.

Speaker 1 (01:48):
If you if the name came first and then you
gotta find, it'd be different. If the sample came and
you're like, Yo, the sample kind of sounds kind of fly,
we should roll with this.

Speaker 3 (01:54):
I dug man, it's you know, I'm blessed to have
some friends that are diggers and have creates that are
super fucking deep. So I made a few phone calls,
you know, and they got back with me.

Speaker 1 (02:06):
So you're kind of like, hey, guys, this is the
name of the album, can you help me find something?

Speaker 3 (02:11):
It was good?

Speaker 1 (02:11):
Man, You guys have had such a strong working relationship.
TF Can you just kind of speak to like how
awesome it is to be able to just have such
a catalog with one of the greatest hip hop producers
of all time and speak to your guys' friendship and
chemistry with Mugs.

Speaker 5 (02:27):
Well, yeah, yeah, so outside of the music, you know,
like Mug said, like, we would just build just hanging out.
You feel me, it wasn't even really recording.

Speaker 2 (02:36):
It'll be days.

Speaker 5 (02:37):
I'll just pull up and we'll just you know, we're
just kicking it, chopping it up, you know. He uh.

Speaker 3 (02:43):
Mugs is.

Speaker 5 (02:46):
Like, sometimes I probably wouldn't even say nothing, but I'd
just be listening, you know, like just the convos and
just to be a fly on the wall to hear
you know, different conversations, and you know, motherfucker's really chopping
game on, you know, building like outside of the music world,
you feel me So just to be able to sit there,

(03:07):
you know and chop game and get game and you know,
it's never no gate keeping type shit around, none of
the none of the homies around. And uh so it
made it easy recording. You know, it's like, hey, we're
just having beats on in the back, like, hey, load
that up or send me that, you know. So it
was kind of dope. It obviously like throughout the years

(03:28):
it wasn't that. So it was a point where I
record something and I wouldn't here till like maybe like
three four months later, like damn, I forgot about that.

Speaker 2 (03:38):
It just comes out.

Speaker 5 (03:39):
Yeah no, no, just so not really comes out, but
you know, like he's send it to me and I'd
be like, oh shit, I forgot about this one.

Speaker 3 (03:46):
You know.

Speaker 5 (03:46):
But it we got to the point to where I
stopped coming out here, you know, cause I got a
studio where I'm at now. He was like, well, you know,
send some shit to you now. So but yeah, like
we had a long like a good a good run
to where you know, it kept me on my toes,
really feel me because me not being able to hear
these records and then I'm still getting beats and I'm

(04:08):
pulling up and he got a new beat playing, so
like we got so many different sounds going on. We
had so many different sounds going on building the album out.
So but yeah, when we finally got to that that
last that last leg really tuned and out in and uh,
by then I was that was probably like a few

(04:28):
months a few months ago, maybe like the end of
last year.

Speaker 1 (04:31):
Really mugs uh, how cause this is some of the
best production I feel like of the year on this project,
just front to back, Like you are in your fucking bag,
Like are you making beats daily weekly? How much of
this was stuff that you were cooking up because you
got inspired by the project? How much of it was
stuff where you were like playing just beats and tfs

(04:53):
like that one, or you were like, yo, this feels
like they'll fit, Like what's it?

Speaker 3 (04:57):
I think? I think when we started working it was
just beats I was playing and he picked things out,
like you sure you want that? I would have never
gave you that, you know what I'm saying, but when
we got when we died in at the end, I
was making beats specifically for the record to make sure
it's can cohesive. I was like, what do we need now?
I need some uptempo shit. I need. I need a
soul record. I need I need something that something that's

(05:18):
kind of fun, you know what I mean, like like
El Sancho, you know what I mean. And then like
the Ghost record was recorded, and I liked the original.
But a lot of times when I'm finished with an
album and I got time, I'll start remixing songs just
to see what I can come up with. So I'm
working on the Ghost record and I'm like, yo, this shit,
ghost Ghost sounds good on break beats. Let me throw
a break beat on here. And then the TF didn't

(05:39):
sound good on that break beat. Then I threw another one.
I was like, TF sound good on this one, but
Ghost doone. So I was like, you know, I'm a
little twenty break beats up and just put them in.
And then it just I put on every four bars
and I'm just you know, it's like jacking for beats
inspired you know, break beat DJ shit. And I was like,
this is entertaining this is something dope for the album,
dope for the DJs, you know what I mean. So
we rode with that.

Speaker 1 (06:00):
Yeah, No, and it's definitely like, uh something like that is.
It's just like some it's some hip hop head shit.
It's like, imagine like in twenty twenty six, we're getting
you and Ghosts over fucking.

Speaker 2 (06:12):
All those different breaks. It's awesome. I wanted to ask you.

Speaker 1 (06:16):
I saw the Soul Assassin's two album finally ended up
on DSPs, which is awesome because that album is I
don't even know how many years old.

Speaker 2 (06:23):
That album two thousand and two, man, Yeah, so it's
finally up.

Speaker 1 (06:27):
Was that a hard process to get some like get
that out because for people who don't know, it wasn't
on DSPs for so long and this year it finally
got uploaded on everything. Was what was the process of
getting that back up?

Speaker 3 (06:39):
You know, it wasn't on DSP So I called Chris
Schwartz and he's like, dude, I'll give you the record,
I'll give you the masters back. I have them. Wow.
I was like, you seriously, goes yeah.

Speaker 2 (06:48):
So, because where did it originally come out.

Speaker 3 (06:50):
Through Chris Schwartz? I think it was through warners. They
had a rough Nation. After rough House he started record yep,
so he gave me the masters back and he goes here, man,
that's awesome, so cool as fuck, and so we loaded
it up. We're gonna drop an anniversary Rhinol later on
this year that be to play. So I mean, I
have a couple bonus tracks that didn't go on the
record I'm gonna put on the album. So yeah. Shout

(07:12):
out to Chris Schwartz for always being a good motherfucker man.

Speaker 2 (07:16):
Yo TFU.

Speaker 1 (07:18):
Muggs has always been known as the kind of the
bridge I feel like between the West Coast and East
Coast if you will, like you always would hear like
people say like Cypress Hill back of the Day didn't
sound like an LA group or the beats didn't set,
because Mugs is kind of the you know, the backbone
to that sound. This album is such a perfect representation

(07:38):
of that with the features. You got Room Streets on
the album, you got rock Marcy on the album. We
talked about ghost Face, but I feel like you too
as an artist, Like I first heard about you through
Conway and I know you've been working with school Boy
Q and shit, but you have always had like such
a great relationship with the underground East Coast guys. What
kind of started that, would you say? And like, because

(07:58):
you've been embraced by that community.

Speaker 5 (08:00):
Oh well, shit, I was from running around with Q
that blank Face tour. Yeah, when we did blank Face
that blank Face run, we had like a week in
New York and uh, and you know, motherfucker's on tour.
Motherfuckers ain't really trying to you know, move around like that,
or if they did, you know, we probably go grab

(08:21):
something to eat or something like that. But I was like, man,
this was my first time in New York. I'm like,
I'm trying to go.

Speaker 3 (08:26):
Hit the streets.

Speaker 5 (08:26):
Who do I need to Who do I need to
know to, you know, run around and see what I see.
I'm not trying to see Times Square, I'm not trying
to go to nothing high end. I'm trying to go
tap in with you know so and doing that, I
built a lot of relationships in that, like within that
week twenty sixteen. I'm still like now at this point, now,

(08:49):
those same people I met that week are like super
good friends now. So just being on just being able
to run around like that and tap in and meet
people you know outside of the so the the the
rappers like them, like you know, the wrong streets, rock
Marshy like these are also like my close friends.

Speaker 2 (09:08):
You feel me so for sure.

Speaker 5 (09:09):
Uh but yeah, I mean uh even with my music
after the Tookie Nose like I dropped no hooks, feel
me so, like my whole thing has always been like
that lane, like you get down, Yeah I could, Yeah,
I'm smoking anything.

Speaker 2 (09:29):
Feel me so. Uh.

Speaker 5 (09:30):
You know once people seen that and they seem like, oh,
you really be on.

Speaker 2 (09:34):
Like I'm I was in New.

Speaker 5 (09:35):
York at like maybe five six times a year, just
running around like sometimes recording, sometimes chilling, sometimes working. Uh
but whatever the case, I'm I'm in New York, you know,
so uh you know, like it's it's dope to go
touch the people that touch the city.

Speaker 3 (09:53):
You know.

Speaker 5 (09:53):
Even just this last time, we was all working out,
working out outside at the park.

Speaker 2 (09:59):
Yo.

Speaker 3 (09:59):
Man, you know this thing you could only do so much. Man,
there's nothing like FaceTime. And like walking down the street,
we run into the same people two times a day
sometimes and they're like yo, yo, you gotta come do this,
you gotta come do this. We went to do two
radio shows. We end up doing nine of them, you know,
just running in them motherfuckers. And you know New York
im mad love and for sure and the kind of
music he does. Man. In fact, he can pull up
in New York. It's always been a thing. Yo. New

(10:21):
York was the media capital of the world at one time.
It's like you got to go to New York. You
could pop off in New York, you could pop off anywhere,
you know what I mean. So putting that time in
the streets face to face it's important.

Speaker 1 (10:31):
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Speaker 2 (10:37):
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Speaker 2 (10:46):
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Speaker 2 (11:53):
Uh mugs.

Speaker 1 (11:54):
I wanted to ask you, man, because Soul Assassin's has
been such a it's been such a launching pad for
so many people, and it's been so important.

Speaker 3 (12:04):
You know.

Speaker 1 (12:04):
I grew up around Rocker's brother from Dilated, so that's
that was my best man at my wedding, so I
kind of was hip to this underground scene in La
for a lot sooner than a lot of people. I
was like eleven or twelve years older, fat beats, you know,
for when Expansion Team came out. But when I think
of soul Assassins, I just think of a certain aspect

(12:28):
of Los Angeles hip hop that's so important. And you know,
for you how crazy is it to know that, like
or just to see where al has kind of gone
to the levels he's gone to. I mean, he got
nominated for Album of the Year at the Grammys. And
you know, when I think Alchemists, I think it's old assassins,
But I mean he's also a contemporary contemporary of yours,

(12:51):
you're you know, mentalor of his How crazy has it
been to just watch the Alchemist thing?

Speaker 3 (12:54):
Bro? It's amazing. I love it. I just smile every
time I see him winning, you know what I mean.
I get excited. I tech some shit be like yeah baby,
you know, congratulations, congratulations. He's like, man, I'm here just
waving the flag, you know what I mean, Thank you,
big bro. So you know, he goes back and forth. Man,
he still takes care of me. I take care of him,
you know, And that goes for the whole soul Assassin
Family for mister cartoon from a step On. You know

(13:15):
what I mean, It's it's it's we were just a
an artist collective, you know what I mean. And it's
all just about helping each other with our dreams, goals
and ambitions, man, and just opening any door, any door,
any new relationship we got, we share it. Man.

Speaker 1 (13:29):
What is it because you do albums with you know,
Rome Streets or Mayhem or Jay Worthy? Obviously TF What
is it about somebody that like you're looking for where
you're like, yo, I want to do a project with
this person. Is it the chemistry when you guys work together?

Speaker 3 (13:44):
Is it? Like?

Speaker 1 (13:44):
What is it that kind of because you've got I
feel like you've been on such an underrated independent run
with a lot of these albums.

Speaker 2 (13:50):
You've been releasing.

Speaker 1 (13:51):
What is it that you look for in an artist
or you know, somebody when it comes to saying like,
you know what, let's let's do Let's do tenn these
or fifteen of these?

Speaker 3 (13:59):
You know, first's I gotta I gotta like what they're doing.
So after that, you know, then I'll be like, I
don't send nothing in the mail. You got to pull
up and then it's kind of like you know then
kind of like running water through the pipes. I got
to test drive the situation so and see what kind
of human this is. I was like, let's do a song. Well,
see how they move, so they get down, see what
they say. Let's do another song. Okay, boom, now we

(14:21):
can move forward. Let's knock out an album, you know
what I mean. So it's always that that testing ground
and shit, you know, because you're gonna spend a month
and a half in a dark ass studio with a human,
you know what I mean. You got to make sure
they cool because I ain't doing this for the money,
you know what I mean. I'm doing it straight for
the love and then just a commaderaderie and and and
the the the creative back and forth with somebody, which

(14:42):
is a good time, you know what I mean. So
that's pretty much what I look for.

Speaker 2 (14:47):
Tf Uh. You've been on this crazy independent run yourself.
I'm curious, like, have you ever considered signing anywhere? Because
I feel like at certain.

Speaker 1 (14:56):
Point in time, I'm sure you've had people knocking on
your door man, or do you do you? I mean,
because the indie game is is cold right now, Like
in a good way. Like I feel like, if you
have a pocket, you can you can really turn it
into a very very Yeah.

Speaker 5 (15:10):
Oh well I got a I got a sick situation
right now with Rocknation Distribution, okay, you know, but other
than that, like, nah, not really, because I've seen people
in the in the uh independent game running it up crazy.
At this point, it's really just relationships, really, you feel
me like, and if you could, if you got the

(15:33):
call log to really push those buttons on your own,
and I feel like you'll be straight. Yeah, I feel
me especially if you know how to move and you've
been moving good, you've been moving around good, and you
know how to network and you know how.

Speaker 3 (15:44):
To let that network build a.

Speaker 5 (15:47):
World for you, then I feel like you'll be straight.

Speaker 1 (15:50):
What I always wonder because you did an album with Crisis,
who's also incredible. Shout out to Carolina's out there the
Green Bottle. How did you guys connect?

Speaker 3 (15:59):
We connect?

Speaker 2 (16:00):
Did uh through dough?

Speaker 5 (16:02):
Shut him up with dough uh Dough Networks. He was
living in North Carolina at the time, and yeah, he
was like, Yo, you.

Speaker 3 (16:09):
Should get with this, dude.

Speaker 5 (16:10):
Crisis christis Crisis.

Speaker 2 (16:11):
You know, little brother family.

Speaker 5 (16:12):
Yeah, so I ended up going out there. Uh and
uh we did a few records. We did a few
records and stuff like that, and I heard his production.
I was like, damn, because at the time I really
wasn't him to you know, what he was doing or
even who he was. He got a lot of accolades
for sure, you know. So Uh, I was like, damn,

(16:32):
I'm kind of sleep on you know. So I went
before I even really jumped into that project, I went
and did some homework on him, checked him out, listen
to I was like, all right, for sure, let's do it.
So uh, same thing like he was playing me stuff
and I'm like, I need that one.

Speaker 2 (16:51):
Yeah.

Speaker 5 (16:51):
So but that's how we that's how we connected through
dough and Uh. I recorded most of that most of
that album in North Carolina.

Speaker 2 (16:59):
Oh really, So you went out there and tapped in.

Speaker 5 (17:01):
I like, like, you know, like like mus was saying,
I like to build.

Speaker 3 (17:04):
I like to build with people. I like to build
with people.

Speaker 5 (17:07):
Like even if if like if I'm gonna do a
feature with you, I'm not gonna send you the song
I'd rather especially if we like if I know you
and you like on the other side of the world,
then all right cool, you feel me. But like if
we out here, you in LA or somewhere close to LA,
and you can't get to the studio or we can't

(17:28):
get to you know, make it happen, and not times
out of ten it probably won't happen because I don't
really like doing.

Speaker 2 (17:32):
The email A lot of times. You like to just
lock in face.

Speaker 3 (17:36):
I want to.

Speaker 5 (17:36):
I want to be able to be like because that's
where the chemistry come in at you know, you could
you could hear a song and it's like you could
tell like that just got put together. It wasn't like
a vibe in the studio type.

Speaker 1 (17:46):
Shit when's working on a Muggs album. Because I'll be
shopping at nine pm at Ralphson Burbank and I'll run
into like May Handler ran like buying produce and.

Speaker 2 (17:54):
What are you doing here? I know what you're doing.
Gave me Muggs are working. I was like, oh yeah, yo, Mugs.
One of.

Speaker 1 (18:04):
To me, your your best projects that you've been a
part of was that you and Jiz did Grand Masters,
which is such a slept on project.

Speaker 2 (18:12):
Man, so good.

Speaker 1 (18:12):
I actually think right after Liquid Swords, that's Jes's best
solo body of work. What was like the genesis of
you guys deciding to do Grand Masters, because that is woo,
that thing is special.

Speaker 3 (18:25):
Man. Well we you know, we linked up on the
first Sol Assassin record and did Third World, and then
second Sol Assassin record we did when the Fat Lady Sings,
and it was just talk me and would talk all
the time about doing the project together. And me and
Chase started a label, Chase Infinite. Shout out to Chase Infinite,
and you know, and we put Mitchie Slick out the

(18:47):
wrong time. We put Mitchie Slick, We put Self Scientific out,
we put Planet Asia out, and then we was like,
let me reach out to Jizz and do this project.
And Jizzy came through. Man. We played Chess every day
Strength Gennises and knocked the record out of the month.
But you know, by the way, that's.

Speaker 2 (19:02):
The most on brand sentence ever came through. We drank
Guennis's and played.

Speaker 3 (19:07):
And let me tell you that record would have went gold.
It was a weird time because that was the time
when Napster was out and then the music records just
stopped selling. Everything went digital, you know, and everybody started
doing branding and major labels and there was no Apple Music.
There was no Spotify, there was no YouTube, there was
no way to really get it out there, you know

(19:27):
what I'm saying. So as great as that project was,
it was just an odd time for the music because
it was like five years was five? What were you
would that come up to five? So there was a
few years there were the music business was trying to
find its footing again, you know what I mean, trying
to find its ground, and you know, the records amazing
though we did. We did a great job on Jesus
fucking ridiculous. Bro. I could just I could just listen

(19:49):
to jizz all day. Man, It's one of my favorites. Ever.
First time I heard Wu Tang, I was I was
drawn to Risen Jesus.

Speaker 2 (19:55):
Yeah, was.

Speaker 1 (19:58):
Like because at that time, you guys are coming up
Wu Tang's coming up, Like, but you guys kind of
have like a very I would say, similar aesthetic to
your production, because I feel like when I think of
Mugs production, I just think of like like very very raw,
very grimy, like dusty shit as and like Rizza had

(20:21):
that same shit in his own way going at the
same time.

Speaker 2 (20:24):
Did you get you and Rizza? Ever?

Speaker 1 (20:25):
Just like connect early on in the nineties and just
geek out on like each other's shit at all.

Speaker 4 (20:31):
Nah.

Speaker 3 (20:31):
You know. I had known them from the Tommy Boy Records,
Prince Raqeem, you know what I mean. And but I
met Riza probably around right after Black Sunday I think
came out in ninety three, round the same time as
Black Sunday. Yeah, first Wu Tang and we linked up.
I went out to a studio and shot line a
couple of times and kicked it with him. And then
when I started working on the Temple of Boom album,

(20:54):
he had got the same manager as us, you know,
and I was like, Yo, I want to lock him
with riz And I never let nobody produce anything on
Cyprus Records at that point, but I was like, yo,
let's get them. And originally you guys on that record
originally was supposed to be Ray Kwan. Oh shit, we
ended up with you Got and you Got killed that verse. Boy,
you know what I'm saying.

Speaker 2 (21:11):
You God's Got. I mean, quiet as camp Man, Mystery
of Chess boxing versus fucking Man, one of the greatest.

Speaker 3 (21:17):
That's fucking amazing, man. I'm a big you Guy fan.
So yeah, that's when we first locked in, you know,
and and you know, I've just been locked in with
with those gentlemen on that side ever since. You know
what I'm saying.

Speaker 1 (21:29):
What about I guess the Soul Assassin's Infamous Mob synergy
for I mean, going on twenty years now, has been
a real thing, like can you kind of speak to
like Prodigy and like what it was like to be
around him and work so much with.

Speaker 2 (21:43):
P back then?

Speaker 3 (21:43):
Yeah? I met I met them through on Bigger Bee
rest in Peace, who was working Allowed right, Bigger Bee,
Bigger Bee, Yeah, he was doing he was doing the
unities out here and he was working Allowed Records with
Steve Rifkins.

Speaker 2 (21:55):
Was Bigger Bee who signed the Dilated single.

Speaker 3 (21:58):
Bigger b was a big dude. He used to work with.
It's not Records different, no guy, Okay, okay, Yeah, Bigger
Be was Chase Chase Infinites, Oh cousin God. Actually how
I met Chase? And you know, I went out to
New York to work on the Sol Assassin record and
I met Mob Deep I'm locked in with P and M.
And then Bigger was like, yo, you should work with
the little homies, the Infamous Mob, And I was like,

(22:20):
let's get in the lab and they had that's the
first record they did, first record they ever recorded.

Speaker 2 (22:24):
On your albums on my album.

Speaker 3 (22:26):
Wow Yeah Yeah. And you know, we locked in. We
got along, and I ended up putting Godfather on the
second Sol Assassin record. And I did a bunch of
demos for them, and and I was gonna get Infamous
Mob signed to Interscope with Tom Wally, and one of
them got locked up, and Tom Wally goes, listen, man,
this is the best demo I heard in the last

(22:46):
three or four years. But we're just dealing with this
Tupac ship. He's in jail. I can't have another group
with somebody in jail. I'm sorry, man. So then I
just said, fellas, you know, go do your thing. And
they end up getting signed up there wherever they got
signed and put their ship out that.

Speaker 5 (23:00):
That's kind of crazy right here.

Speaker 3 (23:02):
I'll play the demos. Wonder the demos are crazy. I
can imagine demos are crazy? Man? Yo?

Speaker 2 (23:07):
Were you? I always wonder like.

Speaker 1 (23:12):
There had to have been so many hypothetical albums that
you started with people that maybe never came out. You
talked about the demos, your hard drive of just like
what IF's gotta be crazy.

Speaker 3 (23:25):
Yeah. One record that's banging to this day is to
call the Wild Album. Group I had signed from Harlem
from the Polo Grounds, put out a couple of singles
with them. They're on the fourth Cypress album Baron Rix,
And we had them signed to Columbia, and Colombia wanted
a commercial single and it wasn't. They didn't want to
band to doing commercial singles. So they got released, and

(23:48):
you know, they had their internal problems. They broke up
and I went I just stayed getting busy, went my way.
They went their way. But the record's crazy. The album's crazy.

Speaker 2 (23:56):
Yeah.

Speaker 1 (23:56):
I can imagine, dude, TF if you could do and
you obviously you and two eleven got dope music together,
but if you could, let's say, wish list, homie list,
whatever it is, who would you do a joint album
with that you haven't done on with so far?

Speaker 4 (24:10):
Oh damn, let me see that's tough.

Speaker 5 (24:22):
Probably uh, probably Ice Cold Bishop.

Speaker 2 (24:29):
I'd be crazy.

Speaker 5 (24:31):
Probably Ice Cold Bishop, because we got, uh, we got
a lot of records together. So that's that's my reason
saying that, because you know, and I like, I like
how he puts together. He puts together good bodies of work. Uh,
and just based off the chemistry of when the records
we have done, I think that'll go crazy.

Speaker 2 (24:52):
I feel like you and Crime Apple will go crazy.

Speaker 3 (24:55):
We got to join.

Speaker 5 (24:56):
Oh yeah, no, we got it.

Speaker 2 (24:57):
Me and crime is I feel like that.

Speaker 5 (25:00):
Yeah, me and Crime we go crazy. That we got
We got a lot of shit in the cut too.

Speaker 2 (25:04):
Little ten ten piece, Yeah, we got it.

Speaker 3 (25:06):
We got a lot of half.

Speaker 2 (25:07):
Mugs, half evidence. Evendence just dropped the Crime. I'd be crazy.

Speaker 3 (25:09):
I was banging.

Speaker 2 (25:10):
Yeah, ever been in his bag?

Speaker 1 (25:13):
Okay, so you guys decided to do this album. And
most people will do an album, they'll do a music
video or three or something like that. You guys decided
to do a forty minute movie. What was the decision
where it was like, Okay, we got to get this
creative thought out in a different way.

Speaker 2 (25:32):
And do a movie.

Speaker 3 (25:33):
Well, you know, it was like, first of all, this
is a talented man and I respect him, and I
was like he's worth putting the time and energy into.
I want to see him blow the fuck up. So yeah, anyway,
I can do anything from my side, and I'm gonna
do it. So I was like, Yo, this record is
just bigger than a record. I want to give this
record some legs and be able to and you know,

(25:54):
be able to fucking spread on wings on this one
and take it around the world not only as a
as an album, but a movie because I've seen what
it did for the LST solo sets of record, and
so I told him the idea and he was like, bet,
let's go, you know what I mean. So we went
in knocked out a forty minute movie with Jason Goldwatch.
And you know, we've been touring the movie. Took it

(26:16):
to New York last week, had it at LA, We're
taking it to Japan next week, come back into Chicago,
San Francisco, San Diego. Then we're gonna release it May
twenty second on YouTube tube.

Speaker 1 (26:28):
Yeh yeah, it's dope. It's dope. Were you how did
you feel good about acting? Nah?

Speaker 5 (26:34):
So we're dealing with mugs. I'm like, whatever you want
to do, let's do it.

Speaker 2 (26:39):
You feel me.

Speaker 5 (26:40):
I just really took the back seat cause you know,
I've been running running around doing this shit alone. So
I'm used to putting everything together and lining everything up,
so you know, to just sit back and you know.

Speaker 3 (26:52):
Just absorb everything.

Speaker 5 (26:54):
And pay attention to you know, like even the strategies.
You feel me like, strategies is a little bit different
than time and this, you know, So it was dope
to just be like, I'm with whatever you want to do.

Speaker 3 (27:09):
And you know, he not only making music, but just
as as a motherfucker about his business. He's on time,
he's on point, he's got great ideas. And I was like,
this is worth putting the time and energy because I
just respect the way he moves, you know what I mean.
Be there at professional, be there at twelve o'clock. He's
there at twelve forty five. And I'm the same way.
So in a lot of people move like that, you
know what I'm saying. So I was like, yeah, yeah, yeah,

(27:30):
it's my bro. Let's go. Let's put the full court
press on this one.

Speaker 1 (27:33):
You guys have an insane amount of awesome. For people
who haven't seen the movie because it's not out yet,
you get were able to screen it.

Speaker 2 (27:40):
But the amount of crazy guns in this movie, it
is some GTA shit. You say, explain to me how y'all.
First of all, some of these guns look like some
call of dud wild shit.

Speaker 3 (27:50):
Yeah, we got a home in Las Vegas, something called
Darker Lions who actually makes custom guns.

Speaker 2 (27:55):
That's what I look like it.

Speaker 3 (27:56):
Yeah, he makes custom guns. That's his thing. Man. So
we tapped in with him him and he brought all
the customs out. You know what I'm saying. He brought
out the he brought out the Chucky gun Chucky AKA,
he put the big easy you know what I mean.
I got the sol Assassins. He's making me the sol
Assassins guns right now. Man, all custom ship man, you
know you can go fully auto in Nevada too, for sure.

Speaker 2 (28:18):
In Nevada is it's the wild wild West.

Speaker 3 (28:20):
Right right right. So we went out there and did
all that stuff. All that all that was filmed out
in the bat.

Speaker 2 (28:24):
Do you guys crush a Cadillac in this movie?

Speaker 1 (28:27):
Yeah, that's that's something to put towards the production cost.

Speaker 2 (28:31):
Was like, whose idea is it to like, yo, let's
go find a fucking Cadillac A just take it out.

Speaker 3 (28:35):
It was all of us like we came to like,
what do we want to do? So we have bullet
points of all these ideas and then you know, TF
would hit us?

Speaker 1 (28:42):
Yeah?

Speaker 3 (28:42):
I found this, I found this. I'd be like I
found this goalwatch would be like I found this, and
then we started trying to see like what works with
the budget, what's doable, you know, and what's actually in
the vicinity where we don't got to travel. One of
the things we did with Death Valley was we went
to San Francisco, Oakland, Death Valley, the Palm Springs, Joshua Tree,

(29:02):
back to La back to San Diego. It was a
lot of moving around.

Speaker 2 (29:05):
Was that where the desert stuff was shot?

Speaker 3 (29:06):
Yeah?

Speaker 1 (29:07):
Okay, okay, I w wasn't it was Nevada because I know,
like a lot of takes place in Vegas.

Speaker 3 (29:10):
Right right right, So this one we was like, man,
that was a lot of moving around. Let's try to
do try to do this one in three spots, three
locations so we don't have to move around so much.
So within that concept, we was like, well, how about
if we repeat the scene three times in each location.
So that was that was the beginning of that. So
you know, and then you know, you start with a

(29:34):
game plan and then it starts taking on a life
of his own man and which you did a man.

Speaker 1 (29:38):
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Want to Give Some Love to that.

Speaker 3 (29:42):
Man.

Speaker 1 (29:42):
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Show some of those photos. While I'm talking, Man, you
already know I'm not only an endorser of Raffi.

Speaker 2 (29:52):
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Speaker 1 (29:54):
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Speaker 2 (29:58):
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Speaker 1 (29:59):
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Speaker 1 (30:22):
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(30:44):
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Speaker 2 (30:55):
Let's get back to the podcast.

Speaker 1 (30:56):
I'm curious because you obviously it costs money to make
a movie, and I feel like these days there are
so many unconventional ways artists don't think about monetizing their
art because I think some people will just like put
music out and their income stream is whatever Spotify or
Apple Music pays them. And you know, sometimes artists can

(31:16):
get jaded if, like, you know, they put some music
out and it doesn't do what they want. But there
are other ways to monetize the art if you will.
I feel like you guys have shown a good way
of doing that. Alchemist is you know, with the vinyl
and all this shit. But what is the grand plan
with the movie? You say it's going to be coming
out on TB. Is there going to be any physical
copies being sold, like some special edition.

Speaker 3 (31:37):
Limited you know, yeah, I'm gonna do some VHS tapes.
Gotta be fired, you know, straight VHS tapes but this
project going in and I told you, if this ain't
a money making project, like what we're doing, is we
about to set the table for the next things we're doing?

Speaker 2 (31:50):
You know, yeah, that would have felt.

Speaker 3 (31:52):
This is bigger than nickels and dimes, you know what
I mean. We make money, and we know going into
this thing, that's like, let's set the table for the
next seven or eight projects we have coming next year.
And then plus you know when we team up, you know,
these records go away in a week sometimes, you know.
So I was like, now we're going to give this
record some legs. So usually the run is you know,
you do the album, you do the press, you do
the tour, right, you know what I mean. So we're

(32:12):
doing all that, But now we got a movie to
tour as besides us physically touring doing live shows, we
have a movie to tour as well.

Speaker 1 (32:19):
With this for sure, So you know, that's a whole
different other way to touch people. Like you're doing theaters,
you're doing yeah Q And.

Speaker 3 (32:26):
So you know, we probably in the fourth week of
promo in this and we got another six weeks to go.

Speaker 1 (32:30):
Still, what is it about? Because Japan loves soul Assassins. Yeah,
and Cyprus and everything. I mean, what is it about that?
Just that country that is just because you know, for
people who don't know, there is like a sub genre
or a subculture in Japan of like Chicano life, like
Chicano culture out there, but Sol Assassins specific.

Speaker 3 (32:49):
Cartoons out there right now doing a Solo Assassin cartoon
car show right now, low ride of car show. He's
out there. That's a week on the car show. So
we've been going out there since the early two thousands,
Like ourtoon would go out there for three months and
Tattoo and I would go out there with it for
a month and kick with him my DJ underground spots,
just playing soul music, funk music. So we you know,

(33:10):
we've been out we've been going out there for a while,
touching base with them, and they just they love our culture.
They love music, they love the fashion, they love the tattoos,
they love the photography, they love the cars, you know
what I mean. They love West Coast culture specifically, you
know what I'm saying. So, you know, being the soul
Assassins tap into all those realms. Man, We've hit them
from so many different angles over the last twenty years,

(33:31):
you know what I mean. So I told Tia I
had a show out there. I had a show book,
so I was like, Yo, come to my show with me.
And with that, you know, I'm doing a drum machine.
I'm doing the Rolling four or four with Undefeated, the
one coming out. So we went and talked to Undefeated
and they was like, yo, fucks and y'all gonna be
out there. Let's do an in store, let's drop a shirt,
Let's do a party. So you know we're doing that too,

(33:53):
and we're gonna run around shoot some videos out there.
Tap in. I'm doing another collab with with only Hunter
for og brand out there, you know what I mean.
And TF made some bomb ass limited editions Japan only
merch bringing out this, so you know Mayhem's pulling up
with us. May So you know we about the concerts
about to be crazy out there, you know what I'm saying.

Speaker 1 (34:15):
Just on some nerdy producer shit. You just mentioned your
collab that's coming out. But I'm curious because the hot
piece of equipment in the game right now is this
new MPC, the NPC one.

Speaker 2 (34:27):
Have you been able to mess with it at all?

Speaker 3 (34:29):
No? I would just I just looked at it on
the plane yesterday flying back to LA So I think
I'm gonna buy me one, and I would have it
in the collection even if I don't use it, you
know what I'm saying.

Speaker 1 (34:37):
Yeah, I was hanging with Tight out side and he
was just making beats and like we're at Paramount and
there's like a little quiet room in Paramount and he
just has everyone's on, just making beats and he's like,
you don't, like, all you need is this. It's kind
of crazy, it is, And it has the same like
aesthetic as like the OG two thousand.

Speaker 2 (34:52):
Yeah, the two thousand.

Speaker 3 (34:53):
I'm seeing on somebody was on it. You can get
SP twelve mode, you can get MP sixty mode in
P two thousand mode. Like it has all those different thing.

Speaker 1 (35:00):
I wonder for you man as a producer, Like how
a magazine? I really miss a Scratch because we had
Scratch Magazine and it was like the one publication that
highlighted producers and like their equipment and shit, Like how
cool was it to have that around at that time?

Speaker 3 (35:14):
Like, oh, Scratch and Mixed mag I used to dig
into them and that's how I found out about equipment.
You know, pre pre internet and all this stuff we
got now. But Yo, I would be in the magazine.
I'd be up at the magazine shop every month by magazine,
sitting in there for hours reading magazines, you know, come
home with a stack this big. So I kind of
do miss those magazines. Man.

Speaker 1 (35:34):
Yo, I think last time you ran, I asked you
your personal top producers. Ever, I want to, like, let's
take it a level deeper in just the nerd talk.
Who do you think give me your top four sample
choppers in hip hop history?

Speaker 3 (35:53):
Molly mal number one for me, Jay Dilla, Dela Dela
for sure, mad Lib Alet, Alchemist you know, and Saig
you know the Bomb Squad, Yeah, you know those of
mine Like where I come from is you know the

(36:14):
the b Bop RAMLZ single and the Wild Style record
was big inspiration for me, along with EPM D, Larry Smith,
Molly Mal, bdp E P M D, Ultra mag You
put all that together and you know, with some led
Zeppelin and some Albert King. You run that through my
filter and spit that back out. You got Cypress Hill

(36:34):
A lot of my sounds, you know.

Speaker 1 (36:37):
Do you We talked a little bit about the movie
and how you guys did a really good job of
like kind of infusing AI into it without taking away
from the art.

Speaker 2 (36:47):
Is it possible to do that in music?

Speaker 3 (36:50):
You know, I've heard some people telling me that they've
been using AI LA to recreate samples or samples they
can't clear. They're putting the samples in there and just
flipping up a little bit so they can actually don't
have to give the master away spend twenty grand on
the sample. So I've heard, I've heard they've been doing it.
I've yet to tap into it myself, but I think,
you know, you can't fight technology. It's always going to

(37:12):
be here. It ain't going nowhere. So if you need
to use it as a tool in your toolbox, use
it because you know, I guess for musicians playing music,
when sampling came out, it was probably the same thing
for them. What the fuck is that shit? You know
that ain't musician shit. So you know, looking at AI
in the same way as this is just another tool
for what we do and get around the sample clearance

(37:32):
situation is something that has some potential for sure.

Speaker 1 (37:36):
Yeah, I think that is the biggest upside is like,
even if you're like you have an idea, like let's
say you couldn't find it, don't call me lucky sample
to flip, you know what I'm saying, Like in a
hypothetical world, like could like AI crank out like a
dry vocal or something that you could chop and make
your own and then you don't have to worry about
sample clearances and giving up a piece of the record.

(38:00):
Like that's kind of to me, like the slither that
like makes sense from a producer, It's like, Yo, we
need a choir. Well maybe I can't afford a choir,
and maybe I can't find the choir at won on
this old gospel record.

Speaker 2 (38:10):
How can you know what I mean?

Speaker 3 (38:11):
Like absolutely, that's a little shit like that. It's just sampling,
sampling two point zero, you know what I'm saying, right,
what about you?

Speaker 2 (38:19):
Tf uh?

Speaker 5 (38:21):
I think the same the same ship because like like
with videos, like with videos post production, like oh we
can't get this, we can't find this location, like even
if you can't find it with stock footage, you know
what I'm saying. So now with the AI generating, you

(38:42):
can generate music. Now you could go find something stock
a make something sound like this. I think I think
it's kind of dope. At the same time, it's still
kind of like I need some raw.

Speaker 3 (38:54):
You know.

Speaker 5 (38:54):
I still like I still like the raw feeling, but
I think it is I think I think it's dope
where we're at, you know, like like Mull said, like
we gotta you can't get lost. You can't get left
because it's going It's only gonna keep avall.

Speaker 3 (39:07):
You cannot fight technology, man. You know, there was the
dude sitting there with the horse and buggy one day
and the car drove by and they was laughing at it.

Speaker 2 (39:14):
Sitting there with the DJ.

Speaker 3 (39:15):
Shit.

Speaker 1 (39:15):
I feel like, like DJ, I remember you probably remember this.
All the DJ used to shoot on Serado.

Speaker 3 (39:19):
Yo. I started DJing again because of Serato.

Speaker 2 (39:22):
It makes it easier. You don't have to carry all.

Speaker 3 (39:23):
These I had. I was so deep into production that
they would like come to a club and I was like,
I don't got the records. And then when Sarada came out,
I started doing. It made it exciting for me to
DJ because I could have my remixes in there, my
own songs that I didn't have on vinyls, you know
what I mean, And.

Speaker 2 (39:37):
Before you had to have it pressed on Vinyl to
play at the club.

Speaker 3 (39:40):
Yeah, and you know there's always that opposite part, like
a bunch of weenie started DJing, just downloading songs and
sitting in there, sitting there with Shazam copying sets. But
you know, everything has both sides. It's always like that.
So I just focus on the positive side and what
I need to do and what my objective is and
and you know, what my goals are, and just move
forward like that. I don't give a fuck what nobody
says about nothing, because no matter what you do, some

(40:01):
donkey ass motherfucker got some shit to say.

Speaker 1 (40:04):
When do you know it's time to like do a
new soul Assassins like album.

Speaker 3 (40:11):
You know, I wasn't sure I was going to do
another one on the third one, but like.

Speaker 2 (40:15):
Is so Assassin's four Is that a thought already?

Speaker 3 (40:18):
Yeah, I think I'm gonna I want to find an
interesting angle because the reason I wasn't gonna do a
third one was, you know, the first one was pre mixtapes.
Then once the mixtapes came out, it was like.

Speaker 1 (40:29):
Damn near like one of the first compilations like that
was like, yeah, I kind of remember as a kid.

Speaker 3 (40:34):
So you know, if my record's coming out on Sony Music.
You know, people want to get paid or the other
labels wanted to get paid for their artists. If it
was a mixtape, they do it for free. So it
got harder to do those records. So I was like,
I'm not doing another one. But I was sitting there
and I had all these beats man, and I had
songs with people sitting around, one or two songs, had
three songs with Bodie, you know. I had Freddie Gibbs song,

(40:54):
but I didn't have Scarface on it yet. So I
was like, you know what, Oh, that record was hard.
I think it's time to do another Soul Assessin's record.
And then at the same time, I was like, I
need to make this bigger than just a record. That's
why we did the film as well. But I'm sure
there's gonna be a fourth one, but I'm gonna find
a unique way to make it that it isn't just
what I've done in the past, So you know, maybe,

(41:17):
uh shit, I'm not sure, but I'm gonna figure it
out for sure, something different, something unique.

Speaker 2 (41:22):
I asked him who he'd want to do a joint
album with?

Speaker 3 (41:24):
What about you?

Speaker 1 (41:24):
Man, you have so many collaborative projects with so many artists,
who have you yet to connect with it?

Speaker 3 (41:29):
You're just a fan of Shade shot Eh moment, that's
my dream?

Speaker 1 (41:34):
Yeah, that's I feel like Shade is the one concert
that like, if she went on tour again, there probably
isn't a dollar amount that I wouldn't pay to just
locked down some tickets.

Speaker 3 (41:44):
You know, the last time she was on tour, I
missed it. I slept and I would. I feel the
exact same with them.

Speaker 2 (41:49):
Like, man, don't let her ever go on Vegas residency
or something. I'm like, just take my money all day.

Speaker 3 (41:56):
And I heard she's you know, rumor is she has
a project coming out, so I could maybe she'll one
more run for us.

Speaker 1 (42:01):
Gotta be dope. Thatta be dope, man? What about what
about when you guys know it's time to come together
and do do the cypress think? I mean, obviously you're
so busy, be reals busy guy, man. Yeah, you guys
have so much going on. Is there is there a
point in time or you guys are like, hey, you
know it's the forty year anniversary or the thirty year anniversary,

(42:22):
or we got to come together, and we got like,
when when does the Cypress hill Hat come on for mugs?

Speaker 3 (42:26):
I'm not sure, man, I'm not I'm not really sure.
You know. We'll see though. Yeah, you know, I do
have I have just put my all my old ship together,
and I got a bunch of songs. I found a
bunch of old Cypres stuff recorded around Temple of Boom time,
and you know, I'm thinking of what I'm gonna do

(42:48):
with it, you know, So I have my archive. I
had an archivist come and like put everything in order,
write everything down, so we was gonna get We was
gonna put it in u c l A be pre
covid because they have no hip hop, they have blues rocks.
So and what my goal is we're talking to Berkeley
right now. What my goal is is to take that
Cypress record all the unreleased songs, which is the Lost Temples,

(43:11):
and put it in the archive at the school. So
if anybody wants to hear it, they got to check
their phone in, they got to make the pilgrimage to
the school, and they can go in and listen to it.

Speaker 2 (43:19):
That's awesome.

Speaker 3 (43:20):
You know. Some people like just put it out online
for the fans, and I'm like, yeah, but then that's online.

Speaker 2 (43:25):
That's boring and it doesn't make it special.

Speaker 3 (43:27):
But you know, if I could have this mystique in
this folklore behind them where people will make the pilgrimage
from around the world to go check out the projects
and sit down and see all the pictures and see
because I got all my notes from the records, like
ad eight away change the kid. You know, if they
could sit down and look at the notes and see
the recording process and hear this music, I think that's
the that's the angle I'm going.

Speaker 1 (43:47):
Well, that's even something you could like low key do
because you know, like you'll see art museums travel right
where you'll see, like you know, a famous artist, like
let's say there's like a boss yacht exhibit that travels
for like a year, Like imagine it, Like you guys
did that over like a two or three year span,
where like Yo for the whole entire month of December,
if you're in Tokyo, go to the Tokyo Arts whatever

(44:09):
it is.

Speaker 3 (44:10):
Oh, just have listening stations. You could hear each song.
Go to them.

Speaker 2 (44:13):
Well like the experience you're talking.

Speaker 3 (44:14):
About, Yeah, we just move it around absolutely.

Speaker 2 (44:17):
Like, you know, that's something I feel like, that's like dope,
that'd be Yeah.

Speaker 3 (44:21):
So, you know some I had a couple of cats
at the labels like you gotta do this, you know,
the fantas need to hear this. I'm like, nah, man this,
I want this to be right. I want I want
this ship to last forever and and just a new
way to put shit out and be creative and just
create that folklore.

Speaker 2 (44:33):
Yeah, one hundred percent. How awesome was it?

Speaker 1 (44:36):
Twenty twenty One of my favorite documentaries was The La
Originals one because I do feel like Estevan and mister Cartoon,
especially Estevon man shot to him. He's such a good guy,
such underrated, underappreciated icons in the culture, and I felt
like that documentary was so important to tell their story.

Speaker 2 (44:52):
How dope was that?

Speaker 3 (44:53):
Amazing?

Speaker 2 (44:53):
Yo?

Speaker 3 (44:54):
To see my brother shine man, and to see where
they came from, and to see what they're doing. You know,
you see Cartoon doing Disney Nike Super Bowl commercials, you
know what I mean, and like a Steve On doing Chevy,
you know what I mean, doing fucking Disney as well,
and just like.

Speaker 2 (45:10):
I mean, one of the most iconic photos ever.

Speaker 3 (45:12):
Yeah, is La fingers.

Speaker 2 (45:14):
Like when I was at the pop out, I bought
the PG lane es.

Speaker 3 (45:19):
They just did a big art show in It was
a La art show in in London. Him Death for
and Chaz pulled up and it was just all La
lifestyle lesson for a month, sold out everything.

Speaker 1 (45:30):
What were your Well, obviously you're a lot more closer
to TD, but I'm curious, just like mugs, you guys
that were kind of wrapped up in your own version
of like different hip hop beefs. I'd say, back in
the day, what was your just from being a hip
hop head man? What was your thoughts on just the
entire Kendrick Drake thing?

Speaker 3 (45:48):
It was?

Speaker 2 (45:49):
It was I thought it was dope. I thought we
got great love this dope.

Speaker 3 (45:52):
I loved it, and I'm team Kendrick all day, you
know what I mean. So I was like, yeah, that
ship was five Kendricks, Beast Joe and that song he dropped, man,
I was like, man, this is out of here. I mean,
you know, since since since kores one and mc shan,
you know what I mean, since since while starting the

(46:13):
Coal Crush and the Fantastic Freaks, you know what I mean?
This this, this was built off of that just battling,
you know what I mean, None of that ship went
to the streets and nothing. So you know, but I
loved it. It was it was exciting for for this game.
I think we needed it.

Speaker 1 (46:27):
Yeah, No, I thought it was dope. And then I
even just thought, like even the Kendrick approach of like
hopping on like an Alchemists sample flip, just doing like
a version of a hip hop horror movie like this record.

Speaker 5 (46:40):
I found out not too long ago that that was
sample from that uh that keep it thorough?

Speaker 2 (46:47):
Ah, it was yeah, same sample.

Speaker 5 (46:49):
Yeah, that's crazy.

Speaker 2 (46:52):
I mean al did both beats. Yeah, So it makes sense.

Speaker 1 (46:57):
Were you kind of because I feel like Mugs, you're
kind of a guy who's like I would say, the
you're very I feel like you're a unifying force in music.
So when there's like, let's say the ice cube cypress thing,
are you in the background trying to mend fences and
make sure it doesn't get out of control?

Speaker 3 (47:17):
You know, at that time, we was young, and we
was aggressive, you know what I mean. It was a
different time. We was young dudes, man just ready to
go to war at that time, you know what I mean.
So no, not at that time.

Speaker 1 (47:27):
What about cause you have a relationship with Everlast and
Evidence and you have a relationship with eminem Right, did
you try to step in in the background of that
thing and get people on the phone and make sure Nah?

Speaker 3 (47:41):
I was like, what the hell y'all doing? Right? Sat
background was like, what are y'all doing? Man? Stop? You
know what I mean? Stop being so sensitive? Man, don't
fuck with him? And then bro, y'all don't want that smoke.

Speaker 1 (47:49):
That was such a random time, yeah, because there was
like ev did the searching for Bobby Fisher and then
every Yeah, that was just and like, you know, I'm
a dilated guy, so I was like, oh.

Speaker 3 (47:58):
Yeah, me too. Yeah. I didn't really know what's going on,
you know, but in hindsight, in hindsight, having an emotional
maturity at this point, if I could look back, I
would have just got Cube and go, hey, let's make
an album. Let's do Friday's Part two, Cypress and you guys,
you know what I mean. I would have had a
different approach on it. But you know, it was a
different time, man. Of course, because I'm the biggest fucking

(48:20):
ice Cube fan in the world. He's in my top three,
you know, as he should be. Yo, that man's amazing,
bro amazing.

Speaker 1 (48:27):
I feel like, yeah, that would have been. That would
have been a special moment. If if somehow we could
go back and be like, Yo, nineteen ninety five we
had an ice cube cypress.

Speaker 3 (48:36):
Record, Yo, that'd have went crazy.

Speaker 2 (48:38):
Crazy, man.

Speaker 1 (48:39):
So look, the album is out, the movie's coming out
for everybody to see.

Speaker 3 (48:43):
Yeah, we're gonna put it out worldwide May twenty second,
worldwide YouTube. We're gonna be a live on YouTube with
a Q and a, a Q and A and everything
on there, you know what I mean. Like I said,
it's the first hip hop sci fi gamer movie. You know,
going into the movie, you know, we went into it,
you know, kind of like not showing one hundred percent

(49:05):
what we were gonna do, but it kind of like
took on a life of its own as we went on, man,
and we created a masterpiece show. You know, it's a
little mind fuck at the end. Man, I think y'all
motherfucker's gonna fuck with this shit?

Speaker 1 (49:15):
Was it like the whole plan the whole time to
do like a longer because you know, a lot of
times we'll see short films and this is a forty
minute joint.

Speaker 3 (49:22):
Now we started at twenty involving We started at twenty
because it's expensive and it's hard to shoot a film.
We didn't have a script. Even when Frankie Frankie's doing
his lines, there was in a script. Everything's off off top.
You know. One thing well about this film going into
the film, AI was whack. I told gold Watch no
AI one. So we go into the film. We shot it,

(49:43):
you know, and we were supposed to get into one
of our B and b's at twelve in the morning.
We didn't get until nine at night. We didn't get
to shoot all the shots we had, so we had
some big gaps in this film. We didn't know how
we were gonna film and we we're gonna just do
some vocal overdubs, you know, and tell a story. Gold
Watch was against that. So, you know, he started working Cartel,
which is one of the top ten AI places in
the world. The guys have, like I was saying earlier,

(50:04):
five Navidia chips and the computers which are fifteen thousand
dollars a chip. So one day he sent me a
scene with the Chinese guy with the stripper, and I
was like, yo, that's crazy, he goes, that's AI, and
so he went backwards and filled in all these gaps
to fill the film, to fill the film. So you know,
I was like, Okay, I can fuck with this now
because it looks real and it makes sense. It ain't

(50:25):
the shit you're seeing on Instagram.

Speaker 2 (50:27):
I thought it.

Speaker 1 (50:28):
I feel like I was telling him. I was like, yo,
I knew the parts that were AI, but it didn't
feel yucky, if.

Speaker 2 (50:35):
That makes sense.

Speaker 3 (50:35):
Yeah, how everybody was going nuts on the ground for
a minute, and I was like, and you know, talking
to one of the top guys in the world. He's
telling me every three weeks to reinvents himself. So he
can't even keep up how fast it's reinventing himself. So
I think gold Watch did his thing. He pulled it off.
He's definitely a visionary, you know. And this is in
the lineages of a David Lynch, Alejandro Jodoroski mixed with

(50:58):
some street shits, you know what I mean saying. So,
you know, we didn't want to do the typical Scar
phase drug dealer movie. You see a lot of hip hop.
I'm tapping into that, which is dope. But we definitely
wanted to push the line on this one. Just creatively
and do something. Just out the fucking box.

Speaker 1 (51:13):
Don't call me lucky is out. The album is dope crazy.
Features features are wild. Everybody got off on this motherfucker.

Speaker 3 (51:21):
Ain't no luck man. It's all hard work, blood, sweat
and tears, staying up to six in the morning in
the studio, being away from your family, traveling. You know
what I'm saying. We're still working hard as hell. You
know what I mean.

Speaker 1 (51:31):
I'd love to see a TF man. Congrats on the project.
Thank you one of the best albums of twenty twenty six.
If y'all have not heard this album, just go press play.
Promise you lucky, you will not be disappointed. All right, man,
appreciate you all pulling up. And then we're gonna have
TF do a freestyle and separate video, and we're gonna
have Mugs pick a classic Mugs instrumental for him to
wrap over.

Speaker 3 (51:50):
Let's go.

Speaker 2 (51:50):
Can we do that?

Speaker 3 (51:51):
Yes? All right? Thanks for having us home court.

Speaker 2 (51:52):
Sure, thanks, but love fire.

Speaker 1 (51:54):
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Speaker 2 (52:29):
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