Julio G: LA Radio Icon on Eazy-E, Cypress Hill & the Birth of West Coast Hip Hop

Episode Transcript
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Speaker 1 (00:00):
Thanks to chronic Goals.

Speaker 2 (00:01):
This is not your average shows. You're now tuned into
the reil.

Speaker 3 (00:17):
Welcome to the gainst 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 on your
front screen. Subscribed to Against the Chronicles, leave of five
star rating and comment. We like to welcome you to
another episode of Against the Chronicles podcast. It's your boy
big steal along with my guy at Tonight eight. You know,

(00:41):
I don't throw that world legend around loosely, you know
what I'm saying. I just don't tell everybody election. We
got a legend in the house with us to night
Man Homeway, Julio g for Radio west Side Radio, bring it.

Speaker 2 (00:57):
Thank you for having me. I appreciate it, Oh for sure. Yeah.

Speaker 3 (01:00):
Yeah.

Speaker 2 (01:00):
We go way back still, me and you and MC eight,
my guy man.

Speaker 3 (01:04):
We got a lot to talk about tonight, sir. So
I'm gonna take this shit way way back.

Speaker 2 (01:09):
Man.

Speaker 3 (01:11):
When you was doing KD, did you ever picture the
West Coast exploding like.

Speaker 1 (01:16):
It did.

Speaker 2 (01:19):
In the eighties, Because like people confused when you hear
the word KD, they think of ninety three five KD,
but you're talking about the original fifteen eighty KD infrequent. Yeah,
it was like, you know, back then, it was so
early for us in the game that we we we
were so young too. We were like when I became
a fifteen eighty KD mixed master, it was September of
nineteen eighty six. I was still seventeen. I was turning

(01:43):
eighteen in October. So I just got out of high
school and I became a fifteen eighty k mixed master,
something that I was I wanted to be because I
grew up listening to them on the radio, the other DJs,
M Walk, Joe Cooley, Tony G you know, Jam and
Jim and I. So I eventually was lucky enough to
become the fifth mix master at that time. But we

(02:04):
were so young and we didn't really we were just
having fun, djaying and just creating, and it was so
it was it was so new, and we we were
kind of like we were building it out. You know,
what is dope, what is hip hop? What is what?
You know what I mean and all these and you know,

(02:24):
and you know a lot of people want to hear
radio today, they don't really understand that it's pretty much
fifteen eighty kDa where you got all that from. A
lot of people don't even know that they're doing things
that we invented at the time. So it was like
we didn't know. We didn't know like hip hop was
going to be like big like that, but we were
so young. We were just trying to make money and
and you know, mess with girls and just and be

(02:47):
the best and be dope because it was really about
back then. It wasn't really about how much money you had,
and it was really how dope you were. That's really
what it was about. We all wanted to be. We
all want to be, you know what I mean When
I remember when Joe Cooley, we used to record all
our mixes on Wednesday nights at fifteen eighty KDES so

(03:08):
we would do like the Saturday show, the Mixed Master Show,
because we usually had the DJ so we couldn't be
doing it live on Satday nights. We all had gigs,
so we started recording Wednesdays, so we would recording like
the traffic Jams and then the Saturday night Mixed Master Show.
And I remember the night when Joe Cooley came in
and he brought Everlasting Base and it was his picture

(03:30):
and it was me and Walk, Me Tony. We were
just like, we were just like Damn Joe, like you
like you made it like we were just like we
just thought it was like just to see his picture
on the record, we thought like, Damn Joe and the
way he had with the curl, with the finger wave
and the he just looked so dope. We were just

(03:51):
like we were hype man, We're like. It made us
all want to find a rapper to work with, like
and that's how we all started to work with rap.

Speaker 4 (03:57):
Though I thought y'all were superstars just from the mixtapes.

Speaker 2 (04:01):
Oh no, we were. We were hood celebrities for sure.
Crazy Bro was.

Speaker 1 (04:09):
Ill Bro who used to rap with him.

Speaker 2 (04:12):
It was a master Rhyme and Romeo and there was another.
It was because they had Cracker.

Speaker 1 (04:19):
Man his mixtapes and scratching.

Speaker 2 (04:22):
His scratching was Ill Bro. Yeah, he was straight and
it was funny. Crazy He said that because we all
had our own styles, all of us scratched different. We
all wanted to be unique, and like you said, and
Walk he was so vicious with his left and he
had a He just had his own signature scratches. And
he never wanted to be like Joe Cooley, like he

(04:44):
wanted to stay away from we all did. We kind
of let Joe. Joe was doing Joe, so we we
didn't want to like walk over. So we always wanted
to like, you know, we wanted to bring something, you
know what I mean. So everybody was unique and that's
what what made us so unique at the time that
we brought so much different styles to how we dj.

Speaker 1 (05:01):
The idea was it to start the Mixed Masters.

Speaker 2 (05:04):
And that was Greg Mac. That was his thing. He's responsible.
Greg Mac was don't want to put it together, but
he got he did. He did that because he's watching.
He came to l A. He was from Houston or
Texas or something. He was Houston and he came out
here and he was watching with the Wrecking Crew and
Uncle Jam's army, and so he decided, like all those guys,

(05:24):
you know, so they had little groups. So he's like,
I'm gonna do He was on the radio, so he's like,
I'm going to create a group called the Mac Attack
Mixed Masters. We always say the k A Mixed Masters
because people know that, but really it was the Mac
Attack Mixed Masters, And so the key thing for him
is that he met Tony, because Tony is the one
that really was like the guy that kind of like

(05:48):
found us, like in that way, like he knew who's dope,
and you kind of had to get through him to
like he was kind of like he found me, you
know what I mean. So he's the one that put
me on and then and then later on when we
got battle and all, this guy, you know what I mean,
he had the ear for and he was just so
dope though he was the best one of all of us,
so he had he had the equipment. A lot of

(06:08):
people didn't know that. There wouldn't have been no dances
if it was for Tonity. That was his speakers, his turntables,
his lights, his mindset because nobody knew how to nobody
knew how to do a little box that transmitted from
Skateland USA in eighty six eighty seven, but he did
so somehow we were able to throw a phone line
go live on the air from dances. That's where everybody

(06:30):
got that from. They got that from watching us do that.
And you see that in the NWA movie when they
go on to Skateland. That's our dance. They don't tell
you that, but that's a fifteen eighty KDI dance that
they're talking about. That's where they used to come to Skateland, USA,
you know what I mean. So because we played the
World on Wheels for the cribs and then we do
have to do Skateland for the bloods, we had it was.
It was that crazy. It was that crazy because they

(06:51):
couldn't come, like if you wanted to have we had
l cooj World on wheels. The Bounty hunters can't go
up there, you know, so they would miss out. So
we had to go to their there's Skateland or Dodos
or whatever, but you usually Skateland and then we give them.
I remember Public Enemy. First time they played it was
at Skateland, USA, and from all these bloods and they
were sitting there looking at you know back then like

(07:13):
nobody had seen the s one w We hadn't seen
nothing like that, you know what I mean. They came
out on the stage to the whole place like what
is this Like it was all military, but it was dope.
It was like, damn, this is hard.

Speaker 4 (07:28):
And so you see a gang.

Speaker 2 (07:31):
But they loved it because it was like this ship
hold man, this we ain't never seen the show like this.

Speaker 1 (07:36):
What is this?

Speaker 3 (07:36):
Right?

Speaker 2 (07:37):
So that was that was I never forget that name.
Republic Enemy played Skateland.

Speaker 3 (07:40):
It was like and it was almost impossible to get
up in that motherfucker back then.

Speaker 2 (07:45):
Yeah, well, you had to be from that neighborhood around.
There wasn't letting you slide.

Speaker 1 (07:48):
Skate like this.

Speaker 4 (07:50):
Skateland was right by you know, Rose Crans and Central,
so that's the home of all the Blood homies.

Speaker 2 (07:57):
And it wasn't it Rue Street was right. There wasn't
it Ark was right.

Speaker 1 (08:01):
That was their neighborhood was only.

Speaker 2 (08:06):
Right there.

Speaker 4 (08:07):
All the all the concerts that Dodos and skate Land
was for the Blood homies.

Speaker 1 (08:11):
And then you go the world on wheels and that's there.

Speaker 2 (08:14):
Might let you in the world on whiphen you get
kind of slide in there from somewhere else. But one
thing about Skateland all that you had to be from
around They wouldn't let you just slide.

Speaker 3 (08:21):
I'll tell you a story about that man, the homeboy Purvios.
We all played ball together. He said, I'm gonna take
y'all we gonna go to the skating ring. Right soon
as we walked up in that motherfucker the homeboy got
knocked out. I ain't gonna see his name. I'm talking
about slip by some grown dude that was on swool.
Like what y'all doing up here? And I'm from Ohio

(08:41):
at the time, I don't know what the hell going on.
I just know homeboy got knocked out and we wanted
the bounce. We picked a home up like this were
little kids, bro.

Speaker 4 (08:52):
Places is all them places? Was definitely off off, out
of bound here.

Speaker 2 (08:57):
That's what people don't know. It's another thing that people
don't really realized when you look back what we went
through to bring you hip hop. Hip Hop wasn't in
Hollywood back then. We had to go to the hood.
It was all hood. So the most Hollywood closest thing
was the Gossic Community realn because it was off Washington
in the one tenth, But that was probably about as

(09:18):
far close as you ever gonna get to Hollywood.

Speaker 3 (09:19):
Back then.

Speaker 2 (09:20):
It's like Skateland, Dudos three two one, you know, just
different little spots, but they used to be South Central,
like just in the hood. Dog and the ship that
we went through just to just bring hip hop to
the masses. Like these kids today, they would have never
survived home.

Speaker 3 (09:34):
That's when a dream. Yeah did you think because you
would look key back then. I'm pretty sure you told
your mom and I'm gonna go DJing.

Speaker 2 (09:42):
Well, the thing about it is that before the DJing,
I my mom always knew I was gonna do some
of music because I used to. I was known for
breakdancing and I was I've always been a bee boy
like hip hop right before. That's how I met Cychrsel.
That's how we met in high school. We met in
high school when I battled them. I met them and
on each other and they were like, damn, this dude
is like that's That's one thing I was very known for,

(10:05):
like bureau synd Dog. They'll tell you. I was known
for the breakdance and I would battle people to go
do contests. I would do all types of ship.

Speaker 4 (10:12):
And so that's something we did have a lot coming up.
You had a lot of contests around the sea as
far as popping.

Speaker 2 (10:19):
And breaking, popping and breaking.

Speaker 1 (10:20):
We had content at.

Speaker 4 (10:21):
The malls, at like pizza places, everywhere, talent shows, everything,
man throwing your Sergeyo Takini sweatsuit. Me and the homeboy
had a crew. We was popping and we go into
all the talent shows, all the little contests. That's right,
that's before that's before rap started.

Speaker 2 (10:41):
And that's why I was so into that. And then
actually my mom she actually drove me to like two
contests because I couldn't drive. I couldn't go to Huntington Park.
I'm in Landward. I couldn't go to cities. I can't
get on the bus nighttime. So my mom was like, hey, mom,
can you give me like a ride to there's this
continentcy My mom, man, she was some nice man, got
blessed the recipe. She okay, here, like, I'll give you

(11:04):
like two hours, but I have to go home. You know,
I can't be all all night, you know. So my
mom will parked the car and I'll be back mom.
And I go in there and I win fifty dollars
and I come back and I tell my mom put
gas in the car moment and my mom was like,
you want that, you want fifty dollars?

Speaker 3 (11:17):
That was a lot of money, a lot of money.

Speaker 2 (11:21):
It was fifty dollars.

Speaker 1 (11:23):
I won one hundred dollars.

Speaker 2 (11:25):
Yeah, bro, bro, I never forget that. My mom was like,
I was like, Mom, go fill up the tank this bro.
She was like okay that. So she like she didn't
really know what I was doing, but she as long
as I wasn't doing street stuff in the hood and
just it kept me out. My mom was always like
because man, I used to practice, bro. Like I used
to be in the living room doing headspins and my
mom would be like, you're gonna break her neck, bro,

(11:47):
Like I'm like no. And I used to use like
a record, like a record cover, and I would use
that to spend on the car, put on the car,
but I would sit there.

Speaker 4 (11:55):
We would take that old pieces of yeah that took
somebody got the kitchen and nigga, we take that old
piece of lit and put it in the garage and
would be out there dropping doing all kinds of ship straight.

Speaker 5 (12:13):
Getting burned up and and all kinds of stuff, banging
your phe man everything.

Speaker 2 (12:23):
I went to schooling time, bro, and they thought that
my mom was hitting me because I used to do
so once I got the women. Because when you used
to do windmills, like in the beginning, I would do
cardboard and when you do cardboard, you know, because I
was doing off the head, I would get these like
so I to have to use cocoa butter to kind of.

(12:43):
So I went to school and then they pulled me
to the.

Speaker 1 (12:45):
Sign nigga have no money.

Speaker 6 (12:48):
No, we didn't know it was Yeah, it.

Speaker 2 (13:00):
Was fun, bro, but yeah. I remember one time I
was like, oh no, my mom will hit me. Man, No,
that's just from breakdancing. And then I actually had to
breakdance for them to show them why I was at
Southgate High School and they were like, oh damn. They
actually put me in the high school yearbook as because
I was known for breakdancing in the school. Like I said,
that's where I met Cyperusil. We first started there. That's
where we kind of started the thing. But we started

(13:21):
all as be boys.

Speaker 3 (13:22):
And you're responsible for actually hooking them dudes up right.

Speaker 2 (13:24):
Yeah, I introduced Munks. I met Muggs. I want to
say it was my senior year. I met him in
Southgate through another friend named Joe, and he came and
I used to practice at this place called the Caprice.
It's actually still there. It's like a it's like a
Mexican spot where they do like Mexican Bonda stuff. And

(13:44):
so I used to play there on Sundays because the
equipment I was using had gotten stolen, so I didn't
have nowhere to practice. But I didn't have turntables back then.
It was like I didn't get twelve hundreds, so like
I like to fifteen a dekda. It was just, you know,
it was expensive though we didn't have it. It was
it was crazy to get equipment. So they would let
me go there and I would like practice, would DJ

(14:05):
from eight to ten just to practice on their stuff.
And so that would be my little one week practice
that I can get in because I was really trying
to be a DJ, but I didn't have the equipment anymore.
And so my friend Joe comes and he says, hey,
this guy. It wasn't a lot of people that night there,
and so he says, there's this guy that he wants
to battle you. And I'm like, man, what okay. I

(14:27):
was always into battling, you know, fun. I was part
of the that was part of the process actually, And
so I think I put on Planet Rock and I
started cutting a planet rock and then Joe came. He goes, no,
he doesn't want to battle youn Moore. Man, he just
wants to meet you. I'm like, oh, okay, cool. So
I went outside and I met DJ Munks and that's
how I met him. And then and you know, we
kicked it off from the beginning. Me and like because

(14:48):
I believe because and out of a lot of people
don't know this. Monks was a very good breakdancer too.
He used to go and tour around the world like
he was very known for that too. So we clicked
off because of that, because I come from the breakdance world,
you know. And then we met, we talked, and then
I told him he said, man, I just came from
the Philippines. I think it was the Philippines. And I

(15:09):
used that money to buy two turntables in a mixer,
and so he says, uh. I said, oh, damn, So
you got some equipment, said you got some twelve hunters.
He said, yeah, Man, I got twelve hunters and this
mixer and and I'm like, damn.

Speaker 4 (15:22):
Man.

Speaker 2 (15:22):
I was like, man, man, can I come practice with you?
And he was like yeah, hell yeah. I didn't have
a car at the time, and he used to come
from Bell He lived in Bell Gardens. He used to
come from Bell Gardens and pick me up.

Speaker 3 (15:33):
That's crazy.

Speaker 2 (15:34):
We used to go back to his house and we
would sit there and cut together. And he knew some
stuff too. I don't want to say it like I
taught him out of DJ, but there was things that
I like, oh, you should try to do it like
this dog. And you know, there was things that I
knew that he didn't know, right, So we were like sharing.
And then he had records I didn't have. So I
remember he had Back in black from Back in Black

(15:54):
Man that was so much fun. And I was like, damn,
I don't go these records. These are dope, bro like
and so he had a lot of records like that.
But when I met Mugs, he was in the little
one bedroom with his mom's. I mean not one bit
like a two bedroom, but he had his one bedroom
and it was just a mattress. It wasn't even like
the two mattress. It was like one new mattress and

(16:16):
it was a dresser and the two turntables and the
mixer and records. That's all he had in the room.
It was crazy. I was like, damn, is this is
your room? Like that's all he did? Like it seemed
like that. Yeah, he had humble beginnings. Bro, Mugs came
from like straight, just like I said, just basically.

Speaker 1 (16:32):
I followed Mugs since early.

Speaker 2 (16:34):
Yes, So then I brought him to the block once
I once I got to know him, I was like, hey,
you smoke weed. He's like, yeah, I smoke weed here
and there. I said, oh, cool, man, you need to
come to the block. I'm gonna bring you on Cypress
you could meet the homies. And so then I brought
them on Cypress and that's why I introducing the Mugs
and b Real and sand Dog and a Mellow man
Ace and all the boy cheep to Tomahawk Funk from

(16:55):
Funk Dubius Tyrone, and so we all started the whole click.
We started kind of kicking, you know what I mean.
And then I did the first demo for them at
Muggs's house. He had a little recorder and I said, hey, Mugs,
there's this guy that I met. Man, I think he
could get us like a record. I was doing his
shows with the guy named Jesse Jess. He was from

(17:16):
a group called fast Lane, and they had a song
called young Ladies, Young Ladies drive Me Crazy? Do Do
Do Do? Do Do Do. It was like one of
them up tempo like techno records. So he came out
here and I started doing shows DJing for him, and
this is I was still in high school at the time,
and then he knew somebody and that's when I went
over there and I was like, he's like, yeah, man,

(17:37):
bring your friends. And I brought b real sand dog
below mayonnaise and I think Tomahawk funk and we did
like one take Houdini friends and like five minutes a funk.
And we had like these routines because when I was
doing backyard parties, they would bring a mic and we
had like a routine like we had like at the
end of my mix, I would do Jacqueline Hide, Jacqueline Hide,

(18:00):
Dune DM DNA. The genius would love drafting jeans trapped
the instrumental so they would know, like I would have like, hey,
when I do this tug douga doggad, then you come
in tyrone and send when I cut it out here,
that's your intes So that's how they would know. So
we used to have little backyard parties and that nobody
was seeing that back then, Like in South Kate, they
were like the fuck is this like? Because they were

(18:21):
into a new wave and disco and other kind of shit.
They weren't into hip hop like that. It was so new,
but we were doing it in the backyard parties in my
senior year. And that's that's how, like I said, later
on Mugs came and then we started making those demos,
and then he started hanging out on the block. Then
I got on fifteen eighty kDa and he stayed on
the block, and that's how they started forming Cypress Hill,
you know what I mean. So, so, yeah, we all

(18:43):
go way back to Breakley.

Speaker 1 (18:44):
He was around when so was Monk.

Speaker 4 (18:46):
So did he have his first record out before the
seven eight.

Speaker 2 (18:51):
Yeah, he didn't have seven eight three yet, like he
had he this is before that. This seven eight three
came a little later, and so uh yeah, seventy three
came a little later. And then that was kind of
the beginning where we started like somebody was doing something.
And then then Mellow man As calls me when I'm like,
I think I just got out of fifteen eighty KD

(19:13):
or maybe right before he calls me and he says, uh, hey,
I got this record deal, but I don't really know like,
I'm kind of stuck, like he you know, you know
how it is eight? Putting an album together sounds easy.

Speaker 1 (19:29):
Hey, let's put an album together exactly?

Speaker 2 (19:30):
Oh right, cool, let's dot working on some song. But
that don't mean that that's still trying to put an
album together.

Speaker 1 (19:35):
He didn't.

Speaker 2 (19:35):
Nobody knew, we knew. We were so fresh. I had
no idea, who do you do? What song? You gotta
have some gudness, right, So I tell Melo, I go,
oh okay, I go, hey, unknown dj he had just gotten.
Tony helped Tony get a SP twelve hundred and he
had it at the house and Tony started showing me
this is bad to be probably had half like two weeks.

(19:57):
And I tell mylot Manais, I said, hey, I said,
let's go. Let's you should come see Tony g Man.
He be producing and he's like Tony g the DJ.
I said, yeah, man, oh Man, he be producing. I'm lying,
I'm extually putting the extras on it. I didn't even
know Tony Cook produced. I just knew he showed me
the drum machine. He was hitting notes on it. And
so he comes over. I bring him over. I said, hey,
Tony I'm gonna bring this guy over from that I

(20:18):
went to high school with, and so I brought him
over and then the first song they did was Ryan Fighter,
and then from then on he and Tony ended up
finishing that album that gave men Thidosa and then another
the B side of Menthidosa was a really big hit
club hit called Welcome to My Groove, and so we
had we had a dope Steve Silk Hurly remix of
it that really blew us up. A lot of people

(20:39):
don't know that Melo man name's men thi Doosa was big,
but so was the club song. The other club song was.
We used to do so many shows just because of
that song too, and so uh, that's kind of how
that that that's how we ended up doing. That's how
that kind of came about, you know what I mean?
When I took him to Tony's house and me and
Tony had just got our fifteen eighty cat and that
was like the next thing we did right coming out

(21:00):
of there.

Speaker 3 (21:00):
Did you ever looked back? And because dudes, guys wound
up becoming one of the biggest hip hop groups of
the world. The world man Cypress here shout I I
just talked to be real. What last week he just
did a song for him. I still talk to be
real like certain dudes, you can pick up the phone
like yeah, you know, but yeah.

Speaker 1 (21:22):
And then.

Speaker 4 (21:27):
We've always had the stipulation because you know, we had
other you know, we we've had other essay performers on
our show or whatever, and they seem to think that
it's some kind of uh blockage against Chicano rap. But
in our days, we banged Cypress here. I banged Kid from.

Speaker 2 (21:48):
You're on the second album exactly, You're You're on a
classic I'm on like two.

Speaker 4 (21:53):
Songs when you were all three hands in the air
and praylude to it.

Speaker 3 (21:57):
Everybody anyway, months produce about three four songs.

Speaker 1 (22:04):
On my last minu standing out, you know what.

Speaker 4 (22:06):
So I've never had the stipulation that it's been something,
you know, with the problem between black and Chicano rap
or whatever, because like I said that my days are
coming up.

Speaker 1 (22:18):
I banged the hell out of Cypress Hell, Kid Frost.

Speaker 2 (22:26):
I mean, I think because you we're in today's era,
I think a lot of people have gotten so much.
I really don't it bothers me actually, because we've done
so much in hip hop. I don't like that, you know,
I don't like that they there's this feeling that, like
I heard somebody not too long ago say like, uh,
the black rappers are holding somebody back. It's not true
at all. No black rappers ever ever held us back,

(22:48):
but the difference between us, so people can understand because
we don't get the credit for that either. We open
the Latino hip hop definitely, and I was the same year.

Speaker 1 (23:00):
Well, we didn't look at it.

Speaker 4 (23:01):
I didn't label I don't know if we.

Speaker 2 (23:07):
The time. But let me explain why I say that.
When you did look at the covers, it was Melow
Maannase and the Cuban hat. It was it was us
when we had Kid Frost, You've seen the look. It
was a Chicano Mexican. It was so our thing was that.
What I want to explain to people is that when
me and Tony were doing these records like Kis Frost,

(23:29):
people don't know was really because we were such a
big fans of Public Enemy. That's why it was called
Hispanic causing panic. We were trying to revolutionize our people
in that way and give them something of not as
deep and militant as public enemy, but we wanted to
do that direction. That's why that album the first time
is not about shooting motherfuckers and gang banging, and it's

(23:51):
about us our culture.

Speaker 1 (23:52):
It's a good record. Yeah, it's a hood record.

Speaker 2 (23:54):
It talks hood ship, but it's not geared what I mean,
it's like on that kind of negativity, negativity thing, negative thing.
Our thing is that because we came from fifteen eighty KD.
And let me let me say this now, so people understand,
hip hop is black culture, that's black music. I came
up because my friend that was black put me on

(24:16):
the funk. And I know disco and all that too
from my Mexican friends. But my black shit that I know,
that's from my black friend that came from that. I'll
never I'll never deny that. And there's nothing wrong with that.
I don't know why people have an issue because black
people say, oh, we created hip hop, Yeah you did.
That's not Yeah, we were in the mix there too,

(24:38):
but right, we're not going to say we created it.
Well we ever say we created That's not our creation, bro,
And you have to respect that. That's that's all you
need to do. Black people show him they respect Oh,
that's their shit, you know what I mean? Now, They
not saying you can't come in, not at all right,
They never said that. They never made us feel like that.
Me and Tony Gee, we was look, fifteen eighty KD

(24:59):
was pretty much ninety in black. When we went to
the dances. There wasn't no Hispanics doing no fucking hip hop.
When we were doing in the eighties, Bro, we're the sort,
We're the three Mexicans in the club. It was all
black people. They never made us feel like that. They
ever ran us out of the parking lot or got
off on a stole our ship. They never did all that.
It was always love. They respected. When we got busy, they're,

(25:19):
oh shit, y'all motherfuckers be killing it now. When we
came out doing our Latino thing, the it is a
respecting to the black culture that we didn't want to
copy your shit. We wanted to bring our shit so
you could say, hey man, that shit dope because that
came from fifteen eighty k They we're original. We want
to be original. So when we came up with these ideas,

(25:41):
we're like, damn, we gotta do it like that. Look,
no Mann span Thiolso was a different song. Tony's the
one that told them, Hey, why don't you flip it
in Spanish and English? And he was like, I don't know, Bro,
No man, trust me, Bro. Because the Santana sample we
used that's gonna touch people. La Rasa was el chicannell viv.

(26:01):
That was a really really important song in the Mexican culture.
So we knew as DJ's like they're there, the audience
will pick up that too, like the oh man, that's
what you're going on. Even if they don't like the rap,
they're gonna halfway give it a chance, right, So mellow
man Nate's man thidos, that's Santana. You got to change
your evil ways and it's it's a fucking popular song.

(26:23):
So it's like it's a popular already. So we already worked.
That's what our thing was. So I don't know, I
don't I never felt that little black people held us back.
We we uh. Actually they gave us a lot of love.
Dog Like we would go places and people would just
give it.

Speaker 1 (26:38):
Ah man.

Speaker 2 (26:38):
He used to love Kid Frost. He got so much
love from the black community. Like gangsters. We tell them,
I love that song, Big Dog. That's my ship right there.

Speaker 3 (26:47):
All the homies, I got all the homies, always got
the Mexican homies around. That's just how it's, you know,
it's always never.

Speaker 2 (26:54):
Got all that ship. Man, we never we wasn't tripping
today's generation. I don't be liking that ship because it's
just to me, it's like, man, y'all ruining our music.
Like what this music is about, bro, Our music is
about being dope. Now, if eight it can get on
with this dude and this dude and they happened to
be Mexicans, ain't even better, you know. But we're not
in here trying to I don't. I never wanted to
use that as some kind of way to Oh, because

(27:14):
I'm Hispanic, you gotta foc with me. Oh I'm Mexican, bro,
so you gotta like me. No, that's the how it work.
When I got to get get down on the dance
floor and get down to do some battling, that shit
don't matter. That shit didn't matter, bro, because I broke
downce against motherfucker white kids that got busy on me.
I'm like, you know, and I had to get I
had to go home and repractice hey, But it had
nothing to do because he was white. He just happened

(27:36):
to be white, but he was dope shit. So I
never been we never been about that. We always got
down with everybody. And you know it, just even in
your career, how many times I supported your career, your
music and never been on know hater ship with that.
And that's what I don't like that they're trying to
bring in the hip hop today. Y'all need to stop
doing that. Man. It's it's not about Mexicans and blacks.

(27:57):
And it's like almost like you y'all at jail house
shitting spread it out. It like, man, leave that ship
over there, bro, Like we don't need that. We need
to work together. And if they don't work with you
or don't fuck with you, or that's cool too, they
don't make my name my night like your ship dogs.
You got how many black rappers that I have to
tell No, your ship whack.

Speaker 1 (28:18):
Exactly right, So don't matter if you.

Speaker 2 (28:22):
Go for you.

Speaker 3 (28:24):
Well, you know what I think the problems today, Julio.
Back in the day, you had a criteria to get
in the game. You just didn't go just put out
a record, like when I first got with bobcat Dog
that Bobcat told me I was trashed like twelve thirteen
times and I had to keep going back. He would
give me beats, but be like, no, that ship whack.

(28:45):
You better go back and do it over. When I
finally got on, it was because I had some tight ship.
It wasn't no thing. And even then it was like,
you might do a record, but then you might hear
easy on that motherfucker decks and cube with somebody. It
wasn't your record. You just got to rap on that motherfucker.
You feel what I'm saying. And I think it was

(29:05):
just like that. I think motherfucker's got a sense of
entitlement now, bro.

Speaker 2 (29:08):
Yeah, I think they do. And I just don't think
people just I don't know. I don't, like I said
to say, my generation, so I really can't really, I
don't really want to be speaking in this generation. It's
their business however they want to do it right. But
I'm just saying in our time, we were about no
color lines. When I did Cam's record, Woop woop. A
lot of people don't know Tony G, and well, I
would say Tony G. I kind of co produced that record,
but that was really Tony G. But we had been

(29:30):
working with Cam. We had recorded five songs for Cam
and the sixth one was Woo Whoop and when and
we had we used to when we used to record
with Cam, he he you know, we used to have
these deep conversations being him about the community, about what
can we do to uplift my people, your people? How
can we work together? How can we squash bees or

(29:52):
do you know I even squashed people? How can we
show that there is more unity with us? You know,
Cam is like that, you know what, I'm sorry And
I was like that too. So we click. That's why
we've been friends for so long. And that's my bro.
I love Cam. He introduced me to the Nation of Islam.
I ended up doing a lot of work with the
Nation of Islam when it wasn't popular, but I did
a lot of great work with them. And you know,

(30:14):
but the Cam when he did Woop whoop, he said,
the homie Cam back on the scene with the black
and Brown on the same team. And then the rest
of it is talking shit about ice Cube. But that beginning,
that was like a thing with us in that room
that me Tony and him what he was telling us
like it was crazy. We recorded because I knew. I said, damn,
that's dope. He said that like the way he started it,

(30:35):
and I knew what he meant because we had just
got this off, this deep conversation about black and brown,
and he put that in there. And I always appreciated
that because that he was letting us know, I'm fucking
with y'all, like black and around on the same team.
Let's get this. And that's how we always supported the camp.
We always always played his music. I've always been down
with him and whatever the Nation of Islam wanted to do,

(30:56):
I always was there with them too, you know what
I mean. So like I said, I don't, I don't
like all that stuff. Man, I think, uh, you know,
black and brown is a beautiful thing when we can
get together with the right mindset people. It's not for everybody.
You gotta have certain types of mindset of people that
understand me. I grew up with black people. I'm from
liliar with doctors.

Speaker 1 (31:13):
I grew up.

Speaker 2 (31:13):
My best friend that got me in the music was black.
My next door neighbors was black. Went across your forty
some years and my neighbor's two houses down and still
black for forty some fifty years. I know, it's like,
it's not you, it's just in our time.

Speaker 4 (31:26):
Yeah, you know, bro And growing up in spook Town
half the half the half the neighborhood with CV seventies
and half of them was you know, so I had
a lot of Mexican friends growing man, That's.

Speaker 2 (31:35):
Just how it was. So that's why people don't really
understand how the hood works. They have a whole different,
you know thing about it. And like I said, it's
not my generation, but I don't.

Speaker 3 (31:43):
I don't.

Speaker 2 (31:44):
I don't like that stuff.

Speaker 3 (31:45):
Now, you were around during a whole bunch of important records,
you know, Lea being one of them right.

Speaker 1 (31:53):
There, automatic for.

Speaker 2 (31:55):
Me, Yeah, Sectionating.

Speaker 3 (31:58):
Who did a lot of records. Yeah, what was what
was you thinking when you first heard the n w
A record?

Speaker 2 (32:06):
M Well, NWA Like it was I knew I knew
all those guys, Like we already knew all those guys.
So like when we were doing like World on wheels,
like CIA used to.

Speaker 3 (32:15):
Come and open for the Cubes group, right.

Speaker 2 (32:18):
And they would do like ten minutes, you know what
I mean. And I knew Cube and I knew jeans
and uh, you know, I knew all those guys, you know,
because we were the mixed masters. We all. You gotta
remember in the eighties, it was only a handful of
us doing this, so we had to know each other
because there was nobody else doing rap. Bro it was
like it was only a handful of us.

Speaker 4 (32:35):
A lot of our music was it was techno.

Speaker 2 (32:38):
Yeah right, it was up temple techno and it wasn't
like it was the beginning and and uh, you know,
so when I met Easy. I met Easy in eighty
seven at a Bell High School dance and we were
live on the radio doing fifteen DYK Friday Night Live
and he and I've said the story before, but I'll
share it with you guys too. It was outside. It

(33:00):
was on the summertime, so it was outside in the
tennis court, so the turntables were behind the fence, and
the whole tennis court was the dance floor. And so
we were back here and there was these classrooms back
here that let us use two of them like his
little things to chill. And we had rock Sante Chantey
and Bobby Brown performing that night. And I remember looking
over I was djaying and I looked over and I

(33:22):
seen like right, like if it was right over here,
I've seen this dude standing there. But it was Bell
High School. That's all Mexicans over there, and those popular
those dances were popular back then, right, everybody from all
over the cities would come to these Bell High School dancers,
just like Garfield. There were certain schools that they were popular,
so that was one of them. So I said, looked over.
I said, damn, who who is this? You know from?

(33:44):
I'm like, who is this motherfucker? You don't know like
evens me around here? And I'll say this straight. I'll
always tell people. The first time I seen easy E,
he looked just like what you think as easy He
had the fucking the nugget fucking thing had, the shirt
was clean, the hat, the curl. I mean, he just

(34:04):
looked like a g That's why I was like, who
is but like a deep like a baller though, like gangster,
but baller. And that's when me notice, man, who is
this dude right here? Like damn, he's like standing up
like he looked like a straight up cump, Like he's
like like a dope dealer. And then he finally came over.
I took my shirt. Hey what's up man? He goes, Hey,

(34:25):
I got this record. I got this record, Man, can
you play it? And I'm like, I never had somebody
come up to me at a dance, Like, they didn't
come up there wasn't like I said, it wasn't a
bunch of rappers just shooting records. So I'm like, hey, man,
give me one second. I'm live on the air. So
I played like another record and he waited right there
and he went like he's like, man, just at least

(34:47):
listen to it. I said, all right, man, getting me here.
So I put a song on on this turntable and
I got the headphone and I just put this. I
didn't play it. I just put it and I played
cruising down the street in knocking to do went to
the point to get some school looking. Here is out
that stuff? Hey man, it sounds like six in the
morning right off rip. I knew that was what it

(35:11):
was because like DJ Bro, so, I know six in
the morning. Andre know, my god, Bros wasn't know all
this ship. So He's like, nah, that ain't no six
in the morning. That's boys in the hood. Man. Doctor
Dre did that. And I'm like, oh, doctor Dre did this, Okay.
I love Dre at the time. I grew up admiring
doctor Dre. When I was a kid, I remember driving

(35:32):
riding my bike. There was across the street from Sears
back in the days by that Peple used to be
a record store, and me and my homeboy went rode
our bikes and we were young, bro, and then like
going into confident on your bike back in them days,
it's like, hey, let's get up in here, get this
record and get the US tretch that's on CV three
right there on that side. And so we went in there,
we got Surgery, Surgery, came back to God.

Speaker 3 (35:54):
We thought.

Speaker 2 (35:54):
We was like, you know, so like I.

Speaker 1 (35:56):
Said, that was the first record I ever brought the
surgery surgery. Oh my god, man, Bro, I couldn't blew.

Speaker 2 (36:02):
Me away, just to scratch and we would just playing
over and over over and we just getting scratches. So
Doctor Dre was always like, you know, to this day,
wonderful guy, even back then. He was just always a
wonderful guy. Taught me a lot of things back then
when I was seeing But but you know that's how
like when he said that, I'm like, oh, okay, And

(36:24):
I played one verse of it and then I stopped
because we're live of the dance. Nobody heard this song.
Bro like the fucking thousand people out here, this is
I can't so boom. I gave him a verse and
then I got out of it and I played something
else cool. So then I got off the turntables. I
went into the one of the rooms to sit to
get some whatever we were doing back there, and then
I hear it again, and I'm like, because we never

(36:45):
played records twice. It was a thing like, we don't
want to play records twice, and if you play it,
don't use it too early. We got to save that,
you know what I mean. I hear crawling down the
street and I look out, Hey, what the fuck? I
look out because it stuck out the song. I look
out and here easy right there next to Tony G.

Speaker 1 (37:03):
I said this, he got to get that hitting up
every hit the terror table.

Speaker 2 (37:12):
So he got he got Tony to play like a
verse or or two of it. So that was the
first time. I'm not sure. Maybe I think, I mean,
Greg Manck is really responsible for making boys, and I
don't want to say I broke the record. I don't know.
It might have been the first time somebody heard it.
I don't know, but really he's responsible for making that
happen for him. But when they came, you know, I

(37:33):
just think it was a shift. And let me keep
it real with you, we as the mixed masters accepted
them because from one day, you know, world class wrecking crew.
They was up there doing the fly and cabbage back
and next thing I know, he comes ja yellow in
the khaki suit. I'm like, what like? But we didn't
trip off that. We like the music like they were danced. Bro.

Speaker 4 (37:56):
It was a dance It was a dance crew. But
they had the music that was that was kept the
dance going.

Speaker 2 (38:02):
Bro, that's a weird.

Speaker 4 (38:03):
Like I said, our music around that time was dance music.

Speaker 2 (38:07):
Was give me some juice, rock rockberry jam, the dream
Teams in the house, Egypt, Egypt. It was all these
l A records and they were popping those Those were
huge records, pop popping, dream Team popping. They were huge.
But the shift came with Easy when he started to
like and and King t you know, k when he.

Speaker 4 (38:28):
Dropped me back, some money came the coolest unknown dropped
six in the morning.

Speaker 2 (38:37):
The morning dogging the wax dog Don't Don't.

Speaker 1 (38:40):
Quit started shifting.

Speaker 2 (38:43):
Started shifting into like rap. But you got to remember,
you know, That's why I say it's it started to
move that direction, and I just think Easy caught it
at the right time and the way he packaged it, man,
I just think he just because he didn't he wasn't
like super banging on he was.

Speaker 1 (39:00):
It was let me tell you what it was.

Speaker 4 (39:05):
There was a lot of hood shit going on at
that time, and the early eighties it was cracking.

Speaker 3 (39:11):
It was super cracking.

Speaker 4 (39:12):
And I think because it started to get so cracking
with the gangs, it was the perfect time to drop
boys in the hood and everybody was about they gang.

Speaker 1 (39:25):
And they section you get me, Like.

Speaker 4 (39:30):
The culture started to evolve like it been around, but
our generation started growing up and the gang life was
so visible and so like popularized.

Speaker 1 (39:45):
In the early eighties.

Speaker 4 (39:48):
Niggas is like niggas were in no sequence suits and
shit nigga khaki suits and Cortes nigga and I'm going
on the block with my Duce five and the music
just fit the time.

Speaker 2 (40:00):
And you gotta remember the lingo. Nobody was saying hood,
nobody was saying a learner that. So that's what caught
on the l A people because they were like it
related to them. And then just Easy's voice. He sounded
like a little kid, so he just sounded crazy, him
just rapping up. We all thought he was a little people.

Speaker 1 (40:17):
He loved that.

Speaker 2 (40:19):
He loved that.

Speaker 1 (40:19):
He's two people. He was fifty.

Speaker 2 (40:21):
He was a marketing genius, that guy. Man, I learned so.

Speaker 1 (40:23):
Much with him, and I just think it was and
Dre too.

Speaker 2 (40:28):
Man, you gotta give Dre he was hot bro before
even n w A. At the time he was dropping,
he was dropping a motherfucking East uh New York l
a rapper with Bobby Jimmy. That ship was a fire
on the radio. Uh you uh, just saying no and
just a lot of little records that Dre was dropping
with people and he he just caught that and he

(40:49):
booming when nw A came in. Ice Q too. Man,
you can't take nothing.

Speaker 4 (40:56):
It just started opening the door for the street culture
of music. Even once it opened the door, it just
blew the doors off to where you could be l
niggas was like fuck some techno hopshit and and dancing
that parties niggas. It was all about drive bys, forty
ounces and gangster and what.

Speaker 2 (41:16):
Was happening around us, you know, because that was happening
around us. What you're hearing the descriptions of these songs.
Crack was real, bro, game bang, it was real. It
was real, way different. I lift through that, Bro, so
I say, even going into Compton. I used to go
to serials all the time with my mom. It was
you know, it's Compton is Compton. Oh, you can't take
them away from it. So it was a depiction of
the reality that was really actually happening. It wasn't though.

(41:38):
I just think it was the way Easy did it
and Dre and the way they put it together, and
it was just put together.

Speaker 1 (41:45):
It was a nuclear bond.

Speaker 4 (41:46):
It was really that went off to to be a
young nigga riding around on your beach cruiser trying to
think you was you know, I don't give a fuck
where you from, Compton, Lynnwood, Watts, whatever. To hear a
nigga talking about the boys in the hood is always hard.

Speaker 1 (42:02):
It's just it was over with. It was. It changed
the whole culture of.

Speaker 2 (42:07):
And that record didn't even go away. It stayed on
the radio for a year.

Speaker 1 (42:10):
Bro.

Speaker 2 (42:11):
It was like that popular boys and there we couldn't
stop playing that record, Bro, Gangs Ganger couldn't stop playing
those records.

Speaker 3 (42:16):
Like that was the real soundtrack to the Neighbor.

Speaker 2 (42:18):
And then you don't. Then another thing people don't remember.
Remember fifteen I'm Gonna take y'all back. I Ain't the
one huge record on I Ain't the one you killed
them with that and then Dope Man huge on the
big on the radio because they're telling you stay away
from Dope. And that was the beginning where the Mexicans
really felt something because Crazy D was at the end

(42:40):
of that record and that little piece, believe it or not,
it had the Mexicans on Easy Bro when I tell
you and Easy even himself used to tell me, damn man,
my Mexican fans is off the meter.

Speaker 1 (42:51):
Bro.

Speaker 2 (42:52):
They used to buy so many person with Hispanics. Bro,
My god, Mexicans, and now they loved these definitely. He
knew that that was his fan base, like they loved
him a lot so and they bottled that with.

Speaker 1 (43:06):
Some of that ship. You know, no color line.

Speaker 2 (43:10):
He wasn't tripping on that. We loving that ship.

Speaker 1 (43:12):
It was fun.

Speaker 4 (43:12):
It was Crazy D on the end of the record
and having talking.

Speaker 2 (43:19):
Brillian. He was genius, Bro.

Speaker 1 (43:23):
Easy that was that was genius.

Speaker 2 (43:26):
I'm gonna tell you something about easy speaking on that.
When we were doing the Ruthless Radio show on ninety
two point three to beat, we used to record like
these commercials and one day he said, uh, hey, go
in there and say the end part. And I'm like,
I wasn't like talking like that. I wasn't. I was like,
I DJ I put the show together, That's all I
was doing. So you know, come on, man, just go

(43:47):
in there and they just say some ship at the end.
And it took me a minute because I wasn't used
to really doing that.

Speaker 1 (43:52):
And so.

Speaker 2 (43:54):
He says, hey, how you say ninety two point three
the beat in Spanish? And I was like, he goes
say that. I'm like, because he can hear me. I'm
in the booth, he's outside. I'm like, all right, easy,
come on now. And he's like, no, man, I'm serious,
man say that ship. Oh man, that she just sounds.
I was come on easy, because you know, and I

(44:15):
used to going through the beat. At the time. It
was like more of a black radio station, and I
came from k I came from a black radio station.
I was kind of like, I don't know, bro, I
don't really know if that's man, trust me, that's how
you're gonna get the latinos. And so I said, all right,
I did it for him, and and they played the commercial.
They call me a few days later from the radio station. Hey,

(44:37):
I just had met him. I've only been working there
for like maybe three weeks, you know. He goes, They go, hey,
can you come in today and like voice some commercials
and can you do that thing where you said it
in Spanish? And I'm like, okay, I guess yeah. So
I went, I went over there. I did that, and

(44:57):
Easy heard it, and he called me, hey, man, how
come they got your voice up here saying no ventidos
punto trash man. I said, oh, it's because they called
me to do some commercials for me. Goes, oh, fuck that, Julio.
They gotta pay you. Fuck that. That's one thing about Easy.
He's always be on my ass about that. Fuck that
free ship. Man, they got to pay you. And so

(45:17):
he called them say, man, y'all can't be getting my
partner like that. Man, it's that's his ship. Yeah, you
gotta pay him. And so they started to begin like okay,
we're gonna figure out how to get you some money.
And that's because it was because it's easy. But really
I owe him that because that's what changed the game
for me. And that's what brought the Latino to ninety
two point three to beat. And why Power one on

(45:38):
six got beat was because I brought them with that,
not only the West Side radio and then Julio Gibo
when I would.

Speaker 1 (45:44):
Come on.

Speaker 2 (45:46):
Julio g that that little stuff, believe it or not,
it just I was bringing in one by one because
they started to feel, they started to feel like they
had a space there. So that was really important and
that's how we end up getting, you know, ninety two
point three to beat at that time of my first
year in ninety six when I was full time, we
ended up beating Power within on six and that was

(46:07):
you know, and that was the whole thing with them.
They wanted me to bring the Latino listeners. That's what
they asked, was that.

Speaker 3 (46:12):
At the beginning of you becoming a voice on radio.

Speaker 2 (46:15):
Well that happened after Easy passed away. When Easy he
passed away, because I would talk like sometimes on the
Ruthless Radio show, but I actually mixed more and kind
of put the show together and like kind of produced it,
you know what I mean, And this goes here, and
this goes there. Make sure that yellers mixed Chris at
this time. Make sure that this person says this kind
of running it, you know what I mean, because easy,
he didn't really know that stuff. He just chilled and
he just interviewed people with whatever he could do. But

(46:37):
that was kind of what what the whole thing was.
But after he passed away, it was like it was like, well,
first of all, when we were at the hospital, his
wife came over to me and he hasn't he hadn't
passed away yet, but he was not good and they
had told us. We all knew now at this point.
So we all went to the hospital where I see
the Sinai and she came over to me and she

(47:00):
was like, hey, holy, like I just I just I
just want to take Ruther's radio off the radio. You know,
I don't I don't want to do you know, I
want to do it. So I'm gonna get these lawyers
to call him. I said, no, Tamika Young gotta do that.
I'll take care of it. It's done, show over. I'm
telling you right now. I'll go to radio station right
now when I get out of here and it's over.
I wasn't even tripping off the radio show. I'm like,

(47:22):
my homie's passing away over here. Dog and Easy was
a friend. He really was a friend to me. He
wasn't like some dude I kicked it winning just because
he's easy. He actually got very tight with me and Tony.
He used to be at her house all the time.
Bro The last picture he took a live he took
it with me. It was that Saturday night before he
went to the hospital. I had that conversation with him
outside and he told me what was going on. My

(47:42):
Bronchiti secting up. I'm gonna go to the doctor on Monday,
and then you know, I'm beatre at the studio Monday night.
Because he used to come to our studio and our money.
We had our own home studio. And so I went
to the radio station and told me he checked this out.
Ruth's radio is over. And they were like, oh no.
They're like Noah, they like, we don't want to, we

(48:03):
don't want to. Can we work with you? Can? And
I was like like, nah, man, we I wouldn't do that.
I said, look, man, just give me a couple of
weeks to think about it because I didn't have I
wasn't a host, and so I was thinking, damn, who
could I get to help me host this show?

Speaker 4 (48:19):
In my head?

Speaker 2 (48:20):
And then finally Tony was like, hey, bro, stop bullshit
and just get your ass up there and start talking.
And I used to talk and run over to do
the mix, come back and talk. So I basically was
doing that mix. I called it the mix Master Show
after he passed away, and then that's where the radio
station started. Like hearing me now in the beginning, the
real real, the real thing is that they wanted it

(48:41):
to be swaying me at the time. It was supposed
to be Sway kind of leading it because he's more talkative.
And then I was gonna co host with him and
DJ IT and so right before, maybe like two weeks
before we were about to start, we met and Swed
had already sat down and met a few times. We
already were mapping it out. He calls me and he goes, hey,

(49:01):
William Man, I'm so sorry, bro, Please don't be mad
at me. But they offered me a morning show at
km L, so I knew how money worked, and of
course that's way more money than some nighttime showing in
the LA. You know, hey, Sway Man, don't even trip dog,
do you no problem?

Speaker 1 (49:17):
Man?

Speaker 2 (49:19):
Yeah? And I knew it was big for him too,
so I was like, I was gonna stop that, Sway Man.
I don't even feel bad about it. But he felt bad.
He called me like, Man, know, Man, I feel bad bro,
because we I committed to this with you, and I
feel bad that I'm I'd be just in a bad space.
And I didn't want him to feel like that. Man,
make at your money, dog, I'm not tripping man.

Speaker 3 (49:36):
Whatever.

Speaker 2 (49:37):
I go back to producing records. I ain't triple dog.
And then you know, they called me from the radio
stations like, hey, did you hear about Sway. I'm like yeah,
he told me, Okay, so you starting two weeks And
I'm like me, yeah, you starting two weeks. So people
don't know that I jumped right into that. I wasn't
like radio DJ talker. I was a mixture cutter and

(49:59):
trying to be on the mic. I never liked my
voice like that that I got pushed into. And then
I basically said, okay, I got to figure this out
because the Baker Boys was hot. Deal was fucking hot,
you know, the wake up show. I just got into town.
I had I had a lot of shit to deal
with it out, like where is my space? What am
I going to do? And that was that was that

(50:21):
was That was an interesting first year. My mom gave
me the advice. She told me before I left the
house one day. She goes, hey, she could tell I
was worried, Hey, are you all right? I'm like, no,
I'm own good, Mom. It's just that, you know, it's
my like first week or whatever. I was just just, hey,
why don't you just be you? And then it won't
feel like a job in your head you're trying to
be something stop like And it made me think, Damn,

(50:44):
I am thinking too much about THEO. Damn I am
thinking too much about Dinah Steel. Damn, I'm thinking too
much about the down London, the house party, I'm thinking
too much of the Baker Boys. What am I doing?
I'm trying to?

Speaker 3 (50:54):
Like?

Speaker 2 (50:55):
I was so nervous, you know, how do I feel?

Speaker 1 (50:57):
All right? Just be you?

Speaker 2 (50:59):
And that that really helped, man, because that's what I
end up doing. I just like, you know, I came
with my own approach, and I think it was just
so real. People just accepted it, and I got numb
of love for the Black community because they supported me.
That's why I don't like when I hear all this,
Oh they're black man, bro, they ain't not blocking you.
They they gave me so much love to black community
and my ratings. When I would see my ratings, that's

(51:19):
where I knew. I'm like, damn, man, that's I had
the Hispanics, but the Blacks was up there, and so
I was like, damn, they really got my back. So
every like once or twice a year, I would always
thank the black community for giving me that love. I
appreciate y'all. Thank you so much. I know you know
you're accepting me into a space and y'all letting me
get in. I appreciate that. And I think that's what
they loved about the realness of it. Like damn, That's

(51:42):
why I tell people, you gotta recognize all there's nothing
wrong that they don't diminish you. It actually makes you
look right when you give props to what is right.
You know what I'm saying.

Speaker 3 (51:53):
Do you understand? Man?

Speaker 2 (51:55):
Nick?

Speaker 3 (51:55):
She broke so many different acts through West Side Radio,
like where the first time I heard master P. This
is how I went. I was in Warehouse Music in Lakewood.

Speaker 1 (52:08):
Now.

Speaker 3 (52:08):
I was reading the magazine when the magazines, and I
saw an ad with him in there, you know, two ads.
He had two ads in that motherfucker. And I said,
who is this motherfucker right here? Man the white suit
with I don't know what he holding up a piece
of crack or something. And then I heard him on
the radio with you, and I said, let me go
buy this dude ship to see how it sound. Yeah.

Speaker 2 (52:29):
I was the first one to do master blowing up.
Yeah I didn't. I broke master p no limit and
then I broke cash money and that was a really
good story, true story that was that was a really
really big deal. But master P. I just like master P.
But I wasn't like super like into his music like
that nobody was. But I knew he had something because

(52:53):
it goes back to the West Coast thing. He had
something about him that I liked, and I always kept up.
I would say, like I always kept a part of
me that kept that open. And I credit that the
too Short because I think people thought that too Short
was very simple rap in a way at the time.
You know what I'm saying at that time, they didn't
say he was a lyricist, right, but I thought too

(53:16):
short didn't need to be no lyricist. I just knew
his voice and what he was saying and how he
was delivering it. That shit was just street shit, so
I knew that the streets really fucked with certain things
like that. So master P, I thought of him like that.
I said, you know what, who will this is GOODA GOODA.
You gotta take care of the GOODA GOODA. There's gonna
be some haters, but the good are good and good ones.

(53:38):
They're gonna fuck with this dude, especially because he was
rapping over world class record crew to turn off the lights.
So that's what got me like, that's gonna connect once again,
the records that connect to people, right, So they're gonna
love that because that's La right. So and that's how
he slid in. And then one night I had him
bring them all me an eggs, murder soaked the shackra.
I had him all I played all that shit, and

(54:00):
that's where they started to blow up at in La.
That's when and you know, and and I give him props,
master B, because he's always said the story. Julio g
was the one that broke me, and.

Speaker 3 (54:09):
I appreciate that because in the second biggest market in
the country.

Speaker 2 (54:12):
Yeah, he blew after that. Bro when he used to come.
He told me one day, Man, when I used to
come to LA always just come pick up checks and priority.
Nobody fucking me out here. I never know interviews, nobody
know me. And that's all he would do is come
pick up checks and get back on a plane and leave.
And that's how one day he happened to be a priority.
And my homegirl, she was a publicist there, and she
was talking to him on the phone and I go, oh,
is that master p Hey tell him come to the
show tonight and he changes flight and everything. Oh, I'm

(54:34):
bringing the whole crew. I'll bring me. He came, brought
all his ship. He was he was a real promoter.
He was like an easy eating me Like he was
a real promoter dude, Like he promoted his artist and
he was serious about it. But yeah, I broke a
lot of people, especially West Side Radio. It's like, I mean,
you know, I don't want to like just you don't
talk about anybody and none. But there's people that come

(54:55):
out and they start taking a little more credit for
the West Coast shit, you know what I mean. And
I kind of bothered me a little bit because I
don't like people to rewrite history.

Speaker 1 (55:03):
You know.

Speaker 2 (55:03):
It's like nobody was nobody was fucking with the West
Coast in La. Let me let me say that right now.
When I started in nineteen ninety five, well, I started
West Eyne Radio seriously in nineteen eighty six. Where it
really started was when that whole thing went down with
death rowing them at the Source Awards. When all that

(55:26):
went down, I was on that Saturday night and I
remember I went on the air and I said, I
believe they were coming like they were starting to come
back to La on the plane from that Source Awards,
and I said, I don't want I don't want none
of my West Coast artists to get off that plane
and just be hearing shit that ain't from La. Fuck that.

Speaker 3 (55:48):
So I did.

Speaker 2 (55:48):
I did a whole hour on my show of Straight
West Coast and that was kind of the beginning idea
where I said, oh man, this And then what happened
is that a few months later Ice Cube called me
and he had tried to do a show called West
Side radio in the Bay, but he didn't realize how
much work radio took. So he called me and he

(56:09):
said me me in my office, I want to talk
to you. I'm like, cool if I went over there
and he's like, hey, man, man, I got this show
that I did. It's called west Side Radio. Man, but
I really can't fuck with it. But man, are you
interested in doing it? Would you want to do it?
I'm like, yeah, hell yeah, I'll do it.

Speaker 1 (56:25):
Shit.

Speaker 2 (56:26):
I'll come on the first show with you and then
I'll do an intro for you, and then I come
on the first show well started. And then you know,
that's why it's called west II Radio. It's really behind
west Side Connection. That's why it's called west Side Radio.
It wasn't necessarily I came up with that. He gave
me that, so I got to give ice Cube his proct.
But he came on the work first show and from
there on, I went for broke and he just every

(56:47):
time he's seen me, he just you killing it, bro.
You're doing way more than I would have thought. You
killed that bro, Like he used to always telling me that, like, man,
you man, you killed that bro. Like you killing it
because you know it spawns so many people because look,
MC eight didn't get radio play, wasn't playing MC eight bro.
I will say this, Marie Ama Snyder, she added and

(57:10):
put that record in rotation off for the Money. That
one record did get a lot of play on ninety
two point three to b it was in rotation like
it was playing all day. But I remember who it
took me under? And then I started bringing back the
older records, the growing up in the hood, and I
started all that on West Side radio. I didn't just
start from where I started. I went back and started

(57:31):
bringing back records that didn't get no action and started
bringing Peace Treat back and Black Superman and these guys
back like into the mix with the newer shit too.
So I was doing that, and I used to play
the song with eight and Dazz. I used to play
straight up Man. I used to play all for the
Money all the time. I used to play the Hood
took me under. I used to play my fucking gang stories.

(57:54):
I played gang Story, South Central Cartel and so it's like,
so that's why I say, you know, certain people be
saying like they like there was the West Coast there
is nobody was doing that before me. Dog The only
reason Paraweo six ever started to even think about fucking
on the West Coast like that was because we beat
them and they had to because I got the streets

(58:16):
they didn't have target and.

Speaker 3 (58:18):
They started really targeting the Hispanic audience.

Speaker 2 (58:20):
Well, there always been always been a Hispanic station. You know,
you gotta remember that they're they're they're demographic is Hispanic.
It's not black. So they only deal with that. But
I'm saying in ninety five and ninety six when I
got west Side Radio going, we went number one that
year the station and west Side Radio. And so now
ninety seven ninety eight, when you know, Damian Young comes
in and they start saying, because's why I say Damien

(58:41):
Sometimes he gets to start talking and none of disrespect
to him, but he doesn't say it correctly. He says, oh,
he went to Parawino six and he made you know,
gangster rap cool? What bro we're talking about? Dog, I've
been done west Side Radio.

Speaker 1 (58:55):
I was.

Speaker 2 (58:56):
I was okay, let me let me tell you like this,
when the East Coast and West Coast beef was going down.
Who wrapped the West? I did it by myself because
nobody else wanted to rep Tupac when to hit him up. Look, man,
let me do it like this, just to keep it
rolling with you, bro, because I know I was gonna
come on here, and I just wanted to make sure
that I don't just be capping and just saying things.

(59:18):
This is right here. These are different little tweets that
I grab from people. I still remember the feeling when
Julio G dropped Tupac hit him up for the first time.
I was twelve years old. He became my favorite DJ
after that. That night that he's talking about, I played
Tupac hit him up eight times in a row, so
and then I'm so old. I'm so old. I remember

(59:39):
when Julio G played Pox hit him up for the
first time on west Side Radio while Above the Law
was their facts. They were there. They was like god,
CAMG was like, you ain't gonna do it again?

Speaker 3 (59:48):
Oh you man?

Speaker 1 (59:49):
Fuck them?

Speaker 2 (59:49):
KMG boom fucked that and they were like, oh my
ass cutching them.

Speaker 3 (59:53):
They were there.

Speaker 2 (59:53):
They were going Crashmi, yeah for sure, mack man my
smoking party being hutch we've been we've I've been friends
with them for so long. Do I love They're like
family dog. But they were having, you know, but I
wasn't supposed to do that. They didn't want me to
play the ninety two point three to be begged me
not to do that. Bro, They're like, please, please, don't.

(01:00:14):
They knew I had the song because Johnny gave it
to me Johnny J recipes and he was like, please
don't do that, man, please. I say, yeah, no, no,
I want, I want. I don't worry by the guys.
I'm not gonna do ship. I was so West Coast
dog and I was so fucking with our ship that
I just it was us against them. I don't can't
care where the fuck the ship fell. And I wasn't

(01:00:34):
scared to do that. But the wake up Show wasn't
doing that. The Baker Boys weren't doing that. Yo wasn't
doing that. None of these people was doing that. And no,
nothing disretracted them. They didn't want to smoke. They didn't
want to deal with what was going on with the
East Coast.

Speaker 1 (01:00:45):
West.

Speaker 3 (01:00:45):
You were for sure pushing the line with the gangs.

Speaker 4 (01:00:48):
You no, Holy YO pushed the line as far as
motherfuckers who were trying to get noticed, who had good
music and who couldn't You heard a lot of independent
dudes from the West Coast who were on the come
up who wasn't getting they shine because we couldn't.

Speaker 3 (01:01:10):
I think, is you the first person to play two
hundred by Glasses?

Speaker 2 (01:01:13):
I started broke?

Speaker 3 (01:01:15):
That's what I'm saying.

Speaker 1 (01:01:16):
I think, Yeah, he broke class west side radio. This
was later. This is later.

Speaker 2 (01:01:21):
You're talking about West radio nineties with Glasses. This is
when I went at ninety through five K and I
said a whole new Bishop Lamont came through me, Glasses
came through me, Jay Rock came through me, Jay Rock
and TD started with me. No, I don't know what
other people are saying, because other people that came out
and said, oh, GD, well I.

Speaker 3 (01:01:38):
Was running with. I was running with top of them
at the time they were going up there.

Speaker 2 (01:01:43):
Yeah, let me tell you something, because he was the
only one fucking with TD for I started. He was
when I when I put Jay Rock on Lift Me Up.
That was another record. I was a Sunday night when
I was doing West Sundays on this time, and I
played that record fifteen times in a row. I never
had done that. I just wanted to fuck with him
because I just wanted Watts to get on. I just

(01:02:06):
had a stamp it in their ear that this this
is gonna happen because I was trying to get wats on.
That's why I fucked with Glasses and I had my
other friend drove from Grape, and then I had Jay
Rock and then with the Nickersons, so my things. I
was telling all of them, Hey, I know y'all got
beef with each other, but when we're doing this music shop,
we gotta rogue, like I gotta. I need y'all be
And they were all cool. They actually got around each other.
We never had no issues. They all knew what the

(01:02:28):
purpose was. Look, man, we gotta get this going. I
need the West to blow. We did, and they were
with it, you know. So yeah, they they started with
me saying with saying with k dot Uh. He came
through Jay Rock. I met him first. I met Jay
Rock first, but he introduced me to uh to K. Yeah,
And I'm gonna tell you a story about that. When

(01:02:48):
I met Jay Rock the first time. He I'm trying
to find this. There's a song that Kendrick Lamar did,
Kendad Lamar, K Dot Don't Do It, featuring Julio g Okay.
He did a song that I'm in because I used
to say on the radio, don't do it to him
k dot. Every time I would play j Rock, I
would That was my way of kind of introducing him

(01:03:09):
because he didn't have no music, but I liked him.
The first time Jay Rock Interests I met Jay Rock,
he was with Kadok, and he told me like this, man,
Julio G, thank you so much for everything you've done
for me. Man, you had no idea. Man like the
hood man the whole Nickerson went crazy and man, this
is my little Homie's ka doot. He goes, I'm dope,
but this dude's the truth. First time, bro, and I

(01:03:30):
was like, oh, never had a rapper do that so
that I don't want people to know that Jay Rock
never hated on K dot bro, never blocked, never tried.
He didn't have to do that. He was the star.
To me, He's the dude I'm playing and he'ster hey, homie,
this is this dude the truth. And that's what made
me say, Okay, what's.

Speaker 1 (01:03:49):
Up with your name?

Speaker 2 (01:03:49):
Kato? Okay, little homy, all right, don't do it to
him Kadok. So he became like his little homie, so
That's how I got them going.

Speaker 1 (01:03:56):
And then.

Speaker 2 (01:03:58):
I saved one of them DJs from Power one on
six bro. He was gonna get God from these dudes.
Mind you, I now blow them up. Not only am
I playing it fifteen times the first time, I kept
playing the record. So now Warner Brothers got attention on them.
They want to So they come to me topping them
and like, can you come up to Warner Brothers with us?

(01:04:19):
Because you know, they were new to the game, they
didn't really know what was happening, like that, can you
come up there because I want to We want to
see if you would consult for us, because they wanted
to kind of tell Warner Brothers like we got Julio
g like you know he gonna come help us, right,
So I went over there, we sat down, they played
me some songs and I said, jay Rod, you need
to find somebody to make your songs. Your songs are

(01:04:41):
just they're not there like sound wise sonically. That's why
they got all leave. From the first day. He listened
to me, you need to have a cohesive sound, and
you have like a sound that's like up And they
didn't know that. They weren't paying attention to like, oh shitty, right,
I didn't think about it like that. And but that's
which that's why I used to produce records, so I understand.

(01:05:02):
So so that's you know, I gave them so much
love basically right, And then Warner Brothers was happy. So
they thought, oh shit, I have Julio g playing us
like this. I know these motherfucker's gonna play us. So
when they went up to Power one, those six, they
were like, and they didn't know what that was. They
were new to the games, so they were like. They

(01:05:25):
called me one day because I was consulting them. They
called me one day I was getting off of work, Hey,
Julio G. Man, can you believe we went up to
power one? Those six? Man, they give us as big
as run around the shit fucked fucked around and played
us like we were suckers.

Speaker 3 (01:05:36):
Man.

Speaker 2 (01:05:37):
They said, but but don't trip. We're gonna snatch your
motherfuck up. And right when I heard that, I said, hey, hey, bro, listen,
Jimmy DOGG. You don't want to do that. And I'm
gonna tell you why they're nerds. You put your fingers
and hands on them, dog. It tells all the rest
of the DJs across the country. And I don't mean
to say in a distrepept for nerds. I'm just saying

(01:05:57):
you're not on the level of niggas and Garden Bounty Hull. Bro,
you have no understanding when they say I'm gonna snatch
your ass up. That's not a good You don't want that, right. So,
and that was my guy too. And I don't want
to say who he was, but he was my guy
in the way too, So I felt for him. I
knew that wasn't his thing. He's not from LA like that.

Speaker 6 (01:06:18):
Yeah.

Speaker 2 (01:06:18):
So I don't want to say what it is, you
know what I mean. But they was gonna get him dog,
and I told him, please, Bro, don't do that. It's
gonna ruin you, man, because they don't make it'll make Look.
I remember when Game got into it with some DJ
somewhere in DC or something that that kind of fucked
him up, bro, believe it or not. That she got
back to me, but was like, hey, man, you're gonna
fuck with that dude. DJs know each other, Bro, we talk.
Rappers don't know that, but we all do talk. Yeah,

(01:06:41):
Because once they feel that you did that to one person,
and then you think they want to have you on
it to if you start stomping somebody out, you think
you're gonna come on my radio show.

Speaker 1 (01:06:50):
I'm not gonna do that.

Speaker 2 (01:06:51):
I'm gonna skip that because I don't want to. Who
was this crazy motherfucker? I ain't trying to do with
no knucklehead like that's what that? And I'm from this
tood doc, so I should be able look at least
half some halfway with a lot of uncle heads. But
you think somebody from Birdbank is gonna be able to
understand that they're not bro? So you know, they were
very lucky over the head man that was nice enough
to like. And I'm glad that those guys started out

(01:07:12):
because they're who they are today and they have a
good relationship with them over there now. So I'm glad
that it did work out because it almost went left
on him in the beginning.

Speaker 3 (01:07:23):
Man during that time, too, Top wasn't playing man, he was.
I tell everybody, man, it's a different level of relentlessness
that he had when he came in like that. Dude
had more determination than anybody I've ever seen in my life.
I'm gonna tell you a funny story, man, Me and
glasses down there in Louisiana.

Speaker 2 (01:07:44):
We on the bus with bird Man.

Speaker 3 (01:07:47):
Top calls me before I get him the bus and say,
when you go in front of bird Man, I want
you to put that nigga on the phone. They just
let him know I could talk to him whenever I
want to. My phone died.

Speaker 2 (01:07:59):
Man.

Speaker 3 (01:07:59):
That dude went talked me for well and I said, nigga,
how long you gonn be mad at me? And he
just laughed.

Speaker 2 (01:08:04):
Now he's a good dude, dude. They were, They were
They were solid dudes, and I'm glad to see their success, man,
because they deserve and they worked hard. When I got
off the radio in ninety three five ninety three five
K I felt kind of bad because I had kind
of gotten them going, like we were almost about to
break the whole thing, and then I got off, so
that kind of stumbled everybody and they had to kind

(01:08:26):
of regroup and started dropping mixtapes and kind of get
the whole thing back going again. But there was a
point where ship I had Bishop, I had Glasses going,
I had a Jay Rock Kata I was just about
to drop a topic. Who else did I? It was
just a lot of different rappers that we were trying to,
you know, get on and get going. But yeah, you

(01:08:48):
need that in l A, you know what I mean.
That's why West I Radio was important in the nineties
because it established a lot of these guys that imagine,
if I wouldn't have been on West Side Radio, it
would have been the records would have just never came
out and met nothing. It ne would have been you know,
forgotten about, and nobody would have really understood how to
how to play a Spice one or how to play

(01:09:08):
selly cell and those records that used to come to
me all the time and tell me like, man, I
ain't playing that for and then I'll be like, bro,
you don't have no understanding of LA music and how
the hood works. And one thing I will say too
is like I didn't play disc records on West Side
Radio against against exactly, I played call now Names and
they talking about New York mothers. I didn't give the fuck.

(01:09:30):
But there was no dre Day, definitely not the one
with Quick that you know that he did towards you.
I didn't play the Duck six. I didn't play because
I never wanted us to be beef with each I
didn't want to do that.

Speaker 3 (01:09:43):
I think because you understood the potential ramifications absolutely.

Speaker 4 (01:09:49):
Being from the hood, being from Lynnwood, I knowing the
connection and Long Beach in l A.

Speaker 2 (01:09:56):
Niggas was really about it, and they were listening.

Speaker 4 (01:09:59):
Niggas was really about gang bang game banging, and niggas
was listening to the radio and niggas w was stepped
to you, nigga, you played that record. Oh you played
that record, Julio or you played that record, So it
was good to stay neutral. Oh yeah, like I get it.
It's records in this radio. But I'm not gonna pay

(01:10:19):
quick song. I'm not gonna play They's song. I'm not
gonna play eight songs. I'm not gonna play this song.
I'm not gonna play again Cam. I'm not gonna do
none of that because we already know what the rama
for cases be. Look at what happened with with with
my with my sister, d and and Dre and Cube
and pump it up. You get me niggas watching. Oh

(01:10:41):
you let the nigga go on there say that, Okay, okay,
we got you and and that's like you said, that's
gonna happen to the DJ.

Speaker 2 (01:10:48):
Listen, think about it like this. I always tell people
this too. If I was like like these guys are
today with the clicks and of this and that, imagine
I was on West Side, I'm like, man, oh damn eight,
you're gonna let them talk to you like that? That
would have gotten heavy rating.

Speaker 1 (01:11:07):
They would be.

Speaker 2 (01:11:09):
But the reason why is because, like he said, I
grew up in the hood like that, and I know Compton.
I know his neighborhood, I know people from his neighborhood,
I know people from his right wal neighborhoods. That it's serious.
That bro with him and DJ Quick was way deeper
than people could even ever imagine. The records bro that
she was complicated in Compton, so any little and then

(01:11:31):
they'll have tuned into me. If at it came and
said some stupid I would have never done that. But
I wouldn't have never played. I don't just out of
just no, I can't do that because we don't vicious
broos vicious.

Speaker 4 (01:11:42):
That's what I'll be telling people about being in that
situation of trying to transition to being an artist coming
up out of the gang life in the streets. It's hard, man,
because you're still you still looked upon as you that

(01:12:02):
crypt that blood nigga, I don't give a fuck because
you got a hit record on the nigga, I went
to elementary with you.

Speaker 1 (01:12:09):
He was claiming so and so or it's hard to
bypass that.

Speaker 2 (01:12:15):
And it's worse that you were known because that was like.

Speaker 4 (01:12:19):
Because I was like, you gotta watch him with straps
because when you're still in like and I said, I
was still going to Compton my first three four albums.
I was still on the clock, Like, I didn't give
a fuck because I got a number one song and
the fucking video is cracking. And Nigga, this gang beef.

(01:12:41):
It wasn't no hip hop record. This was a gang
beef straight up. So it's like I tell niggas, niggas
don't know that you get other EMC's or other beefs
and they're looked upon differently. I said, but when you
talk about beefs in La with rappers.

Speaker 2 (01:13:00):
That was a serious serious niggas was getting They didn't know.

Speaker 4 (01:13:03):
Niggas was dying. Yeah, niggas was getting shot at, niggas
was getting hurt. It wasn't no record, no ll cool,
cool modigga. This was like nigga Okay, funk that record.
I'll see you in the streets some a dump on yeah.

Speaker 2 (01:13:17):
Especially because you know, you know, it is an extra
extra strike.

Speaker 4 (01:13:21):
And that's like you said, now you got extra curiosity,
you got extra gotta be extra cautious because like you said,
now you known.

Speaker 1 (01:13:28):
Yeah, so now it's on you on videos, you on
fucking records.

Speaker 4 (01:13:32):
Niggas are seeing you in magazines and niggas you're standing
around the corner in the neighborhood right.

Speaker 1 (01:13:38):
Now, and niggas know, let's go through that right now.
You had all of that.

Speaker 2 (01:13:45):
I don't know if you remember this eight, but when
we recorded that song for your Section eighty album, we
did Automatic. We did, we went and recorded. Well, how
that even happened was that me and Fred recused to
live in the same building, apartment buildings right across from me.
So I would go pop in there and and he
had his drum machines and all that stuff in there.
So one day he was like, hey, let's make a beat,
and so I pulled out that guitar. I said, you know,

(01:14:07):
I just hun this record of the day, man, it's
simple this and we started and we made the beat
for Automatic. This is before you heard it and all
we just had it. It was like in a pact
that he had. So he called me and he's like, hey,
MC eight wants to do that beat we did. I said, oh,
for real, I am. He goes to meet me at
the studio. We gonna go record it, okay. So we
go to the studio. We recorded three songs, of one
of them being automatic, right. And I want to tell

(01:14:29):
the audience that this about MC eight. That session is
where I had a whole other respect for you eight
when it came to rapping, Like I listened to you
as MC eight and yeah, I respect your music and
I liked what it was and I was with it.
But I didn't look at you like a MC like that,
like until that day. And then I remember driving the

(01:14:51):
night I was left to go to work because I
was going to work that day. I was driving down Kawanga.
I forgot we recorded, but I was coming down Hawanga
and I remember saying to ourselves, I'm dumb, motherfucker. He's
called MC eight stupid as motherfucker. Like I was telling
myself that that's why he's called MC eight. This is
a real fucking From that point on of that session

(01:15:12):
I looked, I put you in the category of nas J,
scar Face cube all that, like all that, and he
probably wrote the verse like even we go in there.
I never seen and I used to record. I recorded
a lot of people in my studio I have in
my own studio. Right, we go in there. He does
the first song. He does the three verses in one take,

(01:15:35):
and I'm talking and I'm talking about the attitude, the
every the pronunciation, the attitude because I'm listening and this
is going because I'm ready to say, all right, hold on, man,
take it back. Can you say that word? Because I'm
used to doing that with artists, Oh height Frost, man,
just say that one word a little bit different because
you're the way you're all right, cool, take it back,
you know, because I used to record Frost a lot.
So he was like, we were just like that, you know.
So I said, damn, damn, it just that the three

(01:15:59):
fucking verses, and it was the attitude eight. You just
jump right into it. And it was like, the attitude
is perfect.

Speaker 1 (01:16:07):
Bro.

Speaker 2 (01:16:07):
It was like damn. Then he went back and did
the ad lib one take, Then he did another ad
lib and filled in these pieces. I was just in
my head. I'm like, how the fuck is this guy
doing this?

Speaker 1 (01:16:20):
Bro?

Speaker 2 (01:16:21):
Because it was almost like he was designing the verse
and now it's starting to become even Joper. I'm like,
oh ship, now that he dropped these oh shit. So
then he that's it, song done, You're gonna put the
next one up. He does the next one, all three
fucking verses.

Speaker 1 (01:16:38):
Again.

Speaker 2 (01:16:38):
I was like, I was like, oh my god, I can't.
I almost thought like I can't believe I'm watching this.
This is impossible.

Speaker 1 (01:16:44):
I don't believe in wasting niggas time.

Speaker 2 (01:16:47):
I never seen somebody do it like that. You did
the three songs, the only one.

Speaker 1 (01:16:52):
Yeah, just let the song go, Let it go, just go,
And so.

Speaker 2 (01:16:56):
He let the ad lib the whole shit, and then
the third one.

Speaker 1 (01:16:58):
The first verse, let the hooks whatever.

Speaker 4 (01:17:01):
I'm gonna come in with the second verse, and I'm
gonna come in with the third verse, and I'm gonna
say take it all the way back to the top
and run it back through the whole thing.

Speaker 2 (01:17:08):
Basically three songs in thirty minutes. It was that fast,
and I said, damn. I just was like, this is
fucking mine.

Speaker 1 (01:17:16):
Do you job.

Speaker 2 (01:17:20):
But the reason I bring the story up is because
it goes back to Quick. So I don't know if
you remember this, but that day we went out into
the little outside room and I went out and I
told Eight. I said, he eight, man like, I'm really
because look after the East coast, West coast beef and
when Biggie got killed, we weren't good on the west.
It was hard. And I'm telling you because I was

(01:17:41):
on the radio. I was trying to find any record
to get us. They just didn't like us. They wasn't
really tripping in the beginning. The first couple of years.
It was hard, like ninety seven, ny eight, ninety nine.
It was it was we had to push through with
d please and we had Yeah, it wasn't really they
wasn't it wasn't happy with us. They wasn't like super
happy with right. So now we're around ninety nine, I

(01:18:03):
think when with this section eighty and I was with
eight and I said, hey, hey, man, listen, man, man,
we got to get past this beef. Man, it's just
been dragging on too fucking long, bro like. And I
lied to Eight. I told him I talked to Quick.
He said he'd be cool to squadsh it if you
was cool with it, but man, I just wanted to
ask you, man, because I really don't know how deep
because I knew this is like I said, I'm from

(01:18:25):
that side of town, so I knew that this is
way more than record. This is like an early street thing.
So I don't I didn't know how to check eight
temperature or like, I don't know if he'll roll with it.
And he said he said that. I said, yeah, man,
he's you know, I'm like, you know what, man, all right?
Fuck it then and then I went out. When I
got out of there, I call Quick, Hey, Quick, and

(01:18:49):
he was Quick was coming on west Side Radio that Friday,
and I asked you to call in, and y'all squashed
the beef on that call. Yeah, And I wish I
had the recording. It's on the tape somewhere. But that's
how that went down.

Speaker 4 (01:19:03):
And then a week later we did Snoop got us
to go on Tavish Smiley and we got on Tabas
Smarted moving from.

Speaker 2 (01:19:12):
There, and that's how that whole thing. That's why I said,
I'm glad I came to because I wanted to see
if you remembered that, because that's how it all started.
And it was. It was a good thing, because that's
all I always try to do. I always try to
squash beefs. Like when Daz and Corrupt had their beef.
I was the one that jumped in because they're both
my friends, and I was like, come on, man, I
had to figure out how I had dads on the air.

(01:19:32):
And I say, hey, man, you're gonna talk to Corrupt
or not man like like I make it happen, you
know what I mean? Like, and he's like, oh, you know,
he was kind of half with that started the conversation,
and they'll tell you that that's how they got back together,
and they came back with Kelly's active. So it was
always about to me, I always wondered, didn't I didn't
like the negativity. I thought our music was too important
and we needed some of the beef because it charged

(01:19:54):
our music up in a sense. But you know, at
the same time, it's like, look.

Speaker 4 (01:19:58):
Man, beefs got a little out of hand because of
our backgrounds. You get me, And I was one of
those dudes who always felt like that's why I never
I never try to alienate the other side with my music.
You never heard me saying.

Speaker 1 (01:20:20):
Records or your hood.

Speaker 2 (01:20:22):
You didn't really bang because.

Speaker 4 (01:20:24):
I wanted everybody to play my records. I wanted the
bloods to buy my records too, Which what's happening?

Speaker 3 (01:20:30):
You get me.

Speaker 4 (01:20:32):
I was getting played by everybody until the beef started.
But now, like I tell motherfuckers, now you making motherfucker's
choose because you get me. And as a fan, I
go buy both you niggas records quick and apes. But
as a game banger, now I got to pick and choose.

(01:20:53):
If I'm a crip, I got to buy the crip record.
If I'm a blood, I got to buy the blood record.
Can't be riding through the hood and the nigga sees
Compton's most wanted on my seat, I'm gonna get clean.
You know, nigga, What the fuck you doing with that
nigga taping your vice versa You a crip and you
in a grouphood and you come bumping tonight. Nigga's gonna

(01:21:16):
get on your head. Nigga, the only got beef with
that nigga. You bumping this nigga me, So now you're
making fans picking chick. I want the whole fucking thirty
dollars you get sure. I don't want just that one
fourteen ninety nine from these niggas.

Speaker 1 (01:21:32):
I want it from there.

Speaker 4 (01:21:34):
And then I felt like that's what fucked us up,
because now you're making niggas when the whole city of
Compton should be bumping us. Now you separate because now
you got the crips only wanting to bump the crip nigga,
and you got the blood niggas want to bump the
blood niggas. And that's what's gonna happen technically, because that's

(01:21:56):
just the demographics of how neighborhoods work.

Speaker 2 (01:21:58):
Let me tell you something funny.

Speaker 3 (01:21:59):
You bring that up.

Speaker 2 (01:22:00):
Man. One day I was on Westside Radio and I
used to program the show. You know, I like programming
Everything that came out of that I put together right.
So I'm taking phone calls and editing calls and playing
songs and hitting the drop and looking at the time
all was going on, right. I didn't realize that I
just played like four crip songs in a row. So
I used to answer my own phone. That's what was

(01:22:22):
cool about my show, Like people could call me like
I had people. They just call me like every night
after work. That's up was happening. Man, you been brother?
You playing the song my wife and so I used
to stay used to comfortable with that. So I answered
the phone. It was like, hey man, what's up wuliog?
It was going on. I could hear the homies in
the background, and like, hey man, what's up with it?

Speaker 1 (01:22:39):
Blood? Man?

Speaker 2 (01:22:40):
You don't play full cripts in the road way, what's
up with it? Blood? Come on, man, we are they
in the Jones right now? Blood? You fucking us up?
And I was like I did, and I thought back,
I go, oh ship, my bad bro? Oh man, what's
your homies name over there?

Speaker 6 (01:22:53):
Man?

Speaker 2 (01:22:53):
Oh man, it's l Ron and Woofy Woolby. Okay, I'm
shot y'all out. And I had to play three or
four fucking blood songs in a row. And that's how
serious it wasn't that day on. I had to be
conscious of how I was playing and who I spread
it out spread love. It was serious, bro, It was
that serious back then, like they really was checking for

(01:23:14):
stuff like that. I didn't even pay attention to, man,
So so that was a great times. Man, absolutely, man.

Speaker 3 (01:23:18):
I know you're running with Cypress hill man. I know
you was heavy into the smoke man to the weed.
I'm always going and you know, I appreciate you coming
to bless us man this Los Angeles. Cush MANU cush Man.
You know forty four thirty nine West said Boulevard.

Speaker 2 (01:23:39):
Lost a Hollywood story.

Speaker 7 (01:23:41):
We don't have that one no more East l all right, God, Google,
get on your Google map whatever you need, man, go
take a visit that.

Speaker 3 (01:23:52):
Like cush Man, he blessed us. I'm about to feel
good this weekend today? How long you don't have this
going on?

Speaker 6 (01:23:58):
Man?

Speaker 2 (01:23:58):
I do work with cush from maybe like like maybe
ten years now, ten years.

Speaker 3 (01:24:02):
That's dope, man.

Speaker 2 (01:24:04):
So it's I've been in the like you know, the
cannabis business doing a thing too. So but that's something
that I always have been doing since wild way back.
Like a lot of rap believe it or not, a
lot of people they used to come on the radio show,
especially from the East Coast. They used to just come
through just because I had the weed, like just to
be oh, I want to come by and get an interview.

Speaker 1 (01:24:22):
But then you go that w.

Speaker 2 (01:24:25):
New York, New York's and Atlanta dudes. Oh man, I
always had good bro. So it's like it's always, you know,
they any rapper will tell you Snoop Dogg, every I've
smoked them all out and they always been like, damn,
where'd you get this? Like, But that's always been me.
I was always been like into and that Actually I
got to give credit to be Real Land Kid Frost

(01:24:45):
because they were the first dudes that put me onto
better weed. I used to smoke like street weed, but
then when they got more technicals with them, like oh ship,
where'd you get that?

Speaker 1 (01:24:54):
All this?

Speaker 2 (01:24:54):
Dude? So they'll introduce me to somebody, and that's how
I started to like kind of find just better women.

Speaker 1 (01:25:00):
Be real, real kind.

Speaker 2 (01:25:01):
He's for real, There's no question about that. He's putting
out so much, so much, so much different weed. Man,
this is another level.

Speaker 3 (01:25:08):
And before we get out of here, man, first of all, man,
thank you for coming to sit down with this man.
Man and the west Side Radio is back.

Speaker 2 (01:25:17):
I'm doing a podcast.

Speaker 3 (01:25:18):
Yeah, podcast.

Speaker 2 (01:25:19):
I definitely wanted you to come on to it. Yeah,
I just started doing the West Side Radio podcast. But
once again, it's it's it's a little bit of everything
because I like to talk a little bit of everybody
because I really do enjoy interviewing people. But I'm doing it,
like really just to kind of document our l A history,
because I think like our LA history is not documented enough,
and I don't think like the ogs have really been
able to speak. Like I'm hoping to get Bob Cat

(01:25:40):
on there one day. I just had I just had
Chrystal Glove Taylor and and then you know, fred Red
came through, and then i had Kid Frost. He was
my first one that was dope because he has so
much history and you know, a lot of people don't
know how far back his history goes, the early eighties.

Speaker 3 (01:25:57):
Like, what's the YouTube channel?

Speaker 2 (01:26:00):
It's west Side Radio Online.

Speaker 3 (01:26:02):
Inside man, y'all make sure you'll subscribe to that, man,
and I'm gonna share it. I'm gonna put a link
at the bottom, link at the bottom. Thank you. Do
you have the audio up of it too?

Speaker 2 (01:26:12):
Yeah, I do the audio. It's all Apple on Spotify,
Apple on Spotify.

Speaker 3 (01:26:15):
Man, y'all gotta go back.

Speaker 2 (01:26:16):
I'm trying. I'm thinking like it just depends just because
I'm working on a few things, but I do want
to bring back west Side Radio in a radio form, right,
but in a mixture of the mixture of some new
stuff and some in our classic stuff.

Speaker 1 (01:26:29):
That's what I've been talking trying to get on the
radio myself.

Speaker 2 (01:26:32):
Yeah, you know, we need it.

Speaker 4 (01:26:34):
You know, we do get some of the heritage of
our music, you know cracking. Yeah, a lot of people
gotta you know, go on these little streaming sites or
whatever just to be able to get a dose of
our music that's that created.

Speaker 1 (01:26:47):
You know, a lot of this. I think we need
it on a real actual.

Speaker 2 (01:26:51):
And there's a lot of history with the music.

Speaker 3 (01:26:52):
You never thought about going to mess it serious or
something like that.

Speaker 2 (01:26:56):
I would, I would do that.

Speaker 3 (01:26:58):
You know.

Speaker 2 (01:26:59):
The thing about it is that it's nothing about them personally,
because I like them over there and all that. It's
just that it has to be it has to be
the right freedom for me to do what I do.
I just don't like the people always ask me you
should get back on the radios. Yeah it's cool and
all that, but the problem with the radio is just
toot too restrictive, and it's just not like the old
days where they used to like let me. The reason

(01:27:19):
I was successful is because I programmed half my show.
So if I would have just let them do it,
I wouldn't have been successful.

Speaker 3 (01:27:25):
Maybe you need to start Peley Man put.

Speaker 2 (01:27:30):
In the world. I'm gonna do something with it, and
and I do want to bring it back, you know
what I mean, And and just to have some fun
with the radio thing again. But you know, I'll see
what happens. I'm hoping for later this year, maybe a
little maybe after the summertime. We'll get it up and
running somewhere.

Speaker 3 (01:27:45):
Well, Man, we appreciate you falking to man.

Speaker 2 (01:27:48):
Thank you for having me. I appreciate it. Man, It's
always a pleasure.

Speaker 3 (01:27:50):
To be with you.

Speaker 1 (01:27:51):
Guys. Man, you know, I'm sure you already know what
it is.

Speaker 2 (01:27:57):
Hey, I want to ask you one thing, man, I
was It's funny brought this record up earlier. Man, I
used to play that Cypress record with you all the
time from their Cypress Hill four the when it starts off,
it creeps up to a come up.

Speaker 5 (01:28:11):
Man.

Speaker 2 (01:28:12):
I used to bang that on West Side RADI And
when I tell you, bro, I used to get so
many people that would call me to ask me what
is that like? That's but I have to ask you
man like you I never thought d because I know
mugs like I know so long. He's such a like
a hip hop Yes, he's a serious hip hop dude, right,
and I just always tripped like you had such a

(01:28:35):
great like connection with him, Like the way you maybe
like heavyweights was amazing.

Speaker 1 (01:28:40):
Bro.

Speaker 4 (01:28:41):
It's just like what I did with Pete Rock on
One Life to Live because you're an m C and
that's that's that's my thing, ju Leo. I come from Compton,
gang Bang and all that walks of life. Uh you
You you would think that people would just you know,

(01:29:02):
keep you in the in the in the in the
category of being that street dude you know just talk about.
But I pride myself on being an EMC. I come
from that era of mc shan you know, KRS one
dudes were lyrical, and I prided myself on that, even

(01:29:25):
though I walked the streets of Compton and had to
represent on that aspect. Getting with dudes like Mugs, getting
dudes with like Pete Rock, getting with dudes like Premiere,
they allow you to be what you are, and that's
an MC.

Speaker 1 (01:29:41):
First.

Speaker 2 (01:29:42):
You weren't intimidated by that anyway. When you were walking out,
you hear like a more of a hip hop swing
beat because you.

Speaker 4 (01:29:48):
Just man, go back listen to songs like I give
up nothing on my first project. Listen to songs like
you know, eight is enough off of music to drive.
They weren't talking about the hood or the block. Now
I'm just busting because I prided myself on being a
master of seramony, you know, Eric being Roy Rock Kim those.

Speaker 1 (01:30:14):
Days MC and was everything and that's all that's all
yourself a MC.

Speaker 4 (01:30:21):
You know, it can't just be about you know, I
got a pocket full of rocks and now I'm on
my fuck. You got to be able to get on
the motherfucking beat. That's that's unfamiliar that you're uncomfortable with,
and show your skills as a MC.

Speaker 2 (01:30:36):
You know what's crazy that you say that because and
I want to ask you this because Okay, so Ice
Tea gave me South Bronx from Boogie Down Productions before
anybody I ever heard, and about maybe a month later,
I got on fifteen eighty KD, so I was world
premiered that basically I started Carris Bulletn Productions right South

(01:30:57):
Bronx and then Poet Tree and all that. But but explain,
man like, explain how impactful that guy was because when
he dropped in that I mean when he dropped it
was so and I'll tell you this because you specifically
because you do something that reminds me of him a lot,
like and you adapted that where you paused and do things.

(01:31:19):
And then because that was something up sitting up, no
more or less.

Speaker 1 (01:31:25):
He had that.

Speaker 2 (01:31:26):
When kr Ris came at first, it was weird because
everybody rapped like dodo do do do do do do do.

Speaker 4 (01:31:31):
Do do do do do do right, And I was like,
I'm a very big kr Ris fan from from from
the BDP days.

Speaker 2 (01:31:41):
From beginning Criminal Minded Dog.

Speaker 4 (01:31:43):
Yeah, poetry was I used to play man, I used
to sit up and I used to just listen to.

Speaker 1 (01:31:49):
That record over and over and over again.

Speaker 4 (01:31:52):
Because it amaze me how lyrical this dude was, you know,
coming from listening to a lot of techno hop records
and Electric Kingdom and all that type to hear this
dude speak and I'm a poet to listen to the
teacher and the lesson.

Speaker 1 (01:32:13):
Use to stop that motherfucker was.

Speaker 2 (01:32:18):
And and his delivery, his voice, the way I mean
some of the like the how would I say, like
what do you say?

Speaker 3 (01:32:24):
Like?

Speaker 2 (01:32:24):
Just the way it's just the projection. It's the projection
he has. Caris let me.

Speaker 1 (01:32:32):
Explain instructions to a game. See not insane. In fact,
I'm kind of rational.

Speaker 2 (01:32:39):
And you know what, people didn't remember the white one
with the black one. You know what a lot of
people didn't really hear in the beginning too, is like
he was coming at run DMC.

Speaker 1 (01:32:49):
He was coming at No Kings, this and the Ridges over.
He was just hard man.

Speaker 2 (01:32:55):
Did ja the.

Speaker 3 (01:32:58):
Oh he take him? Seeing? Real serious? I don't know
if y'all saw the.

Speaker 1 (01:33:01):
Jersey everything.

Speaker 2 (01:33:06):
He came, I don't know I've seen that or nothing.

Speaker 6 (01:33:09):
No.

Speaker 3 (01:33:09):
I love big that he came. But carras One was
really out there trying to tear his head that he
was out there really trying to battle.

Speaker 1 (01:33:17):
This dude is a performer. I saw.

Speaker 4 (01:33:19):
I saw him perform in Oakland one time at a showcase.
We was doing Motherfucker's hard Man.

Speaker 2 (01:33:26):
He's one of the best dudes every So.

Speaker 4 (01:33:29):
I prided myself on That's why I came up with
MC eight. I wanted to be an MC before anything,
So I prided myself on that. You know, I listened
to the rock hems, even the cubes. You know, in
the beginning, Niggas was just lyrical and I just felt
like even though I'm from Compton and I'm you know,

(01:33:51):
trying to be the block and the strap and whatever.

Speaker 1 (01:33:54):
I was like nah, man, and.

Speaker 4 (01:33:55):
Then you know I was big on words and lyricism
and ship, you know, because those were the guys that
stood out.

Speaker 1 (01:34:02):
You get me. Man.

Speaker 3 (01:34:04):
We could do this all motherfucking night. Man, but I
feel like we can go another two hours.

Speaker 6 (01:34:10):
Man.

Speaker 1 (01:34:11):
It's all good things. Man, you got good history. Man,
can just go and go.

Speaker 3 (01:34:16):
Yeah, we we for sure, Julio, you definitely man, open
door up here. Man, you can come up here whenever
you want. You definitely got to do a point because
it's so much. We got to do a part too,
because it's so much, and it's like all the stuff.
I got a whole bunch of other stuff.

Speaker 4 (01:34:30):
Yeah, it's the beginning. You know, Julio was there in
the beginning. You know, I was there in the beginning
a lot of us, man, And you know, you don't
get to hear those stories from from dudes who really
had connections with some of these forefathers who you know,
gave us our foundation, you know, because the stories of

(01:34:54):
easy stories of the mixed Masters and m walking and
we just.

Speaker 3 (01:35:00):
Text on this much chef. But we ain't even got
the like like going and who you might have to
come back next week?

Speaker 1 (01:35:05):
Do yeah?

Speaker 3 (01:35:06):
Do it like you might have to come back next week.

Speaker 2 (01:35:09):
I appreciate his show.

Speaker 3 (01:35:11):
Yeah, oh yeah show.

Speaker 1 (01:35:13):
Hell yeah whatever.

Speaker 3 (01:35:14):
Man, but you know you got the open door up here. Man, seriously, Man,
whenever you want to come. Man and man, make sure
y'all go banging that out. Man, go bang the homely ship. Man,
go watch your ship. Go listen. Available on Spotify, iTunes,
on YouTube. Y'all want to go watch it? Man? He
got some dope ass interviews online.

Speaker 2 (01:35:32):
Check it out.

Speaker 3 (01:35:32):
Yeah, sure, and we're gone.

Speaker 1 (01:35:35):
Well.

Speaker 3 (01:35:35):
That concludes another episode of the Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
The Gangster Chronicles podcast For Apple users, find a purple
mica on the front of your screen, subscribe to the show,
leave a comment and rating. Executive producers for The Gangster
Chronicles podcasts of Norman Stelled Aaron M. C a Tyler.
Our visual media director is Brian Whatt, and audio editors
tell it Hey. The Gangster Chronicles is a production of

(01:35:58):
iHeartMedia Network and the Black OFFAE Podcast Network. For more
podcasts from iHeartRadio. Visit the iHeartRadio app. Apple Podcasts wherever
you're listening to your podcasts.

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Episode Transcript

Hosts And Creators

Norman Steele

MC Eiht

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