How Unknown Daryl Harper Got Handpicked By Pac To Produce Makaveli

We sit down w/ producer Daryl Harper to find out how an unknown r&b writer got down with Deathrow Records and was handpicked by the late Tupac to produce Makaveli when the rapper's label mates refused to work with the legendary artist. Daryl also details how Nate Dogg and Jewell didn't tolerate any non-sense and held it down in the midst of the drama. 

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Episode Transcript

Speaker 1 (00:00):
Gangs, the Chronic Goals. This is not your average shows.

Speaker 2 (00:04):
You're now tuned into the reil.

Speaker 3 (00:17):
Welcome to the gangst The Chronicles podcast, the production of
iHeart Radio and Black Effect podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles.
For my Apple users, hit the purple Michael your front screen,
subscribed Against the Chronicles and leave a five star rating
and comment. You know today we got one of my
own boys. And here I tell you, man, when I
first met Daryl Man, I had a little spot over

(00:39):
in Laker with a little studio, and he let me
hold his MPC for like a whole year. Oh yeah, yeah,
you talked about that, your MPC three thousand. I had
that man's machine for a whole year, and I learned
how to master that the whole year I had the
two thousand, right, But the two thousand and three thousand,
for anybody that produced, its way different. They're the same,
but they're different, right, And to me, the three thousand

(01:02):
kick a little harder, you know. Yeah, show two thousands
like a toy kind you know what I'm saying. But
he got man like one of them stories. Man, it's
like the ultimate success story. He was a dude that
came to Death Row as an R and B singer
and wound up producing one of the best seven hip
hop albums of all time. Michael Kelly Okay, yeah, man,

(01:25):
So indeed, when you first looked up with sure you
was an R and B singer, he was just doing
R and B.

Speaker 2 (01:30):
I was just doing R and B, a little gospel,
you know, but my background gospel, but R and B.
When I came to Schild, I sung him some R
and B songs. I was right, and he got me immediately. Yeah,
and you fell in love with him? Yeah, yeah, yeah, yeah,
but you know, when in Rome, you do what the
Romans do. When I got the Death Row, the only

(01:52):
text being cut was hip hop. So I learned to
go grab equipment around the around the building and learn
how to that's with the MP or whatever else they
had whatever the other kind of modules, and just so happened.

Speaker 1 (02:05):
Yeah, it was fortunate for me.

Speaker 2 (02:08):
Then one day, messing around with what I was doing,
Pop walked in and told me.

Speaker 3 (02:13):
To be that I was making was his. Yeah, so
let me ask you this. So you hadn't produced none prior.

Speaker 1 (02:20):
To that, never.

Speaker 2 (02:23):
That that room that they called the wack room or whatever.
That's what I was learning, learning my craft. I was
learning do what I saw, dazzing them or quicken them
around the building doing. I was learning how to operate it,
getting with the engineers, learning how to median and media
out and all that. But I've always been able to

(02:43):
write in my head. I could always hear melodies. I
just learned how to put my fingers to making that
come out of the machines or whatever.

Speaker 1 (02:51):
You know. I could always write.

Speaker 3 (02:53):
But as you know, it's gonna be some cats to
make beats, and producers been doing shit all the life,
they whole entire lifetime, man, And you just come in
and just learn how to make a beat and then
going songs with Tupac. That's crazy anyday I'm in.

Speaker 1 (03:07):
But you know that time.

Speaker 4 (03:10):
Ship, sometimes you gotta switch up the program if you
still want to get you feel me, Yeah, that's that's
a lot of shit. Sometimes we gotta switch our positions
up if we want to remain at the table. And
you know, we see that transitioning and all this ship
in regular life. You know, we might think you're going

(03:32):
to work on this and the motherfucking nice so well,
we don't need that right now. What we need is this.
So you know what I'm saying, you gotta switch up
program and ship. Yeah, you know you do that on
other jobs too. Well look bo, well look here, man,
put the job. I'm a fast learner.

Speaker 1 (03:50):
Just get me. Just give me a chance. You know
I'm gonna make it. I'm gonna make it happen.

Speaker 4 (03:54):
If you couldn't judge, consider me, you know, especially if
that's the only way you're getting cut.

Speaker 1 (04:01):
Chicks cut and tell me I'm up here.

Speaker 4 (04:06):
I'm up here as a motherfucking intern right now, because
like you said, they not have be on R and
B right now. So how am I gonna be able
to stay and make that bread? Because right now they
not fucking with the R and B. Not just saying
you just trolley wont come along. But in the meantime,

(04:30):
I ain't feeling you know, I don't figure out how
I can get in.

Speaker 1 (04:34):
That lane and ship. Sometimes fuck it.

Speaker 4 (04:37):
If I got to go study, learn how to work
the NPC, come up with some melodies, get me a
motherfucking keyboard player in here and get them to play
some melodies, and work machine and come up with some
drum tracks in the fucket.

Speaker 2 (04:53):
That's that's strange to say that too, A because that's
exactly what it was. I sung the ship, the R
and B stuff that I was making the first song
he stopped to take.

Speaker 1 (05:02):
But once he considered, hey, okay, I'm gonna sign you man.

Speaker 2 (05:07):
Still all the work was going to the rappers and
the producers, the hip hop rappers. I'm still around the
building now, I said, well, I'm I'm I got to
access to depth road. I'm around all the stars every day.
But this ain't what they was on. He was telling
me talking about some future ship. When he talked to me,
he was saying, Okay, I got Danny Boy, I got
missing lead, I got brought. He was bringing in a
group six D D so he was looking to go

(05:29):
that way. It just wasn't happening right then. The check
that was being cut then was hip hop. So I said,
if I want some. Now, I'm a single parent at
that time, you know, I'm raising my son and I
needed to check then.

Speaker 1 (05:44):
So I started.

Speaker 2 (05:45):
Grabbing equipment around the studio and learning how to put
it together and put what I'm heard in my head
because I could always develop some in our new chords
on the piano, I put a melody or whatever. It
just so happened, mana my beat. When I was making them,
I wasn't thinking of hip hop or a beat for Pop.

Speaker 1 (06:05):
I was putting stuff together that I could also sing too.

Speaker 2 (06:09):
It's just gona happen that when Pop heard it, he
heard hisself in that he heard where he could still
make that work for him, you know.

Speaker 1 (06:17):
Yeah, So let me ask you this man.

Speaker 3 (06:19):
You know, the music stuff is all cool, man, but
Death Row had a whole lot of stuff going on. Man,
let me ask you this man, was it really ass
whoopers and beat down being passed out like they say
it was on?

Speaker 1 (06:31):
Wait they man, look at it. They wasn't playing. They
wasn't playing.

Speaker 2 (06:35):
You never knew what you might encounter any day you
got behind.

Speaker 1 (06:39):
That door, you know, anytime you walk past security.

Speaker 2 (06:42):
Once you got in there, where where everybody was either
on studio, a studio, beat, the kitchens, the lobby, all
that it could go down any day an engineer, artists
or whatever. It could happen and engineers. Man, what oh,
there's so many stories on that engineers getting slapped getting

(07:03):
bit by dogs because dogs be running around there, you know,
like Pitt Bull he running, you know, might chase you
into the bathroom, you know. So it was going down, man,
it was going down, you know on the parking like
you might. You might somebody might have an issue with you,
catch you when you get out your car.

Speaker 1 (07:23):
They handle that, you know, like, hey, let's deal with that.

Speaker 2 (07:27):
So you know, death Row is not just the story
that people trying to do the glamoraights.

Speaker 1 (07:33):
It really was. I heard it.

Speaker 2 (07:35):
What's the name of DC, He's said, Man, he'd rather
go to fifteen hundred, can go to death Row. Really
it was like that. It was really popping like that.
It was you know, you might get started of death Row.

Speaker 4 (07:49):
But you know it was it was definitely fades getting
going around when often often Man, it was really like that.

Speaker 1 (08:00):
For the fiction and everyone.

Speaker 4 (08:02):
I know, a fellow or to that car effect that
got the ass you know, tapped up in there.

Speaker 1 (08:07):
You know, so your boy young, your boy yogis ceo. Yeah,
it was, it was. It was people getting the hand
little rough in there. It was.

Speaker 4 (08:17):
It was a place. Definitely I heard that it wasn't
to be fucked with. You give me man, my first
death Row meeting. Man, I walked into death I'm when
she walked in the meeting. He popping this dude up
side of the head like straight.

Speaker 2 (08:33):
Instead, he pushed him to keep walking into you know,
into into the the meeting. I'm looking across at this girl,
shar Jones, she was a producer that for Death Row,
and I'm looking at her. I'm looking at her like
I know you sink because it's really hitting his nigga, Like, dude,
are we really looking at this? And about five seconds

(08:54):
later he telling his homies jump on the next you know,
like beat him up nothing in the face.

Speaker 1 (09:02):
And it's a real meeting.

Speaker 2 (09:03):
Where everybody is we all in the dawn meeting, you know,
other business stuff about the comments.

Speaker 1 (09:09):
But the beginning of it started with dude getting getting served.
Oh is that right?

Speaker 3 (09:14):
Man?

Speaker 1 (09:15):
She wasn't playing and he had a slogan over there
making here to get hit.

Speaker 2 (09:19):
Yeah, he gave that slugan to me, man, because I've
heard it told about other people on YouTube and stuff
about to get it hit.

Speaker 1 (09:26):
And he just what he told the producer.

Speaker 2 (09:27):
But no, actually he told Dryl Harper that what happened
was Tyrone was the other guy that was in the
room with me, that room that they called the wack room.
So he and I shared that room twelve hours of
piece every day, and one of his songs got picked up.
Well pop walked in in like one of your old start.
I think that's what happened. But Sul certainly liked his

(09:49):
song all right, and.

Speaker 1 (09:52):
I turned in the song.

Speaker 2 (09:53):
But I turned the song to sixty deep. But I
told them it was two members of they group that
was bomb six six eight and and then sixty nine
six six and sixty nine, and I.

Speaker 1 (10:07):
Said they should lead it.

Speaker 2 (10:08):
The other two dudes just they was a good unit, yo,
with your background. What they wanted every one of them
to sing some portion songs. It came out sounding old
like bloodstone or song. So sure didn't even too much
favor of that. So in the meeting he addressed that,
and uh, he said, Tyrone, we like your song.

Speaker 1 (10:30):
But d Hart, I let them tell you what's wrong.
They said they ain't kill you.

Speaker 2 (10:36):
He said, man, you got three weeks to ride it
here or you gonna get hit, you know, And uh,
I guess the results was it was. It was a
victory story in the end because I wrote that hit. Well,
I wrote a.

Speaker 1 (10:50):
Song that was.

Speaker 2 (10:53):
I mean, it was like by everybody at death roll
when when I actually end up finished right there, Shug
Pop and Hammer was on the ground, they pulling each
other's clothes, fell on the ground restling talking about this.
Nigga wrote ahead this nigga went and row ahead, and
I knew right then I wouldn't gonna get my ass kicked. Yeah,
So man, that's crazy.

Speaker 3 (11:12):
So it was grown ass men out there just getting
hands put on, put on nothing like that record.

Speaker 1 (11:18):
You know what killed me?

Speaker 4 (11:19):
Man?

Speaker 1 (11:19):
When I hear people say much stud what you told
me the other day.

Speaker 2 (11:23):
Still that if I was there, I would, man, well,
it just would have went down because I see a
lot of a lot of people that I know, or
I've seen situations people.

Speaker 1 (11:31):
Came up there to check Shug.

Speaker 2 (11:33):
I just personally me personally, I just ain't never seen
nobody actually do it.

Speaker 3 (11:37):
You know, you know what things the toughest nigga in
the world, man, But it's one thing a nigga talk
and slick to you dog, and it's a whole other.

Speaker 1 (11:45):
Thing a man putting their hands on your dog and
just met I would you have handled that? On? Still?
How wout you up handled?

Speaker 4 (11:53):
If we went up there to present some beats and
then Shuke's mentality was, oh, man, I don't like this
motherfucking shit. And so he called his homes in the.

Speaker 1 (12:11):
Well.

Speaker 3 (12:12):
You know what, anybody gets their airs, not a situation
like that. I go in there, I might have got
I might have got my ass for man, but somebody
would have got shot probably.

Speaker 2 (12:21):
That's what would have happened, man, because the only people
got shot though, was it two of his homeboys.

Speaker 4 (12:28):
Now, I'm pretty sure they was doing at downs though
when you come through the door.

Speaker 1 (12:32):
So no, man, niggas still got the gun in it.
I ain't never saw Nick Dog in there without a gun. Never. Never. Never.

Speaker 2 (12:41):
They dogs some kind of way out of system. He
always because he wear these like jogging pans or whatever.
You could see him stef hanging out of his pocket
like you know they get them loose jogging pans or
you see the butt hanging out to Ny Dog wouldn't
really he really know. He might have been singing on
and be man, but they Dog wasn't somebody to mess with.

Speaker 4 (13:02):
Yeah, definitely Nate was who Definitely, Yeah, they wasn't no joke.
It was a couple of them that just more than
just the records, they really was. They was about that life,
you know.

Speaker 2 (13:13):
So yeah, yeah, so, but I've seen a couple of
people say things that to sug Man see hairn get
at him, rest in piece hair Ron. I've seen Rock
get at him. I seen a couple of people that
I saw you all get at him.

Speaker 1 (13:30):
One day.

Speaker 2 (13:30):
I saw you well say one day, nigga, I know
you don't want me to call my homeboy.

Speaker 1 (13:35):
And he grabbed around the negga. He didn't want me
to do. He didn't want me to view hers talking
to him.

Speaker 2 (13:41):
Like that in my sight, you know, like so he
grabbed put her in the office with him. You know,
I was like, he was in the doorway of his
office and she was nigga, you.

Speaker 1 (13:48):
Know you woa woo whoo.

Speaker 2 (13:49):
You don't He grabbed her around the neck and grinning
and holding his cigarette and pulled her in the office
with him, you know, because Jue I was dangster too.

Speaker 1 (13:59):
That was a girl, but she was you know, she
had a little edge on her too. Yeah.

Speaker 3 (14:05):
I'm definitely not saying, man, I don't believe him playing
a tough part because anybody could get caught out of bounds. Man,
But it's just a certain amount, you know, a man
put his hands on you. Man, you goad to fight,
you know, you're glad to get on.

Speaker 2 (14:18):
Yeah, I think that's typically well we want to go
down that bath, you know, because uh that wasn't the
worst to spense that. And you know I already told
you one of the storys where Pop came back from
where they were where Pop didn't come back.

Speaker 1 (14:33):
Put it that way.

Speaker 2 (14:34):
They went to bays and Pop lost his life and
he and She'll call the meet.

Speaker 1 (14:41):
His mandatory whenever.

Speaker 2 (14:43):
Whenever he had a meeting in his office, most of
the time, it was death for everybody there.

Speaker 1 (14:47):
It's mandatory.

Speaker 2 (14:47):
Ain't nobody supposed to be nowhere else in there around
the studio, in the bathroom and nowhere, you know, so
everybody gotta go. We got there, man, and uh everybody
was singing tributes to Pop Yo Yo then Hammer his crew.
Then quick quick as there, uh dog found snooping them there.

Speaker 1 (15:09):
I mean everybody in the young group we had called Bagatti.

Speaker 2 (15:11):
It was a female group they were coming with, and
everybody singing dedication. But everything is like cover songs, songs
that already been out by some start. And I was
the only one who had a song already written for
a park after he lost his life.

Speaker 1 (15:26):
Because but they got.

Speaker 2 (15:27):
Back from Vegas, I had already been working on a song.
I just didn't know what the song was gonna be about,
but I had the melody on the piano what I
was messing with.

Speaker 1 (15:36):
When I heard he lost his life.

Speaker 2 (15:37):
I went to grab that that that DA poured it up,
and I guess I was just really over and spoting.
The words came like, you know, like facts you know,
And I wrote the song called back round in. Uh
had to call the musicians in say it was almost
completed by the time they got back from Vegas. But
one of the other writers with meet, Reggie Lamb, he

(16:00):
knew I had finished.

Speaker 1 (16:01):
He think he was on the.

Speaker 2 (16:02):
Background, so he moved over to me in that meeting
when they singing dedications for pop because everybody down there
crying and.

Speaker 1 (16:11):
Uh, he moved on.

Speaker 2 (16:12):
He said, man, you the only niggas got a soul,
So for pop, you are this Joe time.

Speaker 1 (16:17):
You are to sing this for everybody in the room.
And they sounded good to me. So I snuck out.

Speaker 2 (16:23):
Of the out of the uh, out of the out
of the Shilk's office, out of the red room that they
called the red room and I snuck out and I
went down.

Speaker 1 (16:32):
To the voat the place we called the vote where
we kept tapes.

Speaker 2 (16:35):
Because she's prevented anybody from leaving at this point, leaving
out of the studio with tape or that or whatever
stuff was getting out, you know, so he had to
leave everything in a vault.

Speaker 1 (16:47):
The security had to let you in to get it.
So I went down there and got my dad and
I went to the studio.

Speaker 2 (16:53):
In the back studio to the back was in close proximity,
just office where they're in there singing, where they they're doing, dedicated,
everybody saying.

Speaker 1 (17:03):
My biggest mistake was I didn't look at the council.

Speaker 2 (17:07):
The last person in there had it blasting, so it
was turned all the way up.

Speaker 1 (17:12):
So I went to queue the tapeer.

Speaker 2 (17:14):
I pressed play for a second, and the blasted, and
they heard him hurt from his office. And the minute
I pushed up, you heard she'd say, what iut fucking
my mother fucking studio. And I heard the very nigga
that told me to go get my song, that's de
harp in your studio.

Speaker 1 (17:35):
I heard him say, tell that motherfucker to come here.

Speaker 2 (17:37):
Riding now, man I got to the doorway of that office,
a thigga snatched me around the neck, man, and I'm
and this is some grown ass ship man, because I'm
thinking I'm looking at all if GB all these other
niggas behind me, looking like all he had to do
is no his head.

Speaker 1 (17:54):
The help should like grat whatever.

Speaker 2 (17:56):
And I'm good with All of them were really good,
but they are all kind of hurt. Everybody kind of
you know, he just lost their biggest artists. And they
looked like they would have been it on me, like
sug will you know. So I looked at it and
I turned my neck around the shoe. He's taller than me.
I turned my neck up and I said, hey, look man,
I just wrote a song that I finished before y'all

(18:18):
got back.

Speaker 1 (18:18):
I thought this would be the best time to present it.
He said, good, because you up next.

Speaker 2 (18:25):
That's how that went, and then I thought the song
was almost not a dry eye in.

Speaker 1 (18:28):
The in the in the in the room, I mean,
Hamry is cool.

Speaker 2 (18:31):
Everybody was with their arms around each other when I
finished singing the song. Every As I was singing the song,
they was like in a circle. There's two about two
three different circles in that room, like where they was
like unifyingly, let me sing my song.

Speaker 1 (18:43):
But after that, every time I saw the Outlass sing
that song for a d R, seen that song you
wrote for punk.

Speaker 2 (18:50):
But that was enough another situation where it turned out
good because when I finished singing, the only thing Shoe
said was when it's real, you feel it.

Speaker 1 (18:58):
That's the only thing he said. But I know I
wasn't about to get jumped on there. You know, you
hear a lot of stories about this stuff.

Speaker 3 (19:09):
Man.

Speaker 1 (19:09):
There was a lot of friction in the building around Tupaca.

Speaker 2 (19:12):
Huh yeah, man, Yeah, And initially it was electric, It
was fun, It was you know, it was musical. It
was what I went there for the music part. But
quickly I'm talking about soon it became if it came

(19:32):
like filled with tension and and and you knew the
atmosphere was different.

Speaker 1 (19:38):
The two crews.

Speaker 2 (19:38):
Weren't uh dealing with each other, you know, uh the
dog Pound, the Outlaws, it was h.

Speaker 1 (19:48):
They were.

Speaker 2 (19:48):
They wasn't and they wasn't going in each other studios
doing songs or putting the verse down for each other.

Speaker 1 (19:54):
All that it stopped, you know. So yeah, initially it
was great man. It was. It was. It was a
a great atmosphere.

Speaker 2 (20:02):
Because Pac really bought a spirit there that they started adopting.
Because Park had a man. His brother was a He's
a work of halic. That's the only way I can
put it.

Speaker 4 (20:12):
Man.

Speaker 2 (20:13):
Some people I see other people think because they were
with hip hop, I see so a lot of people
think they just like the artists they see because they
go get the same braids in the blood, or they
learn how to sag their pants.

Speaker 1 (20:24):
But Pak was the kind of man. He really put
in the work.

Speaker 2 (20:28):
It wasn't just the image or the tattoo or the
whatever image.

Speaker 1 (20:32):
This man put in work. And he was a workaholic man.

Speaker 3 (20:36):
He came.

Speaker 2 (20:36):
Look, the first night he was out, he did seven songs,
seven songs. The first night he worked at Death Row,
he did seven songs. I think he did about three
of them with with Dalvin in them.

Speaker 1 (20:48):
They was there, Josh so. But I'm saying he did
seven songs straight. Bro.

Speaker 2 (20:54):
That that's that. That's when you most of the work
habit there. Most the people be sitting around their homies
in there. They might do two days on the same
song pick pull it back up Woo and they play
and somebody else do a burn or whatever like that.
Matt pop, Man, Okay, we got the hook here. Now

(21:15):
we don't know what we're doing here. Put throw that up,
put that up, Just start another one, just do another one.
Just well, he was like a workerholic, bro, he was
a workerholic. So and now I ain't never really saw
nobody work like it. Just to keep put it.

Speaker 1 (21:29):
That way, he just.

Speaker 2 (21:31):
You know, me and him when we'll leave, Like, let's
say we did two songs that night, and call me
in the morning. You got another song, got another be
say yeah, man, I got a bet. He'll say, yeah,
we'll being a student in an hour. He'll hang up,
call me right back and say, matter of fact, have
two b in case I don't like the first one.

(21:52):
You go myth motherfuckers. That was his thing, calling everybody goat.

Speaker 1 (21:55):
Mouth, you know. So yeah, but uh yeah, yeah. It
was electric when it first started.

Speaker 2 (22:03):
But after a while, bro, it got it got ugly,
even with the stars, you know.

Speaker 3 (22:08):
So tell me this man, you know me and you
talk about all the time. Man, I think the fans
of the show. Note, I talk about my homeboy, Tyris
a lot, Tyris Hines. You know, knowing to the rest
of the world as Big Psych Me and him was
really good friends, man. And you know, and I don't
call everybody your friend, man, but Big Psych was a
real friend like that was my guy. And Big Psych

(22:29):
had a real good spirit around him.

Speaker 1 (22:33):
When Obocca, yes, they started coming to your sessions.

Speaker 3 (22:36):
You think psych has something to do with getting them
to come by, because you say, a big Psych of
the fendic.

Speaker 1 (22:40):
Yall one time. Now here's what happened, bro. Maybe you uh,
maybe I don't know. Maybe I didn't pay clear to you.

Speaker 2 (22:47):
I said, I don't have any I don't have any
problem believe in it. In the end, I don't have
any facts, but I do believe there's a very good
chance that Psych was the reason why what really initiated
pot opening that door one day and asking me about
that beat. And I don't even know if he wasn't
the reason why should came in there and turned the

(23:11):
room from.

Speaker 1 (23:11):
What it was. See it it was real a room.
It was like a utility room at first. Bruh.

Speaker 2 (23:17):
They kept big real the real machines in there, real
the reels back when they was using real the reels,
So it wasn't no real play, no real work environment
for somebody writing music.

Speaker 1 (23:27):
It's just that I would go in there. They had
a double cassette, and back.

Speaker 2 (23:31):
Then I was just writing for Kevin Lewis Recipees, the
Ramsey Lewis Son. He was managing the studio. So here's
what happened. I would go in the entire roe and
we're going there. We put a piece of quitment. We
started making that our work spot. But it was really
like a utility room. So what happened was Should end
up coming in there one day hearing that they was

(23:52):
calling us whack or teasing us and stuff like that.
And he came in there one day said I'm tired
of this. Hey, them hearing around the building. We're gonna
turn this into the green room. It ain't the wack room.
We're gonna bet we get a hit out of his room.
And what happened was, while they was teasing us one day,

(24:14):
one of them push the door.

Speaker 1 (24:16):
They said, that's some whack ass beats and woo whatever.

Speaker 2 (24:21):
Right after that, Sike passed by, opening the door and said, man,
y'all go man, this sound to sound good.

Speaker 1 (24:27):
Man, don't don't don't let that discourage y'all basically keep
your head up like that, you know.

Speaker 2 (24:32):
So I said, I wouldn't doubt if he was the
one who went to Park and told him, hey, say
down their teeth. You know, he's really basically talking about
dog pound people, or they go they crew somebody from
they crew, or.

Speaker 1 (24:44):
They hung out with their crew hollering give niggas in
their whack.

Speaker 2 (24:48):
And I think I know Syke opened the door one
day and right after it happened, they said, man, y'all,
y'all continue on, man, don't let that discourage y'all. Right
after that, snoop, I mean, did the thing about turning
the room. And then Park walked in and said, hey, man,
what you playing right there?

Speaker 1 (25:06):
Oh man, I won't that. That's my beat right now.

Speaker 2 (25:09):
So I'm saying things happen occurred for us good after
Pyke did that. So I don't have any problem believing
that he's what initiated going to Park saying they down
there peas and home boarding them in their room, you know,
the niggasin' there.

Speaker 1 (25:23):
You know.

Speaker 2 (25:24):
So I don't have any facts, but I wouldn't have
any problem believing that, Yeah, it.

Speaker 1 (25:28):
Ain't hang here was very good clear me and psych
was very good friends.

Speaker 3 (25:31):
Yeah, yeah, I don't doubt that for a second. Man.
That's how I met psych on some stuff, man, like
him trying to help me out on some stuff man,
and just a good brother. Man.

Speaker 1 (25:41):
I miss him.

Speaker 3 (25:41):
Man. There's so many whole ass, whole ass bus threads
dudes walked around now. Man, it got their life man,
and it seemed like God always picked the good ones
leave early.

Speaker 1 (25:51):
Yeah, man, I know what you're saying, Man, yup.

Speaker 4 (25:54):
Yeah, that's unfortunate. Man, we can't. It's unfortunate, you know
what I'm saying. Like you said, you have a real
good nigga taken from you, and then you'd be like
it's a gang of sights. Motherfucker's still around here, Like
all these niggas are still walking around and scheming and
samming and bulls.

Speaker 1 (26:15):
And then a nigga that was true blue and you know.

Speaker 4 (26:20):
Was was really for really for the movement and was
a real close friend and never you know, bullshitted no
body up with motherfuckers. Then be the niggas that checked out, Yeah.

Speaker 1 (26:35):
One of me and was the good guy young and
just strang good die Young.

Speaker 3 (26:40):
Yeah m hm, that's crazy, man. So so let me
ask you this man. I want to go back to
how you felt you was you in the studio, what
beat was you working on? Who was the first bead
he herds you met messing with?

Speaker 1 (26:52):
The first beat he married was the first.

Speaker 2 (26:54):
The last one they put out on on on better
days was was Military Mind.

Speaker 1 (27:00):
First beat was Military Mind.

Speaker 2 (27:02):
But what he was doing back then, he was doing
a project called One Nation. So he had these other
brothers there. I forgot that I know. One of them
name was buck Shot or something. People beat people from
updoing for whatever. Shot shortly huh butt shot shortly. Yeah,

(27:22):
So all of them was they They was there trying
to do some album about people uniting and all that,
and uh, that's what we you know, he heard that
beat and what's that said? That's mine, mayn't go put
it in the room. So that that was the first
one we messed, we messed with and.

Speaker 1 (27:42):
Uh yeah, I tell you though, still that was a
that was a weird.

Speaker 2 (27:47):
Session though, because uh, I just learned how to start programming,
and what I did was I made the beat the
beats like a ride and kind of beat.

Speaker 1 (27:58):
And they they riding on it.

Speaker 2 (28:00):
And then halfway when you get halfway through the song,
and start going to this ding like a like a
meth like a love song, you know, because I didn't.

Speaker 1 (28:09):
I didn't put the wrong sequence in the middle of
the song.

Speaker 2 (28:12):
And every time they get that point, then they get
to play in that slow song again. And they was like, hell,
so uh this this this famous uh uh engineering everybody
knowing Tommy d he found it.

Speaker 1 (28:27):
He found it in my sequence. You see that.

Speaker 2 (28:29):
Oh you asked me to put this here, Dyl, so
oh well he put it. He took that sequence out
and the song went well. But I remember while they
when they kept happening, Sight stood up the stair.

Speaker 1 (28:40):
Oh, they gotta get you to get in here with
my boy. Then this is what you do. But he
said it.

Speaker 2 (28:44):
In a laughing way, you know, he had them all chuckling.
You know, ain't laughing, you know, and uh that but
I'm sweating bullets. Man, you in here with pop and
this got wrong. This boy then picked you up to
do a beef and you didn't mix, you know, like yeah,
but that you know, I thought that was a bond story.
And tell man, you know, and you're something happened to

(29:07):
with your beat?

Speaker 1 (29:08):
Yeah?

Speaker 3 (29:09):
Yeah, like that before Hey, I'm at to grab a
cord and give me a minute.

Speaker 2 (29:15):
I can grab a cord so I can put it
in my father, I could just start the thing and
go read it's.

Speaker 1 (29:19):
All good, count get in all right? Yeah? Yeah.

Speaker 3 (29:25):
I think all of us, man and duds and beat
makers don't always have the moments because when you finally
get in front of some people, like right, it's one
thing when you're playing beats for your homies in the
hood and stuff like that, and your you know your
vocal clue right, But when you finally get a chance,
especially back then, because it's not like it is now,
you could MP three somebody some stuff pretty soon much

(29:46):
when you submix your beats now for people they perfected.
But when you got a studio section, man, and everything
has to go right. You remember back then you was
you have a beat program. There was a little different
process recording that you usually going to two inch you
know what I'm saying. So you going to two inches
and stuff, man, and you're like, man, what.

Speaker 1 (30:03):
Is going on?

Speaker 3 (30:03):
I can't find what's going on with my beat? Because
I had that happen before. I remember, man, I had
a SB twelve hundred, right, I remember I went up
there with Bobcat and that's when I was real green.
I just took my disc with me. I didn't think
about taking none of my modules with me, right, I
just brought this disc when I went and took to Bob,
and only four of my sounds was playing. He was

(30:24):
looking at me like, man, your beat is incomplete.

Speaker 1 (30:26):
Man. Yeah, you recorded with somebody that night.

Speaker 3 (30:30):
Man, And it was a beat man And he was like, man,
did you really make that beach man? What the rest
of the sign was at? It was just crazy, man,
And I remember being so nervous. You just skipped me
a hard time.

Speaker 1 (30:41):
I phoned out later on.

Speaker 3 (30:42):
Was right, And there's stuff like that that happened sometimes. Man,
it's crazy. You didn't ain't you never did numbing to
a partitions.

Speaker 1 (30:54):
We did something, but it was on chack.

Speaker 4 (31:01):
We did a song called Games on South Central Cartels
on South Central Cartels out it.

Speaker 1 (31:12):
Was me I believe our Central Quartel.

Speaker 4 (31:25):
Uh and I believe it's one Spice poc me Ice
team on South Central Cartel.

Speaker 1 (31:35):
I'm sure it was killed another.

Speaker 3 (31:40):
Yeah, he had he had a full gangst Lionela. What
was the name of that song? You remember the name
of it?

Speaker 1 (31:49):
What's called Gangs Team?

Speaker 3 (31:53):
Yeah, I'm had to go pull it up. I might
have heard that before. I might have been Uh.

Speaker 1 (32:03):
It was quite how one tale. Yeah, look at Darryl Man.

Speaker 3 (32:13):
Man, you wanna here, man messing up the record and
fushing Man mant me.

Speaker 1 (32:18):
Like sugar up in here, Darryl. I don't do that, man,
I'm just messing with you. Do I hit all the students.

Speaker 3 (32:23):
I have to take Man, we don't we don't even
known that around here, brother, But treat everybody.

Speaker 1 (32:29):
We never it ain't never that serious.

Speaker 4 (32:33):
Where did uh? Well, how did you come to college?
How did you come across in the death Road days? Bro?

Speaker 1 (32:41):
Good question. I had a homeboy here in Long Beach.

Speaker 2 (32:45):
Tell I was writing R and B in a gang
of little studios, you know, because I ain't really from
Long Beach, but had moved a long beat and it
didn't take me long.

Speaker 1 (32:54):
To start finding out where the little studios was.

Speaker 2 (32:57):
But every time I went to when I was writing
R and D and stuff like that, and he would
show up.

Speaker 1 (33:02):
He kind of knew everybody in Long Beach, you know.

Speaker 2 (33:06):
He knew all the places to go where some music that,
you know, it was pretty good music was played there.

Speaker 1 (33:13):
So I would go there and wouldn't take.

Speaker 2 (33:15):
Long for me to hear something on somebody's beat for
like a hook or something or a melody, and they
started messing with me.

Speaker 1 (33:21):
But Chuck would always show up.

Speaker 2 (33:23):
And when you showed up, he would always tell me, oh,
I know who wrote that, Sook. You wrote that, dude,
I don't know who wrote the verses, but you wrote that.

Speaker 1 (33:31):
I said, yeap.

Speaker 2 (33:33):
So he kept telling me he knew sure, But at
that time a lot of people were telling.

Speaker 1 (33:37):
Me they knew Suck. He actually did.

Speaker 2 (33:42):
So we actually we actually we pieced up on some money.
I was driving my girl Ford Temple and one day
we pieced up on the gas went out there Tarzanna
to uh can Em and the first person once we
got past the cure, the first person I saw at
the council at the studio was Snoop standing over there

(34:04):
over the council. I couldn't believe that walked in his
room and got damn. The most famous rapper in the
world at that time was Snoop. He's standing right there.
I'm like, this nigga really did no Snoop. And it
wasn't from there I started writing for Kevin Lewis, which
was Ramsey Lewis's son recipes.

Speaker 1 (34:23):
And then eventually I.

Speaker 2 (34:27):
Went outside and saw still pulling up and and said, man,
I took my line back then this was my line.
I told him, Man, just like baby if, I said,
don't different between me and baby face.

Speaker 1 (34:38):
Thame. I write melodies like that. I write hooks like that.
He looked.

Speaker 2 (34:43):
He stood back and looked at me up and down.
He said, I'm gonna be back in about an hour. Man,
I have something for me to listen to. I thought
he was busting, but I waited for the hour he
got back. In the hour, he sent some guys looking
for me. I'm because you almost lived off what you
call Mike. Awave popcorn and showed it because that was

(35:05):
always available and.

Speaker 1 (35:06):
It was free, you know.

Speaker 2 (35:07):
And I'm sitting there, I'm making pop in the popcorn
and two three niggas ran to the door. And you're
the one who could sing. You gonna sing for sugar
that they he said, Well he want to hear you now.
I say, wait, tuck this poping fuck that popcorn? Want
to now, man? And that's the first time I really
realized is importance like and people willingness to please him?

Speaker 1 (35:32):
Know what I'm saying. He's grown niggas in the doorway
talking about fuck that popcorn.

Speaker 2 (35:37):
I said, okay, like that, and I took I went
in that room, the room that ended up in the
wack room and the tape room, and uh, I sung
him some songs I had already been writing. Man, he
stopped the first one at the he said, you got
a job, so he I sung it to the hook.
He said, man, I got Danny boy, mister Lee, I

(35:58):
got a group coming in bru.

Speaker 1 (36:01):
This kind of shit, he said, this kind of stick.
Take us to the wards.

Speaker 2 (36:05):
Man, he said, be here tomorrow with your ID and
your what's the day night there?

Speaker 1 (36:09):
I have my turn you here to talk to you.
And that's just what happened.

Speaker 2 (36:13):
We walked out of that room. Still, I'll give you
another little thing. We walked out of that room. He
turned around to me and snatched me by both of
my pockets. Now he's taller than me, bigger than me.
And I wasn't no small nigga.

Speaker 1 (36:25):
That was real big.

Speaker 2 (36:25):
If you see stuff on YouTube, I was a big nigga.
And he stasked me buy my pocket and told me
how you living. I didn't know what he was talking about.
He shut in my pockets again, said how you living?
And I understood. I said, Man, I got four dollars,
he said, Man, be at the office tomorrow and I
got some fuck and then be here at seven o'clock
to meet my atturney. That's just how I went down.

(36:47):
I got to the office the next day, twelve o'clock.
It's a thousand dollars check. And I was a nigga.
Man went around. If I had one hundred and fifty dollars,
that was big, you know. So at that time, that
thousand dollars spoke a whole lot. I was living with
a ticket, I'm driving her car. I was able to
buy groceries.

Speaker 1 (37:05):
Yo, so yo. Anyway, Yeah, that's how I was gonna say. Yeah.

Speaker 4 (37:14):
Back at them times, man, it was really starving artists. Man,
you get me, because you know, Ship Niggas was. She
was trying to do no hustle, a little being or
whatever it was.

Speaker 1 (37:26):
It was. It was a little different.

Speaker 4 (37:29):
It wasn't as easy to get on as it is now,
you know what I'm saying.

Speaker 1 (37:34):
And then and then there was a it was a trip.

Speaker 4 (37:38):
Like you said, Wow, niggas just wanted to please Ship
you know. And then was that out of fear getting
they asked for themselves or was that the fact a
nigga don't cut that check you get me?

Speaker 1 (37:55):
You know?

Speaker 4 (37:56):
So is that why he garnered, oh, you know, so
much respect from from people or was it.

Speaker 2 (38:04):
In Hey, I gotta say, you know, you gave the
two major reasons. One for one thing, he kept something
in their pocket.

Speaker 4 (38:14):
You know.

Speaker 2 (38:15):
Uh, he was in a position choosing fuse from him
was still major in the hood. Wherever he could get
him was like mate, you know, a chain, a new
set of times for your car or whatever, a car
or something that was big in the hood. He could
he could throw that around like it was nothing, and

(38:36):
people just do it to to to satisfy it. Some
of them had had had hopes of them becoming rappers.

Speaker 1 (38:43):
Just some talking about some of these bodyguards.

Speaker 2 (38:46):
You think I didn't do beats on some of the
bodyguard Some of them wanted hey man, some of them
had a dream. So when it was downtime and they
saw him around the studio, hey, can you listen to this?
A lot of times I wouldn't the nigga say no, man,
I listened. You know, I'm trying to put something to
whatever they was doing. You know, didn't you have a talent?

Speaker 1 (39:07):
Huh? Any of them dudes have real talent.

Speaker 2 (39:10):
Some of his homies did. But I don't remember what
a hair run had a couple of raps or whatever recipes.
But I remember a few of his homies like uh,
I forgot what these niggas called himself. But one of
them in the group was uh was Red Wrong Tremaine?
He was, he was, he was talent.

Speaker 1 (39:30):
He had some Talian girl was Bloody Mary. He had
he had some. He had some. They had some.

Speaker 2 (39:35):
Homeboys, some or bloods or whatever. They ran with their
new sub They they came through a lot of them.
You know, I would mess with them and they they
they had something to offer.

Speaker 1 (39:46):
But a lot of the bodyguards.

Speaker 2 (39:49):
Not really you know. I say the closest one they
had had something to bring to the table was probably
the one that ended up dating raids neck bone.

Speaker 1 (39:59):
And it wasn't him.

Speaker 2 (40:01):
But they found a group, that group I told you
about Bugatti by girls who were really.

Speaker 1 (40:06):
Tight, you I mean they was tight. They was tight.

Speaker 2 (40:09):
So they brought Rage and him brought them to the
to the table. They just Jeff Road, It just mattered
too soon for them to actually get their stuff out
or whatever. That was something that that never really finished blockoming,
you know.

Speaker 1 (40:24):
So but they was tight that you know what.

Speaker 3 (40:29):
The one thing I want to say, man, is that
we always hear that bad about Should man, and Should
really didn't do nothing, no different than what a lot
of these other executives been doing. He was just upfront
with his ship. It's like that you said that still
for real. No, it was a lot of people that
was doing shit, man. You know, for that we see
from puff on down, a whole bunch of people. You know.

(40:51):
It was like this has been going on since the
Berry Gordy days, and before that it was going on
with the Italian mafia. They were doing the same stuff
in the music business. You know. So Should get a
lot of stuff, man. Should changed a lot of people's lives, man,
And like we got to give to me. We speak
too bad about our black people sometimes.

Speaker 1 (41:09):
Man.

Speaker 3 (41:09):
It's like we have to tell both sides the coin,
and like, yeah, he might have been a little rough
around the edges, but maybe that's why he was healing
successful too.

Speaker 4 (41:16):
Man.

Speaker 3 (41:16):
He probably was doing what he had to do in
order to get his respect, you know. And to get
stuff going, because sugar get some amazing shit the shorter money.

Speaker 1 (41:24):
Man.

Speaker 2 (41:24):
I don't want to put no names out there, but
I know some specific artists and the people who signed it,
and it was widely told they contract was just as
bad or worse than skill.

Speaker 1 (41:38):
And you got to know who they group was. I
won't name some of the groups.

Speaker 2 (41:42):
But I know at least two right now, and it
was they had someplaces that they they they payperwork, wasn't
no better than these stiges or work.

Speaker 1 (41:51):
So a lot of people.

Speaker 2 (41:54):
Put his name out there, but a lot of time,
when they got a chance to sit in that same
seat to sign other people whatever, they hand out, that
same stuck.

Speaker 1 (42:03):
Just that he had the gangster with it, you know.
But a lot of them they might not have had
the gangs to get in like that, but when.

Speaker 2 (42:12):
They had a chance to bring somebody on they handed
that busted out too. If somebody didn't really know what
the part of the game was or whatever like that,
they didn't do anything.

Speaker 1 (42:22):
They didn't do They artist no better either.

Speaker 2 (42:24):
So and I just don't I don't want to name
some a couple of names, man, because a couple of
them are really prominent today and they still here today,
but they handed out the same bullshit that they was
complaining about.

Speaker 4 (42:37):
Sure, well what you say still you know about you
know given or you know or hip hop or black peers,
you know bad rocks, you know, eat know they might
have done some good, you know for for some people,

(43:01):
like you said, shill a lot of homies from good
Uh he probably employ or a few homies who touched
down from the pen or whatever who probably wouldn't have
the opportunities to travel and to or vow to you know,

(43:21):
functions or whatever. But do you feel that when certain
because not everybody does it? But do you feel when
biggas come from our walks of life?

Speaker 1 (43:37):
Right?

Speaker 4 (43:39):
You feel like because every every nigga don't come our
walk of life?

Speaker 1 (43:44):
Right? Everybody don't walk this path that we have traveled.

Speaker 4 (43:48):
You know, if if you're associated or been just neighborhood
or we hated or come from that direction of dealing
with people who are you post neighborhood, do you think
because of what has transpired in their life maybe going

(44:10):
from uh situations we have all been through, you know,
uh poverty or whatever living in situations or you know,
a gay neighborhood or those walks.

Speaker 1 (44:26):
Do you feel they give.

Speaker 4 (44:29):
A bad or or what do you think was it
the money that influenced them to become these people? Or
do you feel this is something that's very deep down
and because or power it overtakes them. You get me,

(44:50):
because there's a lot of more fuckers who get in
power with money who don't order niggas to get beat
up or having secret three parties and beating on bitches.
Me like there's something us who get successful and do
very good, or.

Speaker 1 (45:10):
The black community and the black man.

Speaker 4 (45:12):
But thus you have those motherfuckers who get in the
pocket work And is it that the money overtakes him?
Or like you said, was this was well wedding? Were
these kids that they had? Or getting twenty and now
that I'm in a position of power, that can be

(45:34):
the nigga you know telling nigga, Oh I want five minutes? Asked,
would you know what I think? I'm gonna tell you
that truth? Jim, if I think two hundred million dollars,
you get me, how many people would be off with
you if.

Speaker 3 (45:54):
You was just I think it's the thing. I'm gonna
tell you something, man. Anyone that we see that's prospering.
Right now that got money and act in a certain way,
They probably didn't act that way at one time because
you didn't have the opportunity to see the authentic them, right,
that's not the authentic. Then once they get money, you

(46:14):
get a person's true representation of who they are. Because
when you don't have money, you don't have the funding
to go out and put people hand. You feel what
I'm saying, You just can't. You know, now you may
be able to. I got home boys, right, I don't
gang bang. I've always been very adamant about that. I
ain't never belonged to a gang. But I still have
very good friends from some big places, right. And if

(46:35):
I want to get people text up, I probably could,
you know, But that's not me, right, because that's just
not me as a person, right. I don't think it's
ever that serious, you know. I think what Sugar was doing,
I think Sugar asked something he didn't want to lose. Man.

Speaker 1 (46:49):
I think people come from where we come from.

Speaker 3 (46:50):
They get into them positions of power and they're going
to be on some Malcolm X stuff by any means
necessary in order they got going, right, Because it's very
hard to get this business. Man, I'm gonna tell you
the hardest part. The hardest part is staying aboard. Man.

Speaker 2 (47:08):
Yeah, hey, hey hey, can I ansk that question and
expound on that question you asked. What I like to
say is some people fantasized and that could be their
fantasy to do some of that stuff, but they don't
have the.

Speaker 1 (47:24):
Means to do it because and the reason why.

Speaker 2 (47:27):
I say that I got around death Row. I don't
claim a set, but I've always been around. Quips are
every hood my mother moved and not like she like
she that was strategic, like she was looking for a
quib hood. She is everywhere we moved to just end
up being quib hood. You know so, but some people don't.
But here's the reason why I say it. When I

(47:48):
got to death Row, I got privy to hear things
that I probably wouldn't have heard in other settings.

Speaker 1 (47:55):
Is all other way I heard Sill's home was many
of them.

Speaker 2 (47:58):
Different ones say things about shugs where he where he
was nowhere to I'm talking about that wasn't positive, like
basically revealing that he wasn't really a game bank or
he really didn't earn his strikes. I've heard his own
homeboys speaking like this, like I got some I won't

(48:19):
even miss any because y'all know him. But they was
like speaking like, hey, he got the homies jumping in
and off planes.

Speaker 1 (48:27):
I'm not impressed with that shit. I'm here for a check.

Speaker 2 (48:29):
I heard one of his homeboys, you two both know,
say that at death Rod. So what I'm saying is,
I've heard other homeboys who I know they was there.

Speaker 1 (48:42):
Just for a check, but they didn't really feel like.

Speaker 2 (48:44):
He was like like he like he basically besides the
money that he could give them, they didn't feel like
he earned his strikes.

Speaker 1 (48:50):
Man.

Speaker 2 (48:51):
I remember he had a two cousins and they was
twins and they trying.

Speaker 1 (48:56):
To wind you out after I left Death.

Speaker 2 (48:58):
Row, walking out over their house one time, and they
was trying to like talking about, hey man, we want
can you do it be for us? I had just
the Maga Belli stuff and all the other stuff, and
I'm sitting there, I ain't making no chext at this time.

Speaker 1 (49:12):
Still get trouble. I'm woo woo.

Speaker 2 (49:14):
He only giving checks to the biggest ones on the label.
Everybody starving, and I'd already done the work. But I'm
hearing from them them talk about I'm talking about.

Speaker 1 (49:24):
They friends, they peers. That's related to still.

Speaker 2 (49:27):
Talking about that didn't earned this basically saying I don't
can give verb bay what they said, but basically the
spirit of it was, he didn't really earn his He
ain't really you know, he didn't earned his way out
here on the streets.

Speaker 1 (49:40):
You know, he got money, you know, he bought he
buying his way through. He wasn't he didn't put in
work or whatever.

Speaker 2 (49:47):
So I've heard several of his homeboys talk like this,
but I'm saying he was in the position that.

Speaker 1 (49:54):
Money brought something out of him. I don't know, you know.

Speaker 3 (49:57):
And Eryl, let me tell you something, man, I'm I
know wrong than Donald Man. Yeah, I'm gonna tell you
like this man, Sugar, ain't know. Like I said, he's
not no different than anyone else.

Speaker 1 (50:11):
Man.

Speaker 3 (50:12):
Now, I think that when you do have money, you
got to understand. That's like eight. Don't know me for
a minute. You know, I'm big on telling people eight
like everybody not your friend.

Speaker 1 (50:21):
I don't. I don't throw that word around loosely. You
feel me.

Speaker 3 (50:25):
I don't have I got associates, man, But people are
usually only good with you when you're in position to
do something for them, right, you know that that's.

Speaker 1 (50:34):
The biggest thing. So people and Sugar is not alone
in that. Man. You have a lot of people who
are paid, you.

Speaker 3 (50:40):
Know, hired ins hire guns, right, they hire guns, man?
They what do they call them? People ate the hire
mercenaries mercenaries for hire?

Speaker 1 (50:49):
Right.

Speaker 3 (50:50):
So if you got a crew of mercenaries around you,
you are always you always stand a chance, man of
your situation end up like death Rose, your kind of
empire falling apart because the people around you weren't genuine.

Speaker 1 (51:04):
They only there for what they have.

Speaker 3 (51:06):
I would rather have the type of authentic friendships that
I have that I've developed over the years to where
whether I'm ridge, poor or right in the middle, these
people go still ride for me, right, They still you know,
they still go rioting, and they still come around. I
believe all three of us, you know, we should at
this point of our life, we've been around a long time.
We probably got people like that around us that love us.

(51:26):
You know, they say, you know what, you're not gonna
do that. I've had friends, Manna tell you the story.
And I'm not big on putting people on blast. So
I'm not going to ever do it.

Speaker 4 (51:36):
Man.

Speaker 3 (51:36):
I had a homeboy, man that he would need help
from here and there, he would need his rent paid
here and there. And it was always the things. I
look at this dude as my friend, right, So whether
with him needing five hundred bucks to pay his rent
or to buy his baby some diapers, you know, a
couple hundred dollars here, a couple of dollars there. Right,
always kept some money in this guy's pocket. Man, And

(51:57):
it seemed like once he got in, we were still cool,
but it kind of just like the dynamic changed a
little bit. I didn't see him as much as talk
to him, and I'm fine with that because I'm not
big and he chasing people around. But I noticed that
once he got all the way on, he almost became
in clown mode, kind of like, well, I can do

(52:18):
this and do that, and if you ask him to
do something, and I kind of knew where we was at.
I asked him to come up to the show, and
the answer to me kind of let me know where
me and him was at right now. So I didn't
ask him, and I'm not wanting to ask somebody for
something anyway, but I really just stopped messing with him
because you the person that has money and resources. You
know who that person truly is. He's going to let

(52:40):
you know right there, I don't have to fuck with you.
I don't have to defference. So I never looked at
it as somebody owes me something anyway, because to me,
a friendship is worth more than any monetary value you
could place on that. Right, A friend is something special, right,
That's why I value my friendships and not on base
my friendships around money or with nobody else can do

(53:01):
for me or what I can do for them. It's
a genuine situation, right, I think should man just feel
victim to the you briss that plagues many of us
in the black community. You know, we we get a check, man,
and we think we on top of the world. Man,
But I'm gonna tell you this, what comes up must
come down.

Speaker 1 (53:20):
Man.

Speaker 3 (53:20):
I've had a lot of money, man, I've had time
to where I didn't know what I was gonna pay
my next bill. Man. I've been in both places, so
it kind of made me the person I am today.
I used to put my faith in God nefferent man,
because you know the thing is, man can close the
door on you all the time. God is gonna always
be there to you know. God has go always be
able to keep the door open for you. So I

(53:41):
don't place my faith in man no more, because I like,
I ain't gonna say heart brokerams, I don't get heartbroken
over no niggad. But I'm gonna tell you like this,
I don't put my faith in no man either unless
they've demonstrated to me that, you know what, I'm this
man's friend to the thicket thing. And I'm gonna tell
you who one of my good friends is.

Speaker 1 (53:58):
Man.

Speaker 3 (53:59):
I got a friend. I mixed him all the time.
This name you might know him, Darryl. You know Fonbe.

Speaker 1 (54:05):
No, I don't think I do. Fomby. I don't think
I do. Farnbi is my homeboy man anything.

Speaker 3 (54:09):
I've always been a good college boy, ate anything criminal
I've ever done in California because of Fomby.

Speaker 1 (54:16):
Right, But.

Speaker 3 (54:18):
Because he was a real good friend. He showed me
the best way he knew how for me to get
money out here. Right, so he you know, put me
on what a sac That's just how it was back then.
But he was a genuine dude, right, He was a
genuine dude, and he was a good friend of me.
That's why you know, thirty some years later, me and
him are still friends, right, We're still cool. You know,

(54:38):
that's my boy right there. I just think, man, some
people aren't genuine, man, And to keep it one hundred
with you. Man. The crazy part about it it Should,
despite again, despite all the bad that people have to
say about him, Should was probably the most genuine dude
at that late might been the most Just think about it.

(55:01):
He asked you he didn't know you met him, how
you living, and gave you some money real quick, change
your life, just that quick short. Because I'm gonna tell
you this, shug kept a whole punch of them boys, man,
living good and driving the cars and stuff.

Speaker 1 (55:14):
And some of them niggas didn't put out no hit records.

Speaker 3 (55:16):
Dog, everybody else, they didn't put out a hit record
that was driving around on the lectures of pins or something.

Speaker 1 (55:21):
Right right right, I know that I witnessed that person hand.

Speaker 3 (55:25):
So everybody you know, think about it. Nate Dog is
probably the best dude the hook game on history. Right
as far as the hip hop hook hook master, they
didn't really get to have no hit records of his own,
you know, you know, he got his you know, he
got his untown the demise and everything, but nothingtheless that
on the gate the fact that he was incredible, right,

(55:47):
but they didn't ever you know, he had some good
songs man, like you know, he may have some great
solo records, but for whatever reason, he never really got
the opportunity that those other guys had to put out
his own big solo records. You know, don't get me wrong,
because he definitely made them records hints the ones that
he was on might regulate and all that other stuff,

(56:08):
but he didn't really have nothing of his own that
he can claim.

Speaker 1 (56:12):
And I think this Sugar, the sugar was just I
think we.

Speaker 3 (56:15):
All doing the best we can, man, because there's no
classroom for this man. These are very extreme situations that
we find ourselves in as young black men sometimes and
we may not know how to navigate him. And you
gotta think about this. I don't think nobody ever thought
of this part. Sug might have been even scared. Man.
You think about all the cats he had around him,
man that any time for the turn, they back on him.

Speaker 1 (56:37):
And he knew that. I guarantee you Shug, you don't
get as far as you do it as he did.

Speaker 3 (56:42):
Man with being done, I'm pretty sure Shug knew exactly
what his relationship in this road was with all them cats.

Speaker 1 (56:50):
I believe you still for real, Like in other words,
a lot of people.

Speaker 2 (56:55):
I've met, he attributed all success to his.

Speaker 1 (56:59):
Muscles, and I don't I don't.

Speaker 2 (57:01):
I feel like he had to know he had He
knew the ins and out, and he watched Dick, Griffy
and them do their thing. And I think he was
a good student, and I think he knew that part
of the two some facts of it. Of course, he
kept a team around him that knew more than them.
But I mean, that's a smart man. You know, if
you the smartest man in your circle, you' the dumbest man.

(57:21):
So you got to have somebody pouring in your life too.
So I think he watched and he observed things around him.

Speaker 1 (57:29):
Uh.

Speaker 2 (57:29):
And it didn't just it wasn't just run up in
somebody office with the muscle. Because if that easy, every
nigga on the street, they got a little muscle, will
have a record deal right now.

Speaker 1 (57:38):
Have a company exactly right now. If gang the record
companies out right now run down and get a check.

Speaker 3 (57:46):
I'm gonna ask all real quick. I'm goa ask all
you all the questions real quick before we get in part. Hey,
if you have fifteen people you could call right now
if you want to just go somewhere after food.

Speaker 4 (58:00):
No, because I mean I could call fifteen people, but
I wouldn't do that. I'm getting those situations to where
I would need to do that because I'm mature enough
now on to where.

Speaker 1 (58:15):
I can. I won't.

Speaker 4 (58:17):
I won't do that nowadays, younger days. But the age
I am now, there's not a situation that would cause
for me, now you know, to hit up fifteen twenty
niggas a week, go somewhere in active food on. You
just got to be mature enough, you know, especially in

(58:38):
the age as we are. We's got to be a
mature person nowadays. That's why you know my life is calm,
you know what I mean.

Speaker 1 (58:48):
I don't like me.

Speaker 4 (58:49):
I can't do anything about that, but as long as
it doesn't create for a ploth where it could harm
someone it's close to me or family. You know, people talking,
they're always gonna talk. You just gotta handleg what is
brought to you and on that note, that's it.

Speaker 3 (59:12):
A lot of that stuff, And I'm gonna answer my
own question. I think we all got people that we
can call, but I've never had a situation a because,
like I said, I'm gonna tell you this, the people
I can call are friends of mine, right, and I
care about my friendships. I'm not ever putting none of
my homeboys in the position over the stupid stuff to
where they can come.

Speaker 1 (59:30):
And lose their life or lose their f find us
some silly shit, you know what I mean.

Speaker 3 (59:36):
But my thing is this, I love you too much
dog to put you in a situation to where now
you can't provide for your family and your mom at
home crying now, your daughter at home crying out because
their dad ain't around. And I've seen too many situations
of people that are in their positions that they don't care.
You gotta remember, just like them, people don't have no
respect for the money, but the man they don't have none.

(59:58):
They respect the money, right, man with the money don't
respect the me. That that's why you keep putting them
in dumb ass situations because he knows how they feel.

Speaker 1 (01:00:06):
Right.

Speaker 3 (01:00:07):
And so the thing is, I would never have none
of my homeboys, dough, my front line security. You know why,
because I would never want to see them in no
position man, where they just fucked up.

Speaker 1 (01:00:17):
You know what I'm saying.

Speaker 3 (01:00:19):
Well, I thank you man for coming to sit down
with us, man, because it's so much more to this story. Man,
everything to be you know, everything to be told at once. Man,
I'm gonna get with you, Darryl Man. Like I said,
I appreciate you coming to sit down with us, Man.

Speaker 2 (01:00:37):
Appreciate it, and it is.

Speaker 4 (01:00:42):
Hey, it's good. Hey, I'm about to get my ass
to football practice. So y'all, y'all get it cracking. Man, y'all,
y'all see, y'all know.

Speaker 1 (01:00:49):
What we do. Okay, Hey, I'm all you a minute, dog,
all right?

Speaker 3 (01:00:58):
Yeah, Darryl Man, So it was last minute, bro, Like
you said, he has to run out of here and
go to practice.

Speaker 2 (01:01:05):
Man.

Speaker 3 (01:01:06):
Height love coaching football, man, he loved being out there
with them kids.

Speaker 2 (01:01:09):
Man.

Speaker 1 (01:01:09):
That trip that trips me out. Yeah, Man, I didn't
get a chance to address him.

Speaker 3 (01:01:13):
Man.

Speaker 1 (01:01:14):
I was just about to tell him he just don't
remember me. Remember, I know he's from the North.

Speaker 2 (01:01:19):
I remember you started to the interview with uh did
y'all know each other. And then the sound went out
and we were trying to adjus what happened to the
camera and all that, and we never got But I
wanted to know if he remembered me.

Speaker 1 (01:01:31):
And I used to talk to him all the time.

Speaker 2 (01:01:33):
Man, somebody on the north or he stayed on the north,
but he stayed in the building with a tick I
was seeing.

Speaker 3 (01:01:41):
Yeah, So I'm gonna ask you a question, man, one
question before we go. We talked about Shug. Are your
memories of Sug positive or negative?

Speaker 2 (01:01:54):
A man, the positive is so good that I think
that outweigh the negative. And the reason why I'm saying,
I believe I got God for a whole lot of money,
and that's that's that's negative. But I believe this man
stepped in my life and changed my life. Man Like
this man was on a hip hop label. I didn't
know nothing about hip hop.

Speaker 1 (01:02:14):
Dude. You know, the biggest song I knew, I mean,
the biggest talent that I.

Speaker 2 (01:02:19):
Really respected back then was Will Smith's parents don't understand.
So I didn't know hip hop like that. I wasn't
no real buff with hip hop. I knew some other songs.
I'm not saying I didn't know other stuff, but he's
him stepping in my life, and my life was so
chaotic and whatever. For him to even take me in

(01:02:41):
the room and let me sing to him, that was major.

Speaker 1 (01:02:45):
That was life changing.

Speaker 3 (01:02:46):
Bro.

Speaker 2 (01:02:46):
From now on, my name gonna be next to Tupac,
My name gonna be next to Beyonce, Man, gonna be.

Speaker 1 (01:02:52):
Next to Mariah Carey.

Speaker 2 (01:02:53):
All because this guy gave me a chance to do
what I do. So it's positive to me. He's so
much stuff that he is. That's that question easy to ask.
I think it's more positive than negative. Man.

Speaker 1 (01:03:06):
You know, he put me in a lot of situations,
a lot of scision. Wasn't just signing me.

Speaker 2 (01:03:11):
He put me around some people that all of those
things helped change my life.

Speaker 3 (01:03:17):
So that's what I'm saying, man. So sometimes man, we
gotta look at situations man for the positive whether man,
we can't always because like I said, man, he wasn't
the first or the last stristy music sicken.

Speaker 1 (01:03:30):
Yeah man, Yeah, yeah, he had some ways. Man, he
had some ways.

Speaker 2 (01:03:35):
It was like a ways that got me signed and
got me to be the Daryl Hunner I ended up being,
you know, like he really put me in around some
for me to even think I was in a room
with a snoop dogg or I was in a room
with a hammer, I was in a room with her
with a tupac, I was in those rooms to even
think that I got a chance to know Dad's and

(01:03:56):
all these wonderful names of people I've met, ain't Campbell,
mainly like Moe, ain't Campbell. Just for me to know
that I met these people, if it wasn't too allowing
me to come around his studio and get and be
around in the company and these people you know, and
that hadn't nothing to do with gangster.

Speaker 1 (01:04:19):
And I just.

Speaker 3 (01:04:20):
Had to get I'm gonna say it one more time
before we go. Man, whenever you have people, man that
have this immense responsibility man, that helping other people get
their dreams out and they goals accomplished, you always can
fall short no matter what, because people's expectations go all
ways out willing reality with and the crafty with the
situation really is you know, right, is how it is, man.

(01:04:43):
But I appreciate you man. Were out of here, Man,
I'll hut y'all next week, okay, Man, Well that concludes
another episode of the Gainst the Chronicles podcast. Be sure
to download the iHeart app and subscribe to the Gainst
the Chronicles podcast. But Apple users find a purple micae
on the front of your screen, subscribe to the show,
leave a comment and rating. Executive producers for The Gangster
Chronicles podcasts of Norman Steel Aaron m c a Tyler,

(01:05:06):
Our visual media director is Brian Wyatt, and our audio
editors tell It Hayes. The Gangster Chronicles is a production
of iHeartMedia Network and The Black Effect Podcast Network. For
more podcasts from iHeart Radio, visit the iHeart Radio app
Apple Podcasts wherever you're listening to your podcasts