May 29, 2025 • 63 mins
Tonight, Steele and Eiht had a convo with the homie KK from 2nd 2 None. We discuss the groups come up in Compton , The early bidding war between Profile records and Def Jam, Compton hip hop history and working for 3 decades with Compton legend DJ Quik.
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Speaker 1 (00:00):
You see Donald Trump, don't let your boy. He let
Larry Hoop, Route Dog and a whole bunch of other
people too.
Speaker 2 (00:07):
They said he's still got time though, he's still facing
two hundred years for something else as soon as.
Speaker 1 (00:12):
He gets back to Chicago Hu from the state hunting.
Speaker 2 (00:15):
I don't even know if that's the case. I think
that was just some paperwork shit. I don't know, you
know what, bro the man that's out now and he's
seventy some years old. Man, they can't be that vindicted though. Shit,
I don't know. I haven't really read too much about it.
I've seen it, but from what I was reading, he's
(00:38):
still facing a gang of you know, other shit. So
I don't know how that's feasible.
Speaker 1 (00:44):
You I'm here, his son of You know what, I've
been trying to figure out for the longest time. The
human being man that most probably live to be one
hundred and two, and that's really pushing it right, right,
How do you give somebody two hundred years? I'm trying
to figure that out? Is it? Like? Man? You know what?
(01:06):
That's almost like some witchcraft type of ship that's like
what do they call that ship? That karmic.
Speaker 3 (01:13):
Shit?
Speaker 1 (01:13):
Karmack punishment and some ship like that. The nigga going
to this his next life and just steal in trouble.
Speaker 2 (01:20):
Yeah, I guess if that's if that's a possibility. Yeah,
they don't. They don't want you to have no chances.
Speaker 1 (01:27):
Oh that's crazy, man, Even even in death, your ass
could still be on some time. You know what I
was figuring out.
Speaker 2 (01:34):
Man.
Speaker 1 (01:34):
We had Juigo g in here a few weeks ago,
and I was just thinking about the city of Compton.
Compton is probably the number one rap city in the country, dog,
outside of Brooklyn and all that shit. Man, Compton, you
gotta you gotta think about it. From the nineties ship
even the eighties dog going up to now. Compano had
it on smash Now.
Speaker 2 (01:58):
They tried to say that. You know, people nowadays, I
guess with the diversity of music, people are gonna be like, well,
you can't say that now because the South the South is,
and the South that and whatever. Whatever.
Speaker 3 (02:12):
So you gotta I guess you gotta go by time frame.
Speaker 1 (02:16):
Well, you know what I'm gonna tell you, Like this, bro.
Speaker 2 (02:20):
For a long time, we didn't have shit, you know
what I'm saying.
Speaker 1 (02:24):
Think about this though, eight the South don't have some
cold people, man. You know, star Facing in the South
is a big region. Were talking about a city, man,
that don't do Compton even have one hundred thousand people
in it?
Speaker 2 (02:35):
Bro Uh, all depends on how you count it. I'm
sure one hundred thousand people do lived in Compton.
Speaker 1 (02:43):
Yeah, but let's say Coon got Compton ain't no big
That's what I'm saying. Compton not no no million population
of one million type of city though. You know it's
a small city, bro Compen is a small city and
the habits and the impact that it has on music. Dog,
I don't you know unless you're talking about like Brooklyn
and you know, the Bronx and all that stuff. They
(03:04):
was around since the inception of hip hop. You know,
I'm talking about this small city that's had the impact
on music. I doubt that anybody from New York or
anywhere else can say that they got some resident in
the city that has had the impact on music Compton.
Did Compton us really in the whole new genre?
Speaker 3 (03:22):
Dog? Yeah?
Speaker 2 (03:24):
But like you said, the Brooklyn's and the ships like
that has been around since the inception and are still
going on to this day too. So that's that's a
hard argument.
Speaker 1 (03:37):
I don't know, man, Compton, you know, Compton might be
you know you people are gonna.
Speaker 2 (03:45):
Say you being biased now because of the Kendrick era.
Oh yeah, you're saying that because Kendricks got because like
I said, for a long time, we didn't have a lot,
we didn't have a lot to represent. You know what
I'm saying. Like I said, it's in, it's in time frames.
Speaker 1 (04:02):
But let me kick this off though, dog, because no
matter the time frames were significant. Okay, First of all,
you got tidy t and mixed Master Spade that you
start off with, right, I would say that's probably the
I'm only naming people that actually lived in Compton, I
would say, the legendary, right.
Speaker 3 (04:21):
Yeah.
Speaker 1 (04:23):
Then you got the NWA era Dog, and you had
people that was claiming Compton, Compton was so influential back
in the day. You had people that didn't even live
in Compton claiming it. Right. So you had NWA. I
can't even begin to describe what they did for hip hop.
You feel what I'm saying. It was just gangster rap,
not just gangster rap, Dog, just the whole thing.
Speaker 2 (04:46):
Just because not everybody, nobody was accepting of gangster rap.
You know what I'm saying, and had you tell it.
NWA destroyed a lot when it came to hip hop.
So you know, from other people's perspective.
Speaker 1 (05:00):
Well, you know what, No, what n w A did
is they you know, let's just drop the gangster rap ship.
It was reality rap in its fines. They put the
spotlight on police brutality, put the spotlight on what the
average young dude in the neighborhood was going through. Right
then you got you know yourself, CMW You feel what
I'm saying, that era start. Then you got DJ Quick
(05:21):
across town. Then you have you just got this thing
man with so many rappers out of comptent Dog at
the time, I'm trying to think of a mall dog.
But Compton always had a place kind of eight because
you you know, the CMW era was big Dog is
still cracking. You still sell the records to this day.
Speaker 2 (05:41):
So what was the BDP era? So was the tribe
called quest era. So was the motherfucking just Ice era.
So was the run DMC era. So was the air.
Speaker 1 (05:53):
Ice Man. Just don't compare to nobody in Comton. No dogs, just.
Speaker 2 (05:59):
Man, don't even start that ship. Still you like controversy,
you're gonna say n w A, then you're gonna say
just Ice because he was for he was formidable when
they came to motherfucker, just.
Speaker 1 (06:11):
Man, murderer, when it comes to a crime homicide, I'm
never doing some time. I get my lyrics direct, I'm
always getting respect. That gets your girl and my aunt
very drift.
Speaker 2 (06:23):
How you look at it from different hip hop perspectives,
Like I said, people are donna claim they ship. They
gonna say com didn't like you or whatever you felt.
And then people from the East Coast are don't feel
like shit. We've been so dominant we started hip hop.
Speaker 1 (06:39):
Yeah, and you know what, and you right man, and
it ain't I'm trying to be controversy. Who ate. I'm
just for the record, I love just Ice dog like
I could tell you about every from booger banded bits
to all that shit that was like the first hard course.
You know what, Actually he was spitting gangster ship.
Speaker 2 (06:56):
Indeed, just the Ice you know before n W he was.
He was on some gangster ship. So was a r
S one. So so was all the niggas like Spoony
G and all the niggas that came from that era
they were spitting gangster player ship.
Speaker 1 (07:14):
Hell yeah, you know what I'm trying to figure out.
We can't see him KK, Well we got we got
the homie KK from second to none. He on the
his ass so black, you can't see.
Speaker 3 (07:22):
Him, all right.
Speaker 1 (07:26):
No, no, we can't see you. We we just y'all
just pretend like he's there.
Speaker 3 (07:31):
All right, Okay, well look what about.
Speaker 1 (07:35):
Hell yeah, ship the homiesne popped up. I don't spoke
too soon.
Speaker 4 (07:38):
Hold on, let me take this one out, okay, and let.
Speaker 1 (07:48):
Me turn this other one off. Hold on this.
Speaker 3 (07:56):
Okay? Yeah, that cool enough?
Speaker 1 (07:58):
Yeah, that's cool right there. Okay, because because we was
messed around. Man, you know, I was just saying, like
when you heard the conversation me and eight is halveing
and y'all all kind of came out during the same time.
Speaker 5 (08:15):
Well you know, uh, what's up APN gratulations on another
bond day two as well, prior to to the conversation.
Speaker 1 (08:24):
Look, you know what, hold on, before we get started, man,
I gotta say something. Man, he wasn't on last week,
but big, big, big, big happy but late a birthday
man to my motherfucking nigga. Man, my friend, my own boy,
not just the co host. I really fuck with this nigga, yall,
This is my nigga right here, my nigga, m C eight.
Speaker 3 (08:46):
Man, good.
Speaker 1 (08:50):
Happy birthday. Hell you can you look sideway? He's not
my nigga. Turns back the other way.
Speaker 3 (08:55):
Okay, I'll just try the first time.
Speaker 1 (09:00):
Man side down, know all kinds of other stuff, but man,
happy Latey's birthday. Man at the homie MC eight man,
you know m C eight You know in that exclusive club.
He a Gemini as in mine. I got one coming
up in a few weeks. You know, Geminis run the world, man.
Not only is Geminis man, just.
Speaker 3 (09:18):
People in the world.
Speaker 1 (09:19):
Man. They the best rappers, they the best producers. If
you really look at Gemini's running this shit just kind
of like how comfort run the rap shit.
Speaker 3 (09:28):
Whatever.
Speaker 5 (09:29):
You know, it's all good, Go ahead, Geminis. We'll take
the trendy.
Speaker 1 (09:35):
So you know what I find interest to know when
you talk about this man, y'all, y'all from the opposite
side of the tracks. Literally you know what I'm saying.
We didn't even go go into all the you know,
political stuff, But was you hearing about eight KK when
he was like ear before he started making music and stuff,
before his music became popular.
Speaker 5 (09:54):
Boy, you know what, man, I have to say this
and let the world no a k befolks c mw
at they can't before section as far as the street, Uh,
you know, I heard about it, uh, you know, because
I was moving around Lynnwood, Compton and whatnot. I was
in then with when I first heard. You know, I
think it was not the blue tape, but I think
(10:15):
it was a clear tape.
Speaker 3 (10:16):
You know. I was like, that's cool. You know. Uh,
there's a lot of people.
Speaker 5 (10:20):
Take it for granted because of its two different color
size or two tales of the story and whatnot. But no,
it was a Compton appreciation happy at that time, I
think eighty nine or ninety something that ever.
Speaker 3 (10:34):
You know, I was in Linnwood.
Speaker 5 (10:35):
I'm like, okay, some more competent dudes, you know, Oh
they dang, you know, they cribs.
Speaker 3 (10:41):
That's cool. But it was.
Speaker 5 (10:42):
It was a comportant thing, just appreciation, you know, right
after Spade, Tidy t Mixed Master Can Uh you know
my days.
Speaker 3 (10:51):
You know, I'm from the east side of Compton.
Speaker 5 (10:53):
A lot of people don't know that about KK or
secting from the east side of Compton, you know, near
the litt Am Street area.
Speaker 3 (11:02):
So but uh, growing up, I moved Oh go ahead.
Speaker 1 (11:06):
Bro, I'm sorry you off from the east side. I
did not know.
Speaker 5 (11:09):
Yeah, born and raised east side Rosecrans between Santa Fe
Long Beach Boulevard right off roads.
Speaker 3 (11:15):
Crans and Vans nine seventeen.
Speaker 5 (11:19):
Then I moved to nine twelve West Spruce fifth Grade,
like eighty one or something like that. Yeah, then I uh,
that's what back KK balled down the Crans because I
was always headed back to the east side.
Speaker 3 (11:33):
Once I moved to Spruce.
Speaker 5 (11:35):
That that brings the story, you know, I was balling
back to the east side, back towards Lose Park where
I came from.
Speaker 3 (11:42):
But I moved on the Spruce.
Speaker 1 (11:45):
You know, I really meant like fuck with Crawford, man
high and see Crawford, my nigga, that's my guy. Right
there on.
Speaker 3 (11:54):
I was back on the road.
Speaker 1 (11:55):
Man.
Speaker 5 (11:55):
I remember, you know, we don't get a lot of
chance to get a lot of time to talk about
saying no, none in the history or not, you know,
but just bringing up the fact, even knowing about CMW,
you know, man, there's a lot of compter history that's
untold that to fill in the gaps and bridges of
(12:16):
over these three decades of so called rapping hip hop history.
You know, it's just a lot of events through this
rapping hip hop history. We were actually there. I just
listened to a lot of stories. I'll be laughing. Some
of these cats weren't even invented, but they showed tell
them stories.
Speaker 3 (12:34):
For real, real, for real.
Speaker 1 (12:36):
You know you said some real important man. Eight does
predate everybody pretty much, you know, yeah, it was Compa's
most wanted and you know, shit, ain't Joe had to
be what seventeen or sixteen or some shit like that.
Speaker 2 (12:52):
It was about seventeen when we first started. Uh, when
we first hooked up with Unknown and slipping them, we
was probably like yeah on on seventeen and then we
was able to jump on the Compting compilation. That's what
started it. We heard, That's what I heard that Rhyme's
two Funky we had on the Compting compilation. So that
(13:15):
kind of set us off right there before U before
everybody started getting picked up, we were like right behind
Easy and Nwa. I mean shit, we used to hang
with them. Go to their video shoots all of that.
You know, they knew about us. Some young niggas. Chill
used to stay across the street from you know, Wrenn
(13:35):
and them, so he's all the time and shit, and
they used to invite us to ship. So we were
just trying to get our name out there. So we,
like I said, we had fucked with Unknown and Lonzo
and uh, you know, everybody know Lonzo's famous for the
Wrecking Crew and you know and the inception of getting
(13:57):
those guys together as far as that just comes are
you know, dre yella easy, you know all of that.
So but yeah, we were right on the coattails and
Ship because Unknown was one of Lonzo's you know, buddies
and Ship, and you know, they had these little independent
record labels and shiit Uh Lonzo had Crew Cut, Unknown
(14:19):
had Techno Hop, you know, they Dream Team had they label,
and then Egypt Egypt had Egyptian Empire, so they had
these four little independent labels and we just so happened
to hook up with Unknown who had Techno Hop because
of being on the Compton compilation. So from there we
(14:40):
got to put out a little MAXI single called just
as Compton Little take that was going on the Swap
Meets and Ship you know, didn't have no major distribution,
but that's how we got put on because of those
two first little projects we had did with those two
independent labels. And that was, like you said, that was
before the inception of of all the greats that were
(15:03):
there to come from Compton, you know what I'm saying.
So we had our foot in the door when the
door first cracked open. For as far as gangster raptors concerned.
Speaker 1 (15:13):
Yeah, I was. I remember I was playing for Long
Beach City College football and homie Darryl Kemp brought me
one of those tapes and I said, Man, this nigga
can rapped like a motherfucker. I was an MC fan
from the like Gidea up Dog, and I didn't know
because you know, see him definitely that nigga Chill wasn't
on no motherfucking songs. All I knew was this nigger
(15:33):
right here. So I thought that was like an alias
or something. I guess he comped his most wanted when
he ain't eight, you know what I'm saying. That that's
his official title.
Speaker 3 (15:40):
You know.
Speaker 1 (15:41):
You know, a nigga might have had two or three
monikers back.
Speaker 3 (15:43):
In the day.
Speaker 2 (15:44):
Yeah, the only Chill kept going in and out of jail.
So when we first got signed, we signed this COMPTS
Most Wanted. So they just decided to keep it, you
know what I'm saying, and give it a try. And
we were able to put out like three products under
Compass Most Wanted, but it seemed like every project Chill
(16:05):
would be going to jail. So uh, we ended up
just dropping the Compass Most Wanted and the label just
decided that we was going to start the m C
eight projects.
Speaker 5 (16:17):
Man, that's crazy you mentioned that though. I mean my
bad interrupting, but doing that era eight. Uh for me
standing on for van Nets, I used to be on
Burrs and the light Skinning member of c m W.
Speaker 3 (16:31):
Yeah, he stayed around on Sloan and stuff.
Speaker 4 (16:35):
Like.
Speaker 3 (16:35):
Yeah, that's that's my neighborhood. We all went.
Speaker 2 (16:39):
We all went to junior high together, me Chilling and
we met in junior high school. We all went to
Hamilton Junior High in Loan Beach, okay Man. That's where
we all hooked up at And then at had the
little you know ant Pops you know, had a They
had converted his garage into like a studio little club
(17:02):
studio looking like for for him and ship and he
had turntables and all of that. So we used to
go over ants house in Elm Street and fuck around
a lot. Okay, that's when we first start putting it together,
like okay, nigga, we're gonna be conscious, most wanted. And
from there, like I said, the shit just took off
from just hooking up trying to practice and work at
(17:24):
ants house to me crafting my writing skills and shipping
and going on to meet slipped and unknown and ship
like that. Oh man, that's that's a blessing, bro, because
during that time I was actually around the corner on
birds Your.
Speaker 3 (17:43):
You know.
Speaker 5 (17:43):
Now, that's kind of how I heard y'all, you know,
having y'all tape.
Speaker 2 (17:53):
My auntie used to live in Elm Hood, so that's
how we used to get over the Ants. She used
to live on Elm Street, right, I forgot the street,
but she used to live in Elmhood, so we would
go over there at her house from after schools and
then were we would just bail down rosecrants over the
Ant's house and ship over there by over there there about.
Speaker 3 (18:15):
The center and the pizza place and ship. Yeah.
Speaker 5 (18:18):
Two for one used to be right there, yeah yeah, yeah,
we were probably walking and talking and one one twenty
five East walk in the belting. I used to at
the bail by gus Berger's and all that road street
coming from when I moved before the heill Over Alameda.
Speaker 3 (18:37):
Oh y yeah, you know hell Over Yeah yeah, before.
Speaker 5 (18:41):
All that and before the Alametera Corridor got built. But
during the eighties, that's how that's how I got him
to you. This is you know before uh well quick
as second and up KK second and up and high
see well basically KK quick and how I see during
the eighties we were ready us from like eighty three.
(19:03):
You know, KK wasn't no rap name. That's my nickname
from birth. But you know, during that time, that's how
I got empty, y'all man. And you know, uh, I
guess I didn't know about the music, but I heard
about it because I was, you know, from our beginners.
We all started from DJs. A lot of people don't
know all the details. You know, we were all DJs.
(19:23):
Everybody did everything that's programming all.
Speaker 1 (19:27):
Night the night. Because I want to take that, like
A just told us his origin story, right, what was
y'all doing about that time because Quick, y'all always had
one producer Quick, what was y'all?
Speaker 3 (19:44):
You see me smiling? Yeah, everybody.
Speaker 5 (19:48):
Everybody had a drum machine or we made based beat
paulse mixing first with the Devil Concess.
Speaker 3 (19:56):
It's pretty much the same story.
Speaker 5 (19:57):
This started from like eighty two fifth grade for me
when I moved to the West side on Spruce Street,
the nine hundred block, so you know, seventh grade eighty three,
that's when I met Quick in high Sea.
Speaker 3 (20:10):
He was already DJ Quick Mix.
Speaker 5 (20:12):
I was KK from birth and the highly intelligent Crawford
seventh grade eighty three.
Speaker 3 (20:18):
So we were all involved in music.
Speaker 5 (20:20):
I was basically like the singer, slash rapper, comedian jokes
toill you know serious. That's why me and Park was close.
A lot of people don't know that relationship unless you
was in the streets. So why we don't have those
records together. But uh, you know my bringing up, but uh,
nobody discovered us. And if it would be anybody that
(20:42):
discovered us, me and D my cousin, it would have
been Mixed Master Spade, the Scotti D So during that era,
the late eighties, Uh when y'all was around the corner.
I was skip off of birds and you know, jumping
my cutlins. We'll go to the talent shows. These are
the stories doing eighty eight into eighty eight, eighty nine
to ninety. The story's quick telling on his album KK
(21:06):
Shulda Knew Better. That's how my homeboy took you in.
You know, amg mobs kicking my well. We're trying to
do something and trying to you know, not be like
nobody else. But uh, this is the type of music
we do. We respected Dre Easy and all of them.
We wasn't over there, but we knew it. Knew of
each other from the streets. Spade and then used to
(21:27):
come to my house. You know, I knew King t
was around the corner off of Wilmington and Spruce. Who
I was back in, you know from eighty one on
up uh man. You know it was watching the hood
get formed or watching everything. And but I was based
around music. And if you go back a whole David
Junior High eighty three through eighty six, we can go
(21:48):
through and look back to year, but you see me
all based around music. They started the English Teacher started
the gospel soul a choir because I was always singing.
You know, we was popular already basically become of famous
at junior high. You know, so with me that history
Spade and Scottie d from Taler shows Me and d
(22:09):
you know, with our tapes. Quick at this taste, we
had tapes as well, you know, and mixing it with
the singing.
Speaker 3 (22:15):
It's the eighties, so right, so.
Speaker 1 (22:18):
Y'all was producing a lot of your own stuff to them.
Speaker 3 (22:21):
Yeah, that's how it all started.
Speaker 5 (22:23):
I was connectivity with me and Quick and us all
being DJs. Me and D started off, and you know
then d was a little behind us, a year behind
us in school. So once I got to the seventh grade,
I'm the new new dudes on the West side, you know,
as far as fifth and sixth grade. But once we
got to Davis, everybody was you know, breaking just came
(22:45):
in Windmill and we was already popping and all that
eight from the eighties and all that, but uh, breaking
it just came in. We was already DJing and scratching
before eighty three. Uh, we all had turntables. I had
to make sure how she had a mixture two turntables,
you know, had a little paper jobs working with pop.
So I was able to get a receiver, two speakers
(23:08):
and all that and mixure Ti mixer too, fishing turntable
until I got some upgraded. In high school ninth grade
eighty six, everybody did everything man drum programming see Quincy shampling.
Speaker 1 (23:28):
Uhuh, that was the ghettle set up right there. Man.
You had to turn three microphone.
Speaker 3 (23:33):
Two eighty two eighty three.
Speaker 1 (23:35):
Yeah.
Speaker 5 (23:37):
See quick, See a lot of people don't listen without say,
to a lot of folks, they don't pay attention, you
know what I mean. They they were hearing a lot
of things, but they don't really listen, you know. Quick,
tell the whole story. I mean, if you go back
and pay attention, turn this first album cover while I'm
in the front seat with on we b viobe. Yeah,
(23:57):
I was at skateland with curtains blowing the eighties. I
was even after dark when I was in eighth grade.
Speaker 3 (24:04):
So you know I'm still there. I think eight eight.
You older than me.
Speaker 5 (24:09):
I believe I'm fifty four, but I was out there
in eighth grade skate land even after dark. Let's go
bowling that dudos all that, you know, Red Fox come
to my my mama house on Spruce when we moved
a spruce, BB King, Tyron Davis, all of us on
Spruce because the little club the Thunderbird was right there
(24:31):
on Spruce in wilbantip so Id. That's what the singer
kicked in chasing my mother. You remember the Thunderbird.
Speaker 3 (24:39):
Yeah, I remember even after dark too on Alvaloe. I
was in I was.
Speaker 5 (24:44):
In there outside around DMC came to see this the eighties,
like eighty three, eighty four. LLL was with Spade in
them and and uh he had the chop top chevy
old Dayton's back. Then I kind of think that's what
LLL's got, that Dayton idea frunkle. We see eighth grade
on pe at David Junior High. It wasn't no kangos
(25:05):
really cracking. Here comes Spade now, you know everybody and
we were run run to the gates so we can
see Spade on the dates, you know, going southbound on
Wilmington headed towards what we would call Palmer Block. Back
then going through see the block, I don't see a kingo.
Speaker 1 (25:21):
You know.
Speaker 3 (25:22):
I'm more, Uh, I have a better perception of things. Uh.
Speaker 5 (25:26):
Some of my peers that's all the blessing I guess
to make it to be second or none later, you know,
and collective of some of the homies, even just like
hearing me eight stories are bringing this collective of history
that's unknown.
Speaker 3 (25:40):
We was all around each other, man.
Speaker 5 (25:43):
I think I even ran this to y'all downtown Competon
when they had the clothing store there probably eight.
Speaker 3 (25:49):
Nine, oh definitely, Yeah, Man, chair was tight.
Speaker 1 (25:52):
Man.
Speaker 5 (25:52):
You know, I was always uncomfortable forard an Allometa the
barbershop phone shop. Yeah, saying two thousand, I was living
over there behind Wilson Park. Yeah, it's a cold game.
That's a man chill connected. Around two thousand I got divorced.
It was not they moved back to count They have
(26:14):
a studio or something over there. Yeah, that's what I
was living at there.
Speaker 3 (26:17):
I was.
Speaker 5 (26:18):
I moved out my house and got divorced and moved
to the studio behind Wilson Park. Yell, you know what
I'm talking about. Yeah, Man, cheers to be in there.
The homie June for watch Uh still I think you.
I don't know if you came through back then.
Speaker 3 (26:34):
It was.
Speaker 1 (26:36):
I started coming around man real early, but I was
playing for now I remember you.
Speaker 3 (26:41):
I remember you like ninety one ninety two round craft.
I remember.
Speaker 5 (26:46):
Only historian off the crew. I still got stuff from
eighty five eighty two.
Speaker 1 (26:53):
So much. Dog. I ran with Crawford so much. A
lot of people thought I was a blood for the
longest time. Dog Like I had to like because I
was around Crawford so much. It was like, man, niggas
would be like like me and rb H was in
Long Beach one night and we riding, and you know
he was couzin somebody so steal my bad man. I
forgot you a b dog, I said, I don't belong
(27:14):
in no games. You tripping myself. But I would get
that from everybody because me and him was just cool.
But what's crazy? As I hung around just as many crips.
But I guess people because I don't know, man, it's crazy.
Speaker 5 (27:29):
Yes, association what they call my affiliation? You affiliated?
Speaker 1 (27:34):
Okay?
Speaker 3 (27:35):
Yeah? I mean you know, like everybody thought we was
from tree Top.
Speaker 5 (27:41):
I read read a burgony car still to the day
until somebody on Wikipedia put up there am street power
bloods what not?
Speaker 3 (27:50):
A few years ago.
Speaker 5 (27:51):
I'm laughing because, uh, this is another thing about second
and nine and how I've been in the name for
our group. You know, it wasn't even yeah, it's all
the street. We all grew up in that in the eighties.
But it was God first, second and no man. But
we already lived a life, so don't want to promote
that and you know, out of the respect before the
(28:15):
love of hip hop because the East Coast of New
York three boroughs thing that's we was introduced to when
we got to New York in nineties. Signed the Profile Records,
the bedding war between Death Jam and Profile Records for
Second or None because Depth Jam wanted us, you know,
after the after easing the popped, you know, dev Jahms.
(28:35):
It was a bending ward with Depth John a Profile
Records for Second and None. It's a whole lot of history. Yeah,
to open the door, Yeah.
Speaker 1 (28:45):
Hold on, hold on, kk so who put the album together?
Your first album? That was a combination of y'all and Quick.
Speaker 5 (28:54):
Yeah, people, it's it's produced by Second and None and Quick.
Why would it say, because I can't go back in time,
but AI nobody's ass to get their brain back to reality,
to go back and read the ship you bought look
at to read the credits. That's why I talked a
lot of people. Quit swiping the read want to swipe,
(29:15):
turn the page, write something down to help your brain
get back. Uh, go back and turn the cover while
I'm in the front seat, Go back and listen. Now,
you know, man, as you know, it's just a whole lot, y'all.
Miss it's a lot of people got got our story wrong.
That's basically the same. That's pretty much what I'm about
(29:38):
to do. It's like me releasing my first solo album.
It's still second or none. But I got tired of
people saying this and that. Yeah, it was a collective
me and quick. Most of those ideas are the records
I bought, or that was my idea, or tapping your
feet while you're hitting. You know, everybody got amazed, and
sugar Free came along. We've been doing that, but not
(30:00):
taking no credit away from Free. He popped that off first.
But we've been tapping. I was tapping on cans with
a pencil and the marker and the pins just to
see the difference in the sound on the bottom of
a can and try to sample that sound back then
in the ages, just you know, like I said, devil Cotttes,
pause that right there, one two, rewind make them instrumental.
Speaker 1 (30:26):
One thing I do know that everybody in the camp
man was serious about their production.
Speaker 3 (30:31):
Dog.
Speaker 1 (30:31):
Everybody from y'all to Crawford see a lot of this
stuff already know. I'm just That's why I'm asking you,
so you can let the world know. You know what
I'm saying the real well, we.
Speaker 5 (30:42):
All are engineers, and we all are producers, and we
all wrote our own lyrics and every whatever Quick's ideas
on his albums with his ideas second to Nun's ideas
with minds.
Speaker 3 (30:56):
The Deep collaborated.
Speaker 5 (30:58):
I bought the records for the sound was all the hits,
or it might have been an idea like me going,
now I need a bass player.
Speaker 3 (31:07):
How much you charge play this and then get to
tap it?
Speaker 5 (31:17):
Okay, man, well you faster on you quicker on the
drum machine, the drum program programs that I am so yeah,
you can go ahead and knock it out. I'm gonna
work on this baseline in my head to get it
to a real bass or somebody that could play the bass.
Back then standing the guitar man was so called man,
you know, but dreading them use them so I don't
(31:38):
want to do what somebody else did, to use what
they use it. I want to be creative and have
my own flavor style, you know what I mean. So
the distinctive, well, this is what they doing. I don't
want to do that, not so much being negative on
nobody else's style of flavor. Back then, it's just be different,
you know, be unique. And that's how I guess what harmony.
(32:00):
I was always singing, me and my cousin. Did you
know switched the boy all the seventies music? You know,
we was he waved all that blowing in church from
the seventies on up. Like I say, junior High, I'm
part of every choir. I didn't want to be all
the English teachers. Everybody heard me singing and in the
(32:20):
hallways put me in something, you know.
Speaker 1 (32:24):
Let me let me ask you this KK when y'all
first did it? If you want it? Then God, did
you know that record was gonna be as big as
it was? Nah?
Speaker 5 (32:35):
Because the idea we wasn't trying to make it. You know,
we didn't know. You know, we found out probably a
year later we were famous. You know, it was cool
because ten dollars thirty thirty taps in the box ten
dollars a tape three hundred late eighties. So the idea
even get in the record. There wasn't no mama, I
(32:56):
never or even the fath in the idea to become famous,
cause in that sense being for Compton and you know
through the seventies and eighties and all of them out
being on the roe. You know, not trying to floss myself.
It ain't about me. But I was already famous. It's
KK from birth, So wasn't no rap name. That's my
nigganame from birth, you know, giving so I ran with that.
(33:17):
Some of the teachers called me KK, like I said,
I'm all the yearbooks Davis Junior High ansertin here and
most of the stuff. You know, you can see my
story or both sides some MOR's tongas nothing is in
Serainos could tell it from the baby dayo to basica,
you know, outside of rap examt I mean ext that's
(33:39):
that's the story, that's the blessing. That's why we're still
able to function and ain't nobody looking for us, and
we can still function and get around there and get
love like we do around this world internationally. For thirty
five thirty six years to have somebody even want you
that much. We like the dramatics and all the rest
(34:00):
from the Ohio Sound, Memphis Sound, Motown, Comptown. Yeah see
M W and W A second, No King T. You know,
back then it was King T, DJ Pool, DJ Var.
You know we heard these names. Yeah, unknown, you know,
just the whole comptant thing that's.
Speaker 3 (34:21):
From where was caring from. I have no idea.
Speaker 5 (34:25):
I'll still be trying to get out of King T
H pooing them u uh you know Toddy T. When
I see him, I be trying to uh you know
we see each other. I'll be trying to get stories
out of him.
Speaker 1 (34:35):
And you know, man, well we you know, yeah, yeah,
I got some ship.
Speaker 5 (34:44):
Yeah see, this is just the thing man, height Man,
I wish the world could have seen how we're talking
now thirty five some years ago, sort of open their
mind up back then to how a lot of people
put the jacket on us because of the red car.
Wasn't a red card, it was the Burger de card.
We're from compter so, but we never promoted that. A
(35:05):
lot of people don't understand that. You know what I'm
saying with the burg and me in the Red Side.
You know, it takes a lot of people to understand
the uh, the foundation of what that shit is. So
people get it confused because all they hear is blood
and see red and whatever. They don't understand that kind
of a lot of content. Homies was po rules and shit.
Speaker 2 (35:27):
So you know, you people have to know that history.
Speaker 3 (35:31):
You get me. That's like just being on the outside.
Niggas ain't gonna understand that shit.
Speaker 5 (35:36):
You know, they gonna go niggas wore they they bloods
or whatever, So you got to understand. And like I said,
when they go back to the foundation of hip hop,
you know, niggas didn't want to really go at that
because we just want to be hip hop niggas.
Speaker 2 (35:51):
You feel me. We didn't want to push that side
of what was representing shit. Niggas already knew. They knew
I exact niggas man, that's all hey, and.
Speaker 3 (36:04):
Not to join us.
Speaker 5 (36:05):
But add to that, hence our first single, second and
now's first single, And it was like the sense of
paying homage to hip hop because we appreciated what hip
hop did, but this is this.
Speaker 3 (36:18):
Is who we are. And during that time in nineteen ninety,
we were we were we were in New York, so we.
Speaker 5 (36:24):
Got it first hand. Why y'all gang banking? You know,
I don't think Cube went through that. You know, we
had a different experience being in New York around the
same time.
Speaker 3 (36:37):
Man, who was it?
Speaker 2 (36:38):
Uh?
Speaker 3 (36:39):
I'm trying to think of the group Stessisnic and the
drummer Bobby and Uh.
Speaker 5 (36:46):
I still liked Daddyo Daddyo and the drummer Bobby from Stetisnic.
They interviewed us when we first got to New York,
took us around the streets. Why y'all killing each other
over colors and while y'all singing hooks over here hip hop?
This nineteen ninety Daddy old and I said they still
got the HS tape of the interview we did and
(37:07):
grilling us. I don't think any you know, I heard
stories within w A and New York.
Speaker 3 (37:14):
I heard.
Speaker 5 (37:14):
I didn't hear too much about Q because he was
showing more affection and not saying no, no, no, negative way.
But they came at us hard, not quick second and none,
especially you know with the dev John bid on this
and from Compton come on.
Speaker 3 (37:34):
Profile well to run.
Speaker 5 (37:38):
DMC had a big part of that as well as
like l a dream team. I still mess around with
Snake Puppy today. You know what came from Compton or
what came from Myra Spade and Toddy t you know.
But that's what the singing harmonies, the run DMC aggressiveness.
I'm DMC, I'm KMC, the Kelton Mac k Matt k McDonald.
(38:02):
You know, I'm KMC and that's d.
Speaker 3 (38:06):
So.
Speaker 5 (38:06):
You know it's say, it's a mixture of panamage to
hip hop. It what stood out it was different Wodan
uh East Coast. You know back then it was two
Live Crew, it was uh this group you know, it
was KRS one BDP basically and then uh, you know
all these cats I still talk with or we have
relations today. E pm D who took us on tour.
(38:28):
Uh that's us at DODS effects Uh leaders of the
New School and they was all together one and Onyx
and all these cats first come together. You know, they
still visit me out there. You know, they be telling me,
you know name, Uh everybody come through the spot of
inn artall you know what I mean. So it's still
genuine love twenty twenty five all that, but it's not
(38:49):
on Instagram. This is uh, you know, real life streets
ain't no cameras on.
Speaker 3 (38:55):
Shit.
Speaker 5 (38:55):
But I wish that the world could back then if
we had to check answered with all these digital platforms
and whatnot, so everybody could have got the story straight,
just about Compton, let alone West Coast.
Speaker 1 (39:09):
That dog were getting the stories out there. We're letting
it be, putting the reel out there in the universe.
Don't worry, don't worry. Put the whole ship down for real. Hey,
you know what, let me ask you man, because you
kind of got away from it that the Death Jam
was a ship. I think every rep and everything.
Speaker 3 (39:26):
Okay, why we didn't do with that jam?
Speaker 5 (39:29):
The reason why because it was so much history relative
to duos being the duo, you know, and I was
basically using the two for second none and my cousin
you know the other the other. Yeah, so the duos
mixed Spain Toddy T was at the top of the list,
you know. Then after that it was you know who
(39:51):
dn E run DMC. You know it just fit. Okay,
how do we blend in with not sounding like them?
My voice sounded different, you know, I was already aggressive voice.
I didn't want to be DMC. I'm kk so you know,
but I'm from the West Coast, so I ain't gonna
sound like him. He is not like running, you know
(40:11):
what I'm saying. But in the similar sense, we're the
West Coast run DMC and this but uh deaf Jam
and the profile and the meeting running DMC basically Jame
Master j and DMC, you know, and being in New
York and being schooled in nineties.
Speaker 1 (40:27):
You know what I'm saying. Man, you said it was
you said it was a bit. War was the.
Speaker 5 (40:32):
Shaping damn profile. Lee or Russell came up, Greedy Greg
you already know. Uh during the time before a quick
and selected profile records that did in war so to speak,
Death Jam got a hold of the tape. I guess
they thought it was quick, but it was second and none.
So when uh the music fest, uh they that was
(40:55):
at the Stofis Hotel back then in the century. I
forgot the name of that music.
Speaker 3 (40:59):
Come.
Speaker 5 (41:00):
This is what shave first popped up us. The park
was already chilling. It's a whole bunch of stories. I'll
bring them up later about that night because that's when
the first the whole music world of the West got
to see all of us second and nine, quick, amg
and how I see together the homie Teddy bear through.
Speaker 3 (41:18):
The whole world got to see us.
Speaker 5 (41:19):
We already knew battle Cat, you know, from the history
from eighty ninety ninety being off Crenshaw seventy six, a
greedy Greds. So we already knew a few cats from
that side of Crenshaw in that era, from being a
Hongky Harrow's you on Crenshawn influence at the car wash
at the Foxhills. My also second and none was already
I'm not stopping going to Hongky Harrows.
Speaker 3 (41:40):
I don't care.
Speaker 5 (41:42):
I'm spending black money over here, you know. So that's
nineteen ninety eighty nine, oh Man Schloss swap meet. We
had a ball, but not being chesty, and you know,
and that's the blessing to still be alive thirty plus
years later. You know, I'm gonna stand up for something,
but I ain't gonna be too chasty where things get messy,
(42:02):
you know what I mean.
Speaker 1 (42:04):
I gotta ask you this man, and I ain't gonna
go too much into the whole other stuff about nobody else, right,
but with the time, man to where it seemed like
the crew just kind of went on Paus Like when
when Quick start having this little situation with you know,
the record label or whatever, pretty much add him on
Pauls for making music. I just always felt like, man,
(42:27):
that whole crew could have probably just been so much
bigger man than what it was because it was so
much heat. You gotta think about it. You had, y'all,
it was highest seating, sugar free Quick. Why do you
think NMG came later though? Yeah, Free came much later.
Speaker 5 (42:53):
Just saying Quick second or none and AMG even though
Cross was around. But that's the majority of the world
viewed it. And that was the homie as well. You know,
it was a crew. They kept trying to throw tighters
on us after in w A the Comps City Crew
and all his names that kept trying to throw on us.
I'm like, look, we just grew up together, three of us,
(43:14):
four of us grew up together, two of us cousins
from eighty three. We all grew up together junior in
high school related around music. There's been plenty times, man,
just like you say, there's been situations or some of
these major prominent big labels. We probably had the same deals,
(43:37):
not probably but to be like that label or had
the positions. But at that time some minds wasn't grown enough,
you know. And I'm not saying no names of nobody,
but we all were kids. So not making the best
decision for business wise, being so young and coming from
that world, not understanding the business aspect of things back then,
(44:00):
being like you said, seventeen eighteen and going into eighteen
and nineteen, you know what I mean. So I still
got all the contracts right right over here, all my
crazy right there. I stayed with him. I'm a paper man.
But yeah, man, that wow, it's a lot dog. But
(44:22):
the decision to go to profile answering that question, getting
back to that instead of death jam, a death John
wouldn't let go run DMC and getting this information and
knowledge because they never wasn't no death jam. A lot
of people didn't know that. That was just rush management
and wasn't not right right, But then Steve plot Nick
(44:43):
and Court Robbins' profile, they wouldn't let run DMC go.
So being in New York before you know, we just
signed it was not in ninety I'm sitting there with
Jans Jay and DMC. You know, we're talking to folks,
Rob Aasa, Danny Dane, everybody know, Sweet t, Jazzy Joyce
at the label about the Army. Yeah, we we at
(45:05):
the label in New York a Profile. You're right there
on Broadway, I believe six forty Broadway something like that. Well,
you know, we had spent a while out there, you know,
walked around. They were scheduled death of us walking around
like I got pictures. But uh, you know, they were
schooling us pretty much, you know what I mean, and
seeing and hearing how they was doing around DMC that
(45:27):
you know, and depth John was going through. I'm like, shit,
they here depth John Color, you know, uh, after the
Beastie Boys.
Speaker 1 (45:36):
And you know.
Speaker 5 (45:38):
Ll you know it's like, damn, that's legendary. Damn jam
Damn we count it. That'll be a stamp like a mother,
you know. But Quick sign first the Profile. We did
the album together, and that's why it's produced. Its sad
produced by Quick instead of sad produced by Second, Quick
and Second or none.
Speaker 1 (46:00):
Oh, you know, if you'll work records with him on
the first.
Speaker 5 (46:03):
Album, most of them records is my physical records. I
bought me and him went to the records store in
eighty four, if you wanted it, my tough guys, Isaac
Kaye's record, I bought right. I can name all of
the samples and everything.
Speaker 3 (46:20):
That's what I said.
Speaker 5 (46:23):
I say my ideas, and that's you know. I didn't
want to be a negative, but it's a lot of shit.
DJ Quickie second and no fans, y'all got the shit
fucked up. I'm gonna just say it like that, and
we ain't gonna hate this, but yeah, some of you know,
some people be telling me shit. I just look at
him like you gotta remember we was kids and all
(46:45):
album came out thirty five years ago, but we had tapes,
uh thirty seven some years ago, thirty almost thirty eight
years ago.
Speaker 1 (46:52):
And you know what, I'm gonna put this to y'all.
Both some bad motherfuckers. Oh, y'all some bad motherfuckers.
Speaker 5 (46:57):
So you know what I mean, man, all of us. Man,
I love it. Man, I appreciate the love.
Speaker 3 (47:02):
Man. We just we we didn't really have a voice,
you know, I talk more on the.
Speaker 1 (47:08):
Streets, you know, the unsung heroes like people don't know,
like eight produced records, you know.
Speaker 3 (47:16):
Make me, we all make man.
Speaker 5 (47:19):
This is what the partner in the aspect of what
we're talking now, that's the light moments like the world
of hip hop and the world of rap. The world
of R and B needs to know that, or the
world of music. You know, we're not just stand up
rappers and stuff.
Speaker 1 (47:33):
Yeah, it's some real man like ain't just rappers like motherfuckers.
Speaker 5 (47:37):
Yeah, we can change ordand tis and we know the
damn jacket have talent, you know what I'm saying.
Speaker 2 (47:44):
People just want to put niggas in one box, but
that's because they don't know you feel me. I have
to let them know the history of of what the
you know, what your talent range is.
Speaker 3 (47:55):
You know what I'm saying multiple things.
Speaker 2 (47:59):
Just don't put me in the box and consider me
as just a one dimensional artist.
Speaker 3 (48:04):
Nigga. I can do a lot of shit.
Speaker 1 (48:07):
They had one of my favorite beats that from Tales
of the Hood. I think that Boom Boom, hands and
a few not that. Niggas don't be trying to, like
you said, claim the glory or whatever it is what
it is, but niggas have their hands and a lot
(48:28):
of ship people don't know about.
Speaker 5 (48:30):
Oh man, Yes, indeed it's indeed, you know, and it's
nothing to take nothing to take away from nobody else,
shign and nothing that was never the concept just like
a hip hop and going back to our first single,
be true to yourself pyanomos to those that came before
us or a craft or you know what they call culture.
(48:52):
It was just life at the time before yours and
now it's yours. And you find yourself in that aspect
of life, you know, and build on it, you know.
So that was my mindset from Junior High, Elementary. Everybody
know me and Compton, you know everybody. You know, it
ain't about me, like I said, But I ain't never
(49:13):
changed except for a couple of grades and a little
taller and heavier. I'm still the same from elementary and
if you know me, you can you know. Everybody know this.
So they say, all the other famous people from Compton
and all the famous three people, I ain't never changed.
Speaker 1 (49:30):
I mean, you know, man, let me ask you something, man,
and I gotta ask you this dog. You know, the
homie AMG is from Ohio White men. You know that's
my dog.
Speaker 3 (49:40):
Right.
Speaker 1 (49:40):
I talked to AMG sometimes stuff? Right, And how did
y'all wink up with him?
Speaker 5 (49:47):
Greedy Gregg's house me and my black colors taking everybody
once quick ones playing handing them betweet and shabby and
them school Quick up. But like the story he tells,
because we wasn't finished because he had. Uh, I'll let
you hear the first song, the first beat Quick did
for us. It caught the breakthrough, but you know we
(50:08):
wasn't finished with that song. All of a sudden, Quick
getting scooped up and there on LA like player Hamm said, Yeah,
I went to the counting to get a DJ. I
put even my cutter listen boughty back to LA, you know.
So I jumped to my cutlers and high seat, jumped
in this elcho and d jumped in my cudlors with me,
and we went out the Western over there and brown it.
(50:32):
You know, somebody say he over there, so we well
drove over there. I think it was eighty eight eighty nine. Man,
way at he at because we're not finished what we're
doing here. I here over here DJ with y'all. You know,
I'm just sharing the story, you know, but uh, man,
we ain't finished what we're doing. Quick wasn't there, and
I'm gonna lee and I'm giving it the world this
(50:52):
because the fans need to know the history of that.
That's how we connected as far as with AMG through
that whole linkage, getting the quick from here and them,
Hey man where he at? We ain't finished what were doing?
It's cool, y'all, dog, you know, Candeller called him, Man,
get over there. They hurt our ship, you know what
I mean?
Speaker 3 (51:09):
It was like, damn the hell, the same way Spade
and D.
Speaker 5 (51:15):
I would go back to that Spade Scotty D and
the Talent Show and how did they gave us our
money back Spade and Scotty D in ninety for the
Talent Show because they heard our songs?
Speaker 3 (51:25):
Uh man, but.
Speaker 5 (51:27):
Yeah, playing Ham's hooking up with AMG, getting the greedy
Greg House. AMG was already there, you know, because the
greedy Greg him brought MG to the phone. No no, no, no,
my bad. I know I live off here and there,
but I stick to the timeline of life and stuff,
you know, but just leave up to that moment. For me,
I jumped a little bit because that was going from Compton,
(51:48):
LA and the first experiences based around music. That's how
we're going up leading the AMG meeting him at Greedy
Greggs on Crenshaw seventy sist. We was over that in
them territories from a ninety the music you know, made
him make Greedy Greghouse. He was already there on the
drum machine, just like everybody else was. We all comprecate Inglewood,
(52:11):
La Borderline, the Greedy Greghouse upstairs where all the records were,
and the equipments and keyboards, the four track. You know,
we brought what we had. I brought my records, my
mama's records. Uh Quick Broble he had. Well, we bought
at Keeble's records during rose Grands in the eighties, the
same records that four five years became. If you want it, uh,
(52:34):
they can't be true to yourself. Curtis Mayfield records. I
bought ain't nothing wrong my mama record Casey in the
Sunshine band, you know he see. We can go into
details and all the details about that beat, this beat,
how I was, what was used. It sounded like a snare.
I was goting to creating sounds of me and Quick,
(52:55):
you know, pretty much out of our group. You know,
it was uh that was us, you know what I mean?
But amg at Greedy Gregg's coming upstairs. He was already
in their drum programming. He had this stuff already together,
so it was cool, meaning another cat that was a
little different from us, you know at the time, you know,
being from Ohio, he's flaming inglewood because that's where he's living.
(53:16):
So you know, the door is open. He gotta taste
the wild world because Quick was already over there. We
came second, but he gotta taste the KK and D
or second to none, and you know the rest is history.
Like I say, Quick, tell most of the stories. Really listen,
my name come up a lot of go back, go
let go back and check the records out before black
(53:38):
Tone that ain't come up.
Speaker 1 (53:41):
A whole lot.
Speaker 3 (53:43):
Yeah, that's like Compton.
Speaker 1 (53:47):
Let me when the whole death Row, when the whole
death Row Eric came through, like you know, Sugar was
out there doing what they was doing. Do you feel
like the game was changing a little.
Speaker 5 (53:58):
Bit before that running because we was part of the
first running when before all the homies got out.
Speaker 3 (54:05):
See a lot of people don't know that history too.
We was right there.
Speaker 5 (54:10):
Right there to record shopping Dre. We was in front
of Dras and Neop. I met Snoop before all of them.
Doc introduced me to Snoop at the club. We was
at the Grand Club, same place. I think I met
Sipus Hill, but I met Snoop through DC. He didn
wanted to got me, kay, I want you to meet somebody.
(54:32):
You know, It's a whole bunch of these stories, man,
Like I like, you know, being around they right there
off Santa Fe, Man, you know.
Speaker 3 (54:43):
Santa Fe. All these areas. Man, Man, I'm trying to.
Speaker 1 (54:46):
Figure out how you all cats made music back then. Man.
You know when I I came to La in eighty seven, right,
it was so cracking back then. Man, it was fishing.
Back then, it was a fishing. I don't know how
being in the line like man eighty eighty.
Speaker 3 (55:04):
Nine, Man, it was it was dudes bumping our tastes.
We used to be, uh everywhere in the streets.
Speaker 5 (55:12):
We even got into a shootout and Christian our sister,
and they had that gas back the day dude thought
we was following and we was on our way to
Greedy Greg House.
Speaker 3 (55:19):
He banging. Ain't nothing wrong.
Speaker 5 (55:21):
Because I was one of the tape the underground tapes
before ours came out. I was hitting in the streets,
so we you know, he banging our stuff. He turned
into gas station and started wilding out. I could smell
the water in the ad. You know, I know he's tripping.
We was trippling, he banging our tape. We get into
a shoot out, you know, he started tripping that he
(55:42):
thought we was following it.
Speaker 1 (55:44):
Then the time and that, and you know the thing
is everybody knew, y'all was bloods but quickly.
Speaker 3 (55:50):
We never pushed that line. That's that's that's what I'm saying.
Speaker 1 (55:53):
Man, so vocal with that stuff. Man, it kind of
just spread over everybody.
Speaker 5 (55:59):
It took over the wall storm because Quick promoted the
thing of naming homies you know, or you know or
what not.
Speaker 3 (56:06):
The lifestyle we was living it. And but just like
I say, music over rioted.
Speaker 5 (56:12):
Like like I said it in ninety two on DJ
quick album Fuck the Red and the Blue Team Food
My Color One Green That's on his Way to Funk album,
the title of the song is called no bullsh Shit
Fucking Troups.
Speaker 3 (56:27):
It's temporary. That's that's my mindset.
Speaker 5 (56:29):
That's why the Me and Pock stories, y'all don't hear
about before death row out there in Inglewood off in
Period and IVC and hart On me and breeding Pop
and all of them and stuff, you know, during the
era before anybody really know what was cracking. That's why
we got pictures of us and Easy Easy over there
(56:49):
on seventy six. Crenshaw was my house on Spruce h
That's what it didn't mean, turn your video shot at
my mama house. I stayed in Comptony un till ninety
eight at the kept that same house, you know what
I mean. Earlier he was talking about the Compton Uh man, uh,
you know, no distrittracting nobody else. I'm the only one
(57:11):
that stayed in Compton as long as I could believe
the way it was known. You know, Sugar used to
come to the house easy right down Spruce nine twelve
spruits right for the dead end.
Speaker 3 (57:22):
You can see it. And it didn't didn't mean to
turn your video.
Speaker 1 (57:27):
I was, you know, speaking easy. I don't know how
you let none of y'all get away to me.
Speaker 5 (57:33):
Because he couldn't catch his man that that At the
time before we signed it, we was around, like I say,
the history, we was around, you know from them that
was that was a spark.
Speaker 1 (57:46):
Thank you.
Speaker 5 (57:46):
Eight slipping unknown and all that. Mike te homie even
at his daddy. I think Aunt's sister, you know, just uh,
you know what I'm saying, man, it was already it was.
Speaker 4 (57:56):
It was a.
Speaker 5 (57:58):
That little stint with Q and that man. They ain't
had nothing to do with us. Man, we ain't on
that funny stuff. You know what I'm saying.
Speaker 1 (58:07):
I know we.
Speaker 2 (58:09):
Sometimes it be the peer pressures of niggas around you
and just trying to live up to you know what
you're supposed to be representing. Man, you know that shit
caught a lot of us at a young ages. We
didn't know. Like I told, like I always tell niggas, Uh,
the shit was dumb to me because it prevents niggas
from all trying to enjoy the successful times and hip hop.
(58:30):
You know what I'm saying. Now, you got to give
niggas choices of what they want to buy and shit.
And I want niggas to buy at all, not me.
I want niggas to buy quick. I want niggas to
buy my shit. I want niggas to buy every nigga
that's representing content. And when you drawing the lines and shit,
you give niggas choices. And now they got to take
a side and pick. So it was always dumb, you know,
(58:52):
for us to be beefing within our own section and shit,
because we all just wanted to represent the Hub City.
You feel me and let niggas know that was the
best place that you could be in. You feel me,
And that was my message around the motherfucking world was Nigga,
ain't no place better than condo. Whether you got me,
whether you got quick second or none, conscience most wanted,
(59:15):
whether you got king t, whether you got any nigga.
That's talking about the Hub City nigga too. It's a blessing,
you feel medave man, if.
Speaker 1 (59:25):
You already got to make some records, what kind of
banging ass cracking ass records then would have been.
Speaker 5 (59:29):
We're still here, we all still got our voices and
now we have better life. Like I say, back then,
imagine them seeing me in Tupac together a MC breathe
and had the chance to look at three of us
and lay long like how we looking the world is
looking at us now and have the decent conversation as
(59:51):
grown men. We didn't have that light back then, or
too much to share content and communications, you know, I
mean so uh definitely a blessing to even be talking
and speaking on at the beard, to speak on it,
you know, do all.
Speaker 3 (01:00:07):
The stories everybody's don't know.
Speaker 1 (01:00:10):
Yeah for real, man, you know, the next time you
right around the corner from us. Man, the next time
we were at there, you come in and sit down
with us. Man.
Speaker 3 (01:00:18):
We appreciate you.
Speaker 1 (01:00:20):
I appreciate you, especially in the last minute shit, because
I could hit the homie today, like, man, what you're
doing tonight, Come on the show, come kick it, because
you know it's so many stories, man, And that's the thing.
I'll be knowing these stories, but they ain't never mind
stories to tell. Man. I rather bring the homies on that,
you know, the really thing and their men. Let them
tell their owns, you know what I'm saying. Let them
tell it will better than I.
Speaker 5 (01:00:42):
I appreciate it. You love even reaching out and having
the time to space both your brothers, you know what
I mean, just to say to the world. You know, uh,
like I say, I had the voice, but didn't have
like the choice of platforms to speak back then, and
like like on that record, it just like the truth
that shit was temporary. Let's move forward to some permanent
(01:01:05):
you know that was spoken to ninety twos.
Speaker 1 (01:01:07):
You know, let me ask you this, KK, because you
know what, I'm always had to keep it. I'm always
had to keep it funky, you know. Quick at one
of the most talented people in the universe. Ultra talented
dude man right, super dope man like he rapped just
as good as he produced. He's a dope dude right
when you always was it was it ever hard working
(01:01:29):
with him doog.
Speaker 5 (01:01:31):
Well straight up and everybody, no, straight up. It's always
a toughs to work on something when you have I'm
not I'm not a competitive spirit or a person.
Speaker 3 (01:01:41):
You know.
Speaker 5 (01:01:42):
I can compete, but I'm not pushing the competitive agenda.
You know, I could do that very well, but that's
not the point. That's why like our first single, don't
have no Hooks and called be true to yourself. You know,
I like to pay homage to those of life and
not just rap every thing that came before me, you
know what I mean. So that's that's uh, speaking of
(01:02:04):
who I am and the person I am not.
Speaker 3 (01:02:05):
The world don't know. There just no second or none
because we ain't really had a voice, uh you know,
but it'll come. Uh my man, damn you know.
Speaker 5 (01:02:15):
Like I said, it's my first time world. I appreciate
and apologize from random jumping in.
Speaker 1 (01:02:20):
Now that's all. It's all good man, you know what.
I just you know what, because Quick as a genius man.
And when people he.
Speaker 5 (01:02:29):
Called me a genius, he called me like I said,
That's why I brought up the compet it ain't no competition.
And uh, it's hard working with somebody that feels that
their peers might be an equal.
Speaker 1 (01:02:44):
Yeah.
Speaker 3 (01:02:45):
Yeah, when you find a kindred spirit of how.
Speaker 5 (01:02:49):
Did this start? See a lot of this it started
from me and Quick, let's get your ship straight. Then
it come on, cousin right there and.
Speaker 1 (01:03:03):
On that note, right your man, man, we out of here.
Shueka mm hm
You see Donald Trump, don't let your boy. He let
Larry Hoop, Route Dog and a whole bunch of other
people too.
Speaker 2 (00:07):
They said he's still got time though, he's still facing
two hundred years for something else as soon as.
Speaker 1 (00:12):
He gets back to Chicago Hu from the state hunting.
Speaker 2 (00:15):
I don't even know if that's the case. I think
that was just some paperwork shit. I don't know, you
know what, bro the man that's out now and he's
seventy some years old. Man, they can't be that vindicted though. Shit,
I don't know. I haven't really read too much about it.
I've seen it, but from what I was reading, he's
(00:38):
still facing a gang of you know, other shit. So
I don't know how that's feasible.
Speaker 1 (00:44):
You I'm here, his son of You know what, I've
been trying to figure out for the longest time. The
human being man that most probably live to be one
hundred and two, and that's really pushing it right, right,
How do you give somebody two hundred years? I'm trying
to figure that out? Is it? Like? Man? You know what?
(01:06):
That's almost like some witchcraft type of ship that's like
what do they call that ship? That karmic.
Speaker 3 (01:13):
Shit?
Speaker 1 (01:13):
Karmack punishment and some ship like that. The nigga going
to this his next life and just steal in trouble.
Speaker 2 (01:20):
Yeah, I guess if that's if that's a possibility. Yeah,
they don't. They don't want you to have no chances.
Speaker 1 (01:27):
Oh that's crazy, man, Even even in death, your ass
could still be on some time. You know what I
was figuring out.
Speaker 2 (01:34):
Man.
Speaker 1 (01:34):
We had Juigo g in here a few weeks ago,
and I was just thinking about the city of Compton.
Compton is probably the number one rap city in the country, dog,
outside of Brooklyn and all that shit. Man, Compton, you
gotta you gotta think about it. From the nineties ship
even the eighties dog going up to now. Compano had
it on smash Now.
Speaker 2 (01:58):
They tried to say that. You know, people nowadays, I
guess with the diversity of music, people are gonna be like, well,
you can't say that now because the South the South is,
and the South that and whatever. Whatever.
Speaker 3 (02:12):
So you gotta I guess you gotta go by time frame.
Speaker 1 (02:16):
Well, you know what I'm gonna tell you, Like this, bro.
Speaker 2 (02:20):
For a long time, we didn't have shit, you know
what I'm saying.
Speaker 1 (02:24):
Think about this though, eight the South don't have some
cold people, man. You know, star Facing in the South
is a big region. Were talking about a city, man,
that don't do Compton even have one hundred thousand people
in it?
Speaker 2 (02:35):
Bro Uh, all depends on how you count it. I'm
sure one hundred thousand people do lived in Compton.
Speaker 1 (02:43):
Yeah, but let's say Coon got Compton ain't no big
That's what I'm saying. Compton not no no million population
of one million type of city though. You know it's
a small city, bro Compen is a small city and
the habits and the impact that it has on music. Dog,
I don't you know unless you're talking about like Brooklyn
and you know, the Bronx and all that stuff. They
(03:04):
was around since the inception of hip hop. You know,
I'm talking about this small city that's had the impact
on music. I doubt that anybody from New York or
anywhere else can say that they got some resident in
the city that has had the impact on music Compton.
Did Compton us really in the whole new genre?
Speaker 3 (03:22):
Dog? Yeah?
Speaker 2 (03:24):
But like you said, the Brooklyn's and the ships like
that has been around since the inception and are still
going on to this day too. So that's that's a
hard argument.
Speaker 1 (03:37):
I don't know, man, Compton, you know, Compton might be
you know you people are gonna.
Speaker 2 (03:45):
Say you being biased now because of the Kendrick era.
Oh yeah, you're saying that because Kendricks got because like
I said, for a long time, we didn't have a lot,
we didn't have a lot to represent. You know what
I'm saying. Like I said, it's in, it's in time frames.
Speaker 1 (04:02):
But let me kick this off though, dog, because no
matter the time frames were significant. Okay, First of all,
you got tidy t and mixed Master Spade that you
start off with, right, I would say that's probably the
I'm only naming people that actually lived in Compton, I
would say, the legendary, right.
Speaker 3 (04:21):
Yeah.
Speaker 1 (04:23):
Then you got the NWA era Dog, and you had
people that was claiming Compton, Compton was so influential back
in the day. You had people that didn't even live
in Compton claiming it. Right. So you had NWA. I
can't even begin to describe what they did for hip hop.
You feel what I'm saying. It was just gangster rap,
not just gangster rap, Dog, just the whole thing.
Speaker 2 (04:46):
Just because not everybody, nobody was accepting of gangster rap.
You know what I'm saying, and had you tell it.
NWA destroyed a lot when it came to hip hop.
So you know, from other people's perspective.
Speaker 1 (05:00):
Well, you know what, No, what n w A did
is they you know, let's just drop the gangster rap ship.
It was reality rap in its fines. They put the
spotlight on police brutality, put the spotlight on what the
average young dude in the neighborhood was going through. Right
then you got you know yourself, CMW You feel what
I'm saying, that era start. Then you got DJ Quick
(05:21):
across town. Then you have you just got this thing
man with so many rappers out of comptent Dog at
the time, I'm trying to think of a mall dog.
But Compton always had a place kind of eight because
you you know, the CMW era was big Dog is
still cracking. You still sell the records to this day.
Speaker 2 (05:41):
So what was the BDP era? So was the tribe
called quest era. So was the motherfucking just Ice era.
So was the run DMC era. So was the air.
Speaker 1 (05:53):
Ice Man. Just don't compare to nobody in Comton. No dogs, just.
Speaker 2 (05:59):
Man, don't even start that ship. Still you like controversy,
you're gonna say n w A, then you're gonna say
just Ice because he was for he was formidable when
they came to motherfucker, just.
Speaker 1 (06:11):
Man, murderer, when it comes to a crime homicide, I'm
never doing some time. I get my lyrics direct, I'm
always getting respect. That gets your girl and my aunt
very drift.
Speaker 2 (06:23):
How you look at it from different hip hop perspectives,
Like I said, people are donna claim they ship. They
gonna say com didn't like you or whatever you felt.
And then people from the East Coast are don't feel
like shit. We've been so dominant we started hip hop.
Speaker 1 (06:39):
Yeah, and you know what, and you right man, and
it ain't I'm trying to be controversy. Who ate. I'm
just for the record, I love just Ice dog like
I could tell you about every from booger banded bits
to all that shit that was like the first hard course.
You know what, Actually he was spitting gangster ship.
Speaker 2 (06:56):
Indeed, just the Ice you know before n W he was.
He was on some gangster ship. So was a r
S one. So so was all the niggas like Spoony
G and all the niggas that came from that era
they were spitting gangster player ship.
Speaker 1 (07:14):
Hell yeah, you know what I'm trying to figure out.
We can't see him KK, Well we got we got
the homie KK from second to none. He on the
his ass so black, you can't see.
Speaker 3 (07:22):
Him, all right.
Speaker 1 (07:26):
No, no, we can't see you. We we just y'all
just pretend like he's there.
Speaker 3 (07:31):
All right, Okay, well look what about.
Speaker 1 (07:35):
Hell yeah, ship the homiesne popped up. I don't spoke
too soon.
Speaker 4 (07:38):
Hold on, let me take this one out, okay, and let.
Speaker 1 (07:48):
Me turn this other one off. Hold on this.
Speaker 3 (07:56):
Okay? Yeah, that cool enough?
Speaker 1 (07:58):
Yeah, that's cool right there. Okay, because because we was
messed around. Man, you know, I was just saying, like
when you heard the conversation me and eight is halveing
and y'all all kind of came out during the same time.
Speaker 5 (08:15):
Well you know, uh, what's up APN gratulations on another
bond day two as well, prior to to the conversation.
Speaker 1 (08:24):
Look, you know what, hold on, before we get started, man,
I gotta say something. Man, he wasn't on last week,
but big, big, big, big happy but late a birthday
man to my motherfucking nigga. Man, my friend, my own boy,
not just the co host. I really fuck with this nigga, yall,
This is my nigga right here, my nigga, m C eight.
Speaker 3 (08:46):
Man, good.
Speaker 1 (08:50):
Happy birthday. Hell you can you look sideway? He's not
my nigga. Turns back the other way.
Speaker 3 (08:55):
Okay, I'll just try the first time.
Speaker 1 (09:00):
Man side down, know all kinds of other stuff, but man,
happy Latey's birthday. Man at the homie MC eight man,
you know m C eight You know in that exclusive club.
He a Gemini as in mine. I got one coming
up in a few weeks. You know, Geminis run the world, man.
Not only is Geminis man, just.
Speaker 3 (09:18):
People in the world.
Speaker 1 (09:19):
Man. They the best rappers, they the best producers. If
you really look at Gemini's running this shit just kind
of like how comfort run the rap shit.
Speaker 3 (09:28):
Whatever.
Speaker 5 (09:29):
You know, it's all good, Go ahead, Geminis. We'll take
the trendy.
Speaker 1 (09:35):
So you know what I find interest to know when
you talk about this man, y'all, y'all from the opposite
side of the tracks. Literally you know what I'm saying.
We didn't even go go into all the you know,
political stuff, But was you hearing about eight KK when
he was like ear before he started making music and stuff,
before his music became popular.
Speaker 5 (09:54):
Boy, you know what, man, I have to say this
and let the world no a k befolks c mw
at they can't before section as far as the street, Uh,
you know, I heard about it, uh, you know, because
I was moving around Lynnwood, Compton and whatnot. I was
in then with when I first heard. You know, I
think it was not the blue tape, but I think
(10:15):
it was a clear tape.
Speaker 3 (10:16):
You know. I was like, that's cool. You know. Uh,
there's a lot of people.
Speaker 5 (10:20):
Take it for granted because of its two different color
size or two tales of the story and whatnot. But no,
it was a Compton appreciation happy at that time, I
think eighty nine or ninety something that ever.
Speaker 3 (10:34):
You know, I was in Linnwood.
Speaker 5 (10:35):
I'm like, okay, some more competent dudes, you know, Oh
they dang, you know, they cribs.
Speaker 3 (10:41):
That's cool. But it was.
Speaker 5 (10:42):
It was a comportant thing, just appreciation, you know, right
after Spade, Tidy t Mixed Master Can Uh you know
my days.
Speaker 3 (10:51):
You know, I'm from the east side of Compton.
Speaker 5 (10:53):
A lot of people don't know that about KK or
secting from the east side of Compton, you know, near
the litt Am Street area.
Speaker 3 (11:02):
So but uh, growing up, I moved Oh go ahead.
Speaker 1 (11:06):
Bro, I'm sorry you off from the east side. I
did not know.
Speaker 5 (11:09):
Yeah, born and raised east side Rosecrans between Santa Fe
Long Beach Boulevard right off roads.
Speaker 3 (11:15):
Crans and Vans nine seventeen.
Speaker 5 (11:19):
Then I moved to nine twelve West Spruce fifth Grade,
like eighty one or something like that. Yeah, then I uh,
that's what back KK balled down the Crans because I
was always headed back to the east side.
Speaker 3 (11:33):
Once I moved to Spruce.
Speaker 5 (11:35):
That that brings the story, you know, I was balling
back to the east side, back towards Lose Park where
I came from.
Speaker 3 (11:42):
But I moved on the Spruce.
Speaker 1 (11:45):
You know, I really meant like fuck with Crawford, man
high and see Crawford, my nigga, that's my guy. Right
there on.
Speaker 3 (11:54):
I was back on the road.
Speaker 1 (11:55):
Man.
Speaker 5 (11:55):
I remember, you know, we don't get a lot of
chance to get a lot of time to talk about
saying no, none in the history or not, you know,
but just bringing up the fact, even knowing about CMW,
you know, man, there's a lot of compter history that's
untold that to fill in the gaps and bridges of
(12:16):
over these three decades of so called rapping hip hop history.
You know, it's just a lot of events through this
rapping hip hop history. We were actually there. I just
listened to a lot of stories. I'll be laughing. Some
of these cats weren't even invented, but they showed tell
them stories.
Speaker 3 (12:34):
For real, real, for real.
Speaker 1 (12:36):
You know you said some real important man. Eight does
predate everybody pretty much, you know, yeah, it was Compa's
most wanted and you know, shit, ain't Joe had to
be what seventeen or sixteen or some shit like that.
Speaker 2 (12:52):
It was about seventeen when we first started. Uh, when
we first hooked up with Unknown and slipping them, we
was probably like yeah on on seventeen and then we
was able to jump on the Compting compilation. That's what
started it. We heard, That's what I heard that Rhyme's
two Funky we had on the Compting compilation. So that
(13:15):
kind of set us off right there before U before
everybody started getting picked up, we were like right behind
Easy and Nwa. I mean shit, we used to hang
with them. Go to their video shoots all of that.
You know, they knew about us. Some young niggas. Chill
used to stay across the street from you know, Wrenn
(13:35):
and them, so he's all the time and shit, and
they used to invite us to ship. So we were
just trying to get our name out there. So we,
like I said, we had fucked with Unknown and Lonzo
and uh, you know, everybody know Lonzo's famous for the
Wrecking Crew and you know and the inception of getting
(13:57):
those guys together as far as that just comes are
you know, dre yella easy, you know all of that.
So but yeah, we were right on the coattails and
Ship because Unknown was one of Lonzo's you know, buddies
and Ship, and you know, they had these little independent
record labels and shiit Uh Lonzo had Crew Cut, Unknown
(14:19):
had Techno Hop, you know, they Dream Team had they label,
and then Egypt Egypt had Egyptian Empire, so they had
these four little independent labels and we just so happened
to hook up with Unknown who had Techno Hop because
of being on the Compton compilation. So from there we
(14:40):
got to put out a little MAXI single called just
as Compton Little take that was going on the Swap
Meets and Ship you know, didn't have no major distribution,
but that's how we got put on because of those
two first little projects we had did with those two
independent labels. And that was, like you said, that was
before the inception of of all the greats that were
(15:03):
there to come from Compton, you know what I'm saying.
So we had our foot in the door when the
door first cracked open. For as far as gangster raptors concerned.
Speaker 1 (15:13):
Yeah, I was. I remember I was playing for Long
Beach City College football and homie Darryl Kemp brought me
one of those tapes and I said, Man, this nigga
can rapped like a motherfucker. I was an MC fan
from the like Gidea up Dog, and I didn't know
because you know, see him definitely that nigga Chill wasn't
on no motherfucking songs. All I knew was this nigger
(15:33):
right here. So I thought that was like an alias
or something. I guess he comped his most wanted when
he ain't eight, you know what I'm saying. That that's
his official title.
Speaker 3 (15:40):
You know.
Speaker 1 (15:41):
You know, a nigga might have had two or three
monikers back.
Speaker 3 (15:43):
In the day.
Speaker 2 (15:44):
Yeah, the only Chill kept going in and out of jail.
So when we first got signed, we signed this COMPTS
Most Wanted. So they just decided to keep it, you
know what I'm saying, and give it a try. And
we were able to put out like three products under
Compass Most Wanted, but it seemed like every project Chill
(16:05):
would be going to jail. So uh, we ended up
just dropping the Compass Most Wanted and the label just
decided that we was going to start the m C
eight projects.
Speaker 5 (16:17):
Man, that's crazy you mentioned that though. I mean my
bad interrupting, but doing that era eight. Uh for me
standing on for van Nets, I used to be on
Burrs and the light Skinning member of c m W.
Speaker 3 (16:31):
Yeah, he stayed around on Sloan and stuff.
Speaker 4 (16:35):
Like.
Speaker 3 (16:35):
Yeah, that's that's my neighborhood. We all went.
Speaker 2 (16:39):
We all went to junior high together, me Chilling and
we met in junior high school. We all went to
Hamilton Junior High in Loan Beach, okay Man. That's where
we all hooked up at And then at had the
little you know ant Pops you know, had a They
had converted his garage into like a studio little club
(17:02):
studio looking like for for him and ship and he
had turntables and all of that. So we used to
go over ants house in Elm Street and fuck around
a lot. Okay, that's when we first start putting it together,
like okay, nigga, we're gonna be conscious, most wanted. And
from there, like I said, the shit just took off
from just hooking up trying to practice and work at
(17:24):
ants house to me crafting my writing skills and shipping
and going on to meet slipped and unknown and ship
like that. Oh man, that's that's a blessing, bro, because
during that time I was actually around the corner on
birds Your.
Speaker 3 (17:43):
You know.
Speaker 5 (17:43):
Now, that's kind of how I heard y'all, you know,
having y'all tape.
Speaker 2 (17:53):
My auntie used to live in Elm Hood, so that's
how we used to get over the Ants. She used
to live on Elm Street, right, I forgot the street,
but she used to live in Elmhood, so we would
go over there at her house from after schools and
then were we would just bail down rosecrants over the
Ant's house and ship over there by over there there about.
Speaker 3 (18:15):
The center and the pizza place and ship. Yeah.
Speaker 5 (18:18):
Two for one used to be right there, yeah yeah, yeah,
we were probably walking and talking and one one twenty
five East walk in the belting. I used to at
the bail by gus Berger's and all that road street
coming from when I moved before the heill Over Alameda.
Speaker 3 (18:37):
Oh y yeah, you know hell Over Yeah yeah, before.
Speaker 5 (18:41):
All that and before the Alametera Corridor got built. But
during the eighties, that's how that's how I got him
to you. This is you know before uh well quick
as second and up KK second and up and high
see well basically KK quick and how I see during
the eighties we were ready us from like eighty three.
(19:03):
You know, KK wasn't no rap name. That's my nickname
from birth. But you know, during that time, that's how
I got empty, y'all man. And you know, uh, I
guess I didn't know about the music, but I heard
about it because I was, you know, from our beginners.
We all started from DJs. A lot of people don't
know all the details. You know, we were all DJs.
(19:23):
Everybody did everything that's programming all.
Speaker 1 (19:27):
Night the night. Because I want to take that, like
A just told us his origin story, right, what was
y'all doing about that time because Quick, y'all always had
one producer Quick, what was y'all?
Speaker 3 (19:44):
You see me smiling? Yeah, everybody.
Speaker 5 (19:48):
Everybody had a drum machine or we made based beat
paulse mixing first with the Devil Concess.
Speaker 3 (19:56):
It's pretty much the same story.
Speaker 5 (19:57):
This started from like eighty two fifth grade for me
when I moved to the West side on Spruce Street,
the nine hundred block, so you know, seventh grade eighty three,
that's when I met Quick in high Sea.
Speaker 3 (20:10):
He was already DJ Quick Mix.
Speaker 5 (20:12):
I was KK from birth and the highly intelligent Crawford
seventh grade eighty three.
Speaker 3 (20:18):
So we were all involved in music.
Speaker 5 (20:20):
I was basically like the singer, slash rapper, comedian jokes
toill you know serious. That's why me and Park was close.
A lot of people don't know that relationship unless you
was in the streets. So why we don't have those
records together. But uh, you know my bringing up, but uh,
nobody discovered us. And if it would be anybody that
(20:42):
discovered us, me and D my cousin, it would have
been Mixed Master Spade, the Scotti D So during that era,
the late eighties, Uh when y'all was around the corner.
I was skip off of birds and you know, jumping
my cutlins. We'll go to the talent shows. These are
the stories doing eighty eight into eighty eight, eighty nine
to ninety. The story's quick telling on his album KK
(21:06):
Shulda Knew Better. That's how my homeboy took you in.
You know, amg mobs kicking my well. We're trying to
do something and trying to you know, not be like
nobody else. But uh, this is the type of music
we do. We respected Dre Easy and all of them.
We wasn't over there, but we knew it. Knew of
each other from the streets. Spade and then used to
(21:27):
come to my house. You know, I knew King t
was around the corner off of Wilmington and Spruce. Who
I was back in, you know from eighty one on
up uh man. You know it was watching the hood
get formed or watching everything. And but I was based
around music. And if you go back a whole David
Junior High eighty three through eighty six, we can go
(21:48):
through and look back to year, but you see me
all based around music. They started the English Teacher started
the gospel soul a choir because I was always singing.
You know, we was popular already basically become of famous
at junior high. You know, so with me that history
Spade and Scottie d from Taler shows Me and d
(22:09):
you know, with our tapes. Quick at this taste, we
had tapes as well, you know, and mixing it with
the singing.
Speaker 3 (22:15):
It's the eighties, so right, so.
Speaker 1 (22:18):
Y'all was producing a lot of your own stuff to them.
Speaker 3 (22:21):
Yeah, that's how it all started.
Speaker 5 (22:23):
I was connectivity with me and Quick and us all
being DJs. Me and D started off, and you know
then d was a little behind us, a year behind
us in school. So once I got to the seventh grade,
I'm the new new dudes on the West side, you know,
as far as fifth and sixth grade. But once we
got to Davis, everybody was you know, breaking just came
(22:45):
in Windmill and we was already popping and all that
eight from the eighties and all that, but uh, breaking
it just came in. We was already DJing and scratching
before eighty three. Uh, we all had turntables. I had
to make sure how she had a mixture two turntables,
you know, had a little paper jobs working with pop.
So I was able to get a receiver, two speakers
(23:08):
and all that and mixure Ti mixer too, fishing turntable
until I got some upgraded. In high school ninth grade
eighty six, everybody did everything man drum programming see Quincy shampling.
Speaker 1 (23:28):
Uhuh, that was the ghettle set up right there. Man.
You had to turn three microphone.
Speaker 3 (23:33):
Two eighty two eighty three.
Speaker 1 (23:35):
Yeah.
Speaker 5 (23:37):
See quick, See a lot of people don't listen without say,
to a lot of folks, they don't pay attention, you
know what I mean. They they were hearing a lot
of things, but they don't really listen, you know. Quick,
tell the whole story. I mean, if you go back
and pay attention, turn this first album cover while I'm
in the front seat with on we b viobe. Yeah,
(23:57):
I was at skateland with curtains blowing the eighties. I
was even after dark when I was in eighth grade.
Speaker 3 (24:04):
So you know I'm still there. I think eight eight.
You older than me.
Speaker 5 (24:09):
I believe I'm fifty four, but I was out there
in eighth grade skate land even after dark. Let's go
bowling that dudos all that, you know, Red Fox come
to my my mama house on Spruce when we moved
a spruce, BB King, Tyron Davis, all of us on
Spruce because the little club the Thunderbird was right there
(24:31):
on Spruce in wilbantip so Id. That's what the singer
kicked in chasing my mother. You remember the Thunderbird.
Speaker 3 (24:39):
Yeah, I remember even after dark too on Alvaloe. I
was in I was.
Speaker 5 (24:44):
In there outside around DMC came to see this the eighties,
like eighty three, eighty four. LLL was with Spade in
them and and uh he had the chop top chevy
old Dayton's back. Then I kind of think that's what
LLL's got, that Dayton idea frunkle. We see eighth grade
on pe at David Junior High. It wasn't no kangos
(25:05):
really cracking. Here comes Spade now, you know everybody and
we were run run to the gates so we can
see Spade on the dates, you know, going southbound on
Wilmington headed towards what we would call Palmer Block. Back
then going through see the block, I don't see a kingo.
Speaker 1 (25:21):
You know.
Speaker 3 (25:22):
I'm more, Uh, I have a better perception of things. Uh.
Speaker 5 (25:26):
Some of my peers that's all the blessing I guess
to make it to be second or none later, you know,
and collective of some of the homies, even just like
hearing me eight stories are bringing this collective of history
that's unknown.
Speaker 3 (25:40):
We was all around each other, man.
Speaker 5 (25:43):
I think I even ran this to y'all downtown Competon
when they had the clothing store there probably eight.
Speaker 3 (25:49):
Nine, oh definitely, Yeah, Man, chair was tight.
Speaker 1 (25:52):
Man.
Speaker 5 (25:52):
You know, I was always uncomfortable forard an Allometa the
barbershop phone shop. Yeah, saying two thousand, I was living
over there behind Wilson Park. Yeah, it's a cold game.
That's a man chill connected. Around two thousand I got divorced.
It was not they moved back to count They have
(26:14):
a studio or something over there. Yeah, that's what I
was living at there.
Speaker 3 (26:17):
I was.
Speaker 5 (26:18):
I moved out my house and got divorced and moved
to the studio behind Wilson Park. Yell, you know what
I'm talking about. Yeah, Man, cheers to be in there.
The homie June for watch Uh still I think you.
I don't know if you came through back then.
Speaker 3 (26:34):
It was.
Speaker 1 (26:36):
I started coming around man real early, but I was
playing for now I remember you.
Speaker 3 (26:41):
I remember you like ninety one ninety two round craft.
I remember.
Speaker 5 (26:46):
Only historian off the crew. I still got stuff from
eighty five eighty two.
Speaker 1 (26:53):
So much. Dog. I ran with Crawford so much. A
lot of people thought I was a blood for the
longest time. Dog Like I had to like because I
was around Crawford so much. It was like, man, niggas
would be like like me and rb H was in
Long Beach one night and we riding, and you know
he was couzin somebody so steal my bad man. I
forgot you a b dog, I said, I don't belong
(27:14):
in no games. You tripping myself. But I would get
that from everybody because me and him was just cool.
But what's crazy? As I hung around just as many crips.
But I guess people because I don't know, man, it's crazy.
Speaker 5 (27:29):
Yes, association what they call my affiliation? You affiliated?
Speaker 1 (27:34):
Okay?
Speaker 3 (27:35):
Yeah? I mean you know, like everybody thought we was
from tree Top.
Speaker 5 (27:41):
I read read a burgony car still to the day
until somebody on Wikipedia put up there am street power
bloods what not?
Speaker 3 (27:50):
A few years ago.
Speaker 5 (27:51):
I'm laughing because, uh, this is another thing about second
and nine and how I've been in the name for
our group. You know, it wasn't even yeah, it's all
the street. We all grew up in that in the eighties.
But it was God first, second and no man. But
we already lived a life, so don't want to promote
that and you know, out of the respect before the
(28:15):
love of hip hop because the East Coast of New
York three boroughs thing that's we was introduced to when
we got to New York in nineties. Signed the Profile Records,
the bedding war between Death Jam and Profile Records for
Second or None because Depth Jam wanted us, you know,
after the after easing the popped, you know, dev Jahms.
(28:35):
It was a bending ward with Depth John a Profile
Records for Second and None. It's a whole lot of history. Yeah,
to open the door, Yeah.
Speaker 1 (28:45):
Hold on, hold on, kk so who put the album together?
Your first album? That was a combination of y'all and Quick.
Speaker 5 (28:54):
Yeah, people, it's it's produced by Second and None and Quick.
Why would it say, because I can't go back in time,
but AI nobody's ass to get their brain back to reality,
to go back and read the ship you bought look
at to read the credits. That's why I talked a
lot of people. Quit swiping the read want to swipe,
(29:15):
turn the page, write something down to help your brain
get back. Uh, go back and turn the cover while
I'm in the front seat, Go back and listen. Now,
you know, man, as you know, it's just a whole lot, y'all.
Miss it's a lot of people got got our story wrong.
That's basically the same. That's pretty much what I'm about
(29:38):
to do. It's like me releasing my first solo album.
It's still second or none. But I got tired of
people saying this and that. Yeah, it was a collective
me and quick. Most of those ideas are the records
I bought, or that was my idea, or tapping your
feet while you're hitting. You know, everybody got amazed, and
sugar Free came along. We've been doing that, but not
(30:00):
taking no credit away from Free. He popped that off first.
But we've been tapping. I was tapping on cans with
a pencil and the marker and the pins just to
see the difference in the sound on the bottom of
a can and try to sample that sound back then
in the ages, just you know, like I said, devil Cotttes,
pause that right there, one two, rewind make them instrumental.
Speaker 1 (30:26):
One thing I do know that everybody in the camp
man was serious about their production.
Speaker 3 (30:31):
Dog.
Speaker 1 (30:31):
Everybody from y'all to Crawford see a lot of this
stuff already know. I'm just That's why I'm asking you,
so you can let the world know. You know what
I'm saying the real well, we.
Speaker 5 (30:42):
All are engineers, and we all are producers, and we
all wrote our own lyrics and every whatever Quick's ideas
on his albums with his ideas second to Nun's ideas
with minds.
Speaker 3 (30:56):
The Deep collaborated.
Speaker 5 (30:58):
I bought the records for the sound was all the hits,
or it might have been an idea like me going,
now I need a bass player.
Speaker 3 (31:07):
How much you charge play this and then get to
tap it?
Speaker 5 (31:17):
Okay, man, well you faster on you quicker on the
drum machine, the drum program programs that I am so yeah,
you can go ahead and knock it out. I'm gonna
work on this baseline in my head to get it
to a real bass or somebody that could play the bass.
Back then standing the guitar man was so called man,
you know, but dreading them use them so I don't
(31:38):
want to do what somebody else did, to use what
they use it. I want to be creative and have
my own flavor style, you know what I mean. So
the distinctive, well, this is what they doing. I don't
want to do that, not so much being negative on
nobody else's style of flavor. Back then, it's just be different,
you know, be unique. And that's how I guess what harmony.
(32:00):
I was always singing, me and my cousin. Did you
know switched the boy all the seventies music? You know,
we was he waved all that blowing in church from
the seventies on up. Like I say, junior High, I'm
part of every choir. I didn't want to be all
the English teachers. Everybody heard me singing and in the
(32:20):
hallways put me in something, you know.
Speaker 1 (32:24):
Let me let me ask you this KK when y'all
first did it? If you want it? Then God, did
you know that record was gonna be as big as
it was? Nah?
Speaker 5 (32:35):
Because the idea we wasn't trying to make it. You know,
we didn't know. You know, we found out probably a
year later we were famous. You know, it was cool
because ten dollars thirty thirty taps in the box ten
dollars a tape three hundred late eighties. So the idea
even get in the record. There wasn't no mama, I
(32:56):
never or even the fath in the idea to become famous,
cause in that sense being for Compton and you know
through the seventies and eighties and all of them out
being on the roe. You know, not trying to floss myself.
It ain't about me. But I was already famous. It's
KK from birth, So wasn't no rap name. That's my
nigganame from birth, you know, giving so I ran with that.
(33:17):
Some of the teachers called me KK, like I said,
I'm all the yearbooks Davis Junior High ansertin here and
most of the stuff. You know, you can see my
story or both sides some MOR's tongas nothing is in
Serainos could tell it from the baby dayo to basica,
you know, outside of rap examt I mean ext that's
(33:39):
that's the story, that's the blessing. That's why we're still
able to function and ain't nobody looking for us, and
we can still function and get around there and get
love like we do around this world internationally. For thirty
five thirty six years to have somebody even want you
that much. We like the dramatics and all the rest
(34:00):
from the Ohio Sound, Memphis Sound, Motown, Comptown. Yeah see
M W and W A second, No King T. You know,
back then it was King T, DJ Pool, DJ Var.
You know we heard these names. Yeah, unknown, you know,
just the whole comptant thing that's.
Speaker 3 (34:21):
From where was caring from. I have no idea.
Speaker 5 (34:25):
I'll still be trying to get out of King T
H pooing them u uh you know Toddy T. When
I see him, I be trying to uh you know
we see each other. I'll be trying to get stories
out of him.
Speaker 1 (34:35):
And you know, man, well we you know, yeah, yeah,
I got some ship.
Speaker 5 (34:44):
Yeah see, this is just the thing man, height Man,
I wish the world could have seen how we're talking
now thirty five some years ago, sort of open their
mind up back then to how a lot of people
put the jacket on us because of the red car.
Wasn't a red card, it was the Burger de card.
We're from compter so, but we never promoted that. A
(35:05):
lot of people don't understand that. You know what I'm
saying with the burg and me in the Red Side.
You know, it takes a lot of people to understand
the uh, the foundation of what that shit is. So
people get it confused because all they hear is blood
and see red and whatever. They don't understand that kind
of a lot of content. Homies was po rules and shit.
Speaker 2 (35:27):
So you know, you people have to know that history.
Speaker 3 (35:31):
You get me. That's like just being on the outside.
Niggas ain't gonna understand that shit.
Speaker 5 (35:36):
You know, they gonna go niggas wore they they bloods
or whatever, So you got to understand. And like I said,
when they go back to the foundation of hip hop,
you know, niggas didn't want to really go at that
because we just want to be hip hop niggas.
Speaker 2 (35:51):
You feel me. We didn't want to push that side
of what was representing shit. Niggas already knew. They knew
I exact niggas man, that's all hey, and.
Speaker 3 (36:04):
Not to join us.
Speaker 5 (36:05):
But add to that, hence our first single, second and
now's first single, And it was like the sense of
paying homage to hip hop because we appreciated what hip
hop did, but this is this.
Speaker 3 (36:18):
Is who we are. And during that time in nineteen ninety,
we were we were we were in New York, so we.
Speaker 5 (36:24):
Got it first hand. Why y'all gang banking? You know,
I don't think Cube went through that. You know, we
had a different experience being in New York around the
same time.
Speaker 3 (36:37):
Man, who was it?
Speaker 2 (36:38):
Uh?
Speaker 3 (36:39):
I'm trying to think of the group Stessisnic and the
drummer Bobby and Uh.
Speaker 5 (36:46):
I still liked Daddyo Daddyo and the drummer Bobby from Stetisnic.
They interviewed us when we first got to New York,
took us around the streets. Why y'all killing each other
over colors and while y'all singing hooks over here hip hop?
This nineteen ninety Daddy old and I said they still
got the HS tape of the interview we did and
(37:07):
grilling us. I don't think any you know, I heard
stories within w A and New York.
Speaker 3 (37:14):
I heard.
Speaker 5 (37:14):
I didn't hear too much about Q because he was
showing more affection and not saying no, no, no, negative way.
But they came at us hard, not quick second and none,
especially you know with the dev John bid on this
and from Compton come on.
Speaker 3 (37:34):
Profile well to run.
Speaker 5 (37:38):
DMC had a big part of that as well as
like l a dream team. I still mess around with
Snake Puppy today. You know what came from Compton or
what came from Myra Spade and Toddy t you know.
But that's what the singing harmonies, the run DMC aggressiveness.
I'm DMC, I'm KMC, the Kelton Mac k Matt k McDonald.
(38:02):
You know, I'm KMC and that's d.
Speaker 3 (38:06):
So.
Speaker 5 (38:06):
You know it's say, it's a mixture of panamage to
hip hop. It what stood out it was different Wodan
uh East Coast. You know back then it was two
Live Crew, it was uh this group you know, it
was KRS one BDP basically and then uh, you know
all these cats I still talk with or we have
relations today. E pm D who took us on tour.
(38:28):
Uh that's us at DODS effects Uh leaders of the
New School and they was all together one and Onyx
and all these cats first come together. You know, they
still visit me out there. You know, they be telling me,
you know name, Uh everybody come through the spot of
inn artall you know what I mean. So it's still
genuine love twenty twenty five all that, but it's not
(38:49):
on Instagram. This is uh, you know, real life streets
ain't no cameras on.
Speaker 3 (38:55):
Shit.
Speaker 5 (38:55):
But I wish that the world could back then if
we had to check answered with all these digital platforms
and whatnot, so everybody could have got the story straight,
just about Compton, let alone West Coast.
Speaker 1 (39:09):
That dog were getting the stories out there. We're letting
it be, putting the reel out there in the universe.
Don't worry, don't worry. Put the whole ship down for real. Hey,
you know what, let me ask you man, because you
kind of got away from it that the Death Jam
was a ship. I think every rep and everything.
Speaker 3 (39:26):
Okay, why we didn't do with that jam?
Speaker 5 (39:29):
The reason why because it was so much history relative
to duos being the duo, you know, and I was
basically using the two for second none and my cousin
you know the other the other. Yeah, so the duos
mixed Spain Toddy T was at the top of the list,
you know. Then after that it was you know who
(39:51):
dn E run DMC. You know it just fit. Okay,
how do we blend in with not sounding like them?
My voice sounded different, you know, I was already aggressive voice.
I didn't want to be DMC. I'm kk so you know,
but I'm from the West Coast, so I ain't gonna
sound like him. He is not like running, you know
(40:11):
what I'm saying. But in the similar sense, we're the
West Coast run DMC and this but uh deaf Jam
and the profile and the meeting running DMC basically Jame
Master j and DMC, you know, and being in New
York and being schooled in nineties.
Speaker 1 (40:27):
You know what I'm saying. Man, you said it was
you said it was a bit. War was the.
Speaker 5 (40:32):
Shaping damn profile. Lee or Russell came up, Greedy Greg
you already know. Uh during the time before a quick
and selected profile records that did in war so to speak,
Death Jam got a hold of the tape. I guess
they thought it was quick, but it was second and none.
So when uh the music fest, uh they that was
(40:55):
at the Stofis Hotel back then in the century. I
forgot the name of that music.
Speaker 3 (40:59):
Come.
Speaker 5 (41:00):
This is what shave first popped up us. The park
was already chilling. It's a whole bunch of stories. I'll
bring them up later about that night because that's when
the first the whole music world of the West got
to see all of us second and nine, quick, amg
and how I see together the homie Teddy bear through.
Speaker 3 (41:18):
The whole world got to see us.
Speaker 5 (41:19):
We already knew battle Cat, you know, from the history
from eighty ninety ninety being off Crenshaw seventy six, a
greedy Greds. So we already knew a few cats from
that side of Crenshaw in that era, from being a
Hongky Harrow's you on Crenshawn influence at the car wash
at the Foxhills. My also second and none was already
I'm not stopping going to Hongky Harrows.
Speaker 3 (41:40):
I don't care.
Speaker 5 (41:42):
I'm spending black money over here, you know. So that's
nineteen ninety eighty nine, oh Man Schloss swap meet. We
had a ball, but not being chesty, and you know,
and that's the blessing to still be alive thirty plus
years later. You know, I'm gonna stand up for something,
but I ain't gonna be too chasty where things get messy,
(42:02):
you know what I mean.
Speaker 1 (42:04):
I gotta ask you this man, and I ain't gonna
go too much into the whole other stuff about nobody else, right,
but with the time, man to where it seemed like
the crew just kind of went on Paus Like when
when Quick start having this little situation with you know,
the record label or whatever, pretty much add him on
Pauls for making music. I just always felt like, man,
(42:27):
that whole crew could have probably just been so much
bigger man than what it was because it was so
much heat. You gotta think about it. You had, y'all,
it was highest seating, sugar free Quick. Why do you
think NMG came later though? Yeah, Free came much later.
Speaker 5 (42:53):
Just saying Quick second or none and AMG even though
Cross was around. But that's the majority of the world
viewed it. And that was the homie as well. You know,
it was a crew. They kept trying to throw tighters
on us after in w A the Comps City Crew
and all his names that kept trying to throw on us.
I'm like, look, we just grew up together, three of us,
(43:14):
four of us grew up together, two of us cousins
from eighty three. We all grew up together junior in
high school related around music. There's been plenty times, man,
just like you say, there's been situations or some of
these major prominent big labels. We probably had the same deals,
(43:37):
not probably but to be like that label or had
the positions. But at that time some minds wasn't grown enough,
you know. And I'm not saying no names of nobody,
but we all were kids. So not making the best
decision for business wise, being so young and coming from
that world, not understanding the business aspect of things back then,
(44:00):
being like you said, seventeen eighteen and going into eighteen
and nineteen, you know what I mean. So I still
got all the contracts right right over here, all my
crazy right there. I stayed with him. I'm a paper man.
But yeah, man, that wow, it's a lot dog. But
(44:22):
the decision to go to profile answering that question, getting
back to that instead of death jam, a death John
wouldn't let go run DMC and getting this information and
knowledge because they never wasn't no death jam. A lot
of people didn't know that. That was just rush management
and wasn't not right right, But then Steve plot Nick
(44:43):
and Court Robbins' profile, they wouldn't let run DMC go.
So being in New York before you know, we just
signed it was not in ninety I'm sitting there with
Jans Jay and DMC. You know, we're talking to folks,
Rob Aasa, Danny Dane, everybody know, Sweet t, Jazzy Joyce
at the label about the Army. Yeah, we we at
(45:05):
the label in New York a Profile. You're right there
on Broadway, I believe six forty Broadway something like that. Well,
you know, we had spent a while out there, you know,
walked around. They were scheduled death of us walking around
like I got pictures. But uh, you know, they were
schooling us pretty much, you know what I mean, and
seeing and hearing how they was doing around DMC that
(45:27):
you know, and depth John was going through. I'm like, shit,
they here depth John Color, you know, uh, after the
Beastie Boys.
Speaker 1 (45:36):
And you know.
Speaker 5 (45:38):
Ll you know it's like, damn, that's legendary. Damn jam
Damn we count it. That'll be a stamp like a mother,
you know. But Quick sign first the Profile. We did
the album together, and that's why it's produced. Its sad
produced by Quick instead of sad produced by Second, Quick
and Second or none.
Speaker 1 (46:00):
Oh, you know, if you'll work records with him on
the first.
Speaker 5 (46:03):
Album, most of them records is my physical records. I
bought me and him went to the records store in
eighty four, if you wanted it, my tough guys, Isaac
Kaye's record, I bought right. I can name all of
the samples and everything.
Speaker 3 (46:20):
That's what I said.
Speaker 5 (46:23):
I say my ideas, and that's you know. I didn't
want to be a negative, but it's a lot of shit.
DJ Quickie second and no fans, y'all got the shit
fucked up. I'm gonna just say it like that, and
we ain't gonna hate this, but yeah, some of you know,
some people be telling me shit. I just look at
him like you gotta remember we was kids and all
(46:45):
album came out thirty five years ago, but we had tapes,
uh thirty seven some years ago, thirty almost thirty eight
years ago.
Speaker 1 (46:52):
And you know what, I'm gonna put this to y'all.
Both some bad motherfuckers. Oh, y'all some bad motherfuckers.
Speaker 5 (46:57):
So you know what I mean, man, all of us. Man,
I love it. Man, I appreciate the love.
Speaker 3 (47:02):
Man. We just we we didn't really have a voice,
you know, I talk more on the.
Speaker 1 (47:08):
Streets, you know, the unsung heroes like people don't know,
like eight produced records, you know.
Speaker 3 (47:16):
Make me, we all make man.
Speaker 5 (47:19):
This is what the partner in the aspect of what
we're talking now, that's the light moments like the world
of hip hop and the world of rap. The world
of R and B needs to know that, or the
world of music. You know, we're not just stand up
rappers and stuff.
Speaker 1 (47:33):
Yeah, it's some real man like ain't just rappers like motherfuckers.
Speaker 5 (47:37):
Yeah, we can change ordand tis and we know the
damn jacket have talent, you know what I'm saying.
Speaker 2 (47:44):
People just want to put niggas in one box, but
that's because they don't know you feel me. I have
to let them know the history of of what the
you know, what your talent range is.
Speaker 3 (47:55):
You know what I'm saying multiple things.
Speaker 2 (47:59):
Just don't put me in the box and consider me
as just a one dimensional artist.
Speaker 3 (48:04):
Nigga. I can do a lot of shit.
Speaker 1 (48:07):
They had one of my favorite beats that from Tales
of the Hood. I think that Boom Boom, hands and
a few not that. Niggas don't be trying to, like
you said, claim the glory or whatever it is what
it is, but niggas have their hands and a lot
(48:28):
of ship people don't know about.
Speaker 5 (48:30):
Oh man, Yes, indeed it's indeed, you know, and it's
nothing to take nothing to take away from nobody else,
shign and nothing that was never the concept just like
a hip hop and going back to our first single,
be true to yourself pyanomos to those that came before
us or a craft or you know what they call culture.
(48:52):
It was just life at the time before yours and
now it's yours. And you find yourself in that aspect
of life, you know, and build on it, you know.
So that was my mindset from Junior High, Elementary. Everybody
know me and Compton, you know everybody. You know, it
ain't about me, like I said, But I ain't never
(49:13):
changed except for a couple of grades and a little
taller and heavier. I'm still the same from elementary and
if you know me, you can you know. Everybody know this.
So they say, all the other famous people from Compton
and all the famous three people, I ain't never changed.
Speaker 1 (49:30):
I mean, you know, man, let me ask you something, man,
and I gotta ask you this dog. You know, the
homie AMG is from Ohio White men. You know that's
my dog.
Speaker 3 (49:40):
Right.
Speaker 1 (49:40):
I talked to AMG sometimes stuff? Right, And how did
y'all wink up with him?
Speaker 5 (49:47):
Greedy Gregg's house me and my black colors taking everybody
once quick ones playing handing them betweet and shabby and
them school Quick up. But like the story he tells,
because we wasn't finished because he had. Uh, I'll let
you hear the first song, the first beat Quick did
for us. It caught the breakthrough, but you know we
(50:08):
wasn't finished with that song. All of a sudden, Quick
getting scooped up and there on LA like player Hamm said, Yeah,
I went to the counting to get a DJ. I
put even my cutter listen boughty back to LA, you know.
So I jumped to my cutlers and high seat, jumped
in this elcho and d jumped in my cudlors with me,
and we went out the Western over there and brown it.
(50:32):
You know, somebody say he over there, so we well
drove over there. I think it was eighty eight eighty nine. Man,
way at he at because we're not finished what we're
doing here. I here over here DJ with y'all. You know,
I'm just sharing the story, you know, but uh, man,
we ain't finished what we're doing. Quick wasn't there, and
I'm gonna lee and I'm giving it the world this
(50:52):
because the fans need to know the history of that.
That's how we connected as far as with AMG through
that whole linkage, getting the quick from here and them,
Hey man where he at? We ain't finished what were doing?
It's cool, y'all, dog, you know, Candeller called him, Man,
get over there. They hurt our ship, you know what
I mean?
Speaker 3 (51:09):
It was like, damn the hell, the same way Spade
and D.
Speaker 5 (51:15):
I would go back to that Spade Scotty D and
the Talent Show and how did they gave us our
money back Spade and Scotty D in ninety for the
Talent Show because they heard our songs?
Speaker 3 (51:25):
Uh man, but.
Speaker 5 (51:27):
Yeah, playing Ham's hooking up with AMG, getting the greedy
Greg House. AMG was already there, you know, because the
greedy Greg him brought MG to the phone. No no, no, no,
my bad. I know I live off here and there,
but I stick to the timeline of life and stuff,
you know, but just leave up to that moment. For me,
I jumped a little bit because that was going from Compton,
(51:48):
LA and the first experiences based around music. That's how
we're going up leading the AMG meeting him at Greedy
Greggs on Crenshaw seventy sist. We was over that in
them territories from a ninety the music you know, made
him make Greedy Greghouse. He was already there on the
drum machine, just like everybody else was. We all comprecate Inglewood,
(52:11):
La Borderline, the Greedy Greghouse upstairs where all the records were,
and the equipments and keyboards, the four track. You know,
we brought what we had. I brought my records, my
mama's records. Uh Quick Broble he had. Well, we bought
at Keeble's records during rose Grands in the eighties, the
same records that four five years became. If you want it, uh,
(52:34):
they can't be true to yourself. Curtis Mayfield records. I
bought ain't nothing wrong my mama record Casey in the
Sunshine band, you know he see. We can go into
details and all the details about that beat, this beat,
how I was, what was used. It sounded like a snare.
I was goting to creating sounds of me and Quick,
(52:55):
you know, pretty much out of our group. You know,
it was uh that was us, you know what I mean?
But amg at Greedy Gregg's coming upstairs. He was already
in their drum programming. He had this stuff already together,
so it was cool, meaning another cat that was a
little different from us, you know at the time, you know,
being from Ohio, he's flaming inglewood because that's where he's living.
(53:16):
So you know, the door is open. He gotta taste
the wild world because Quick was already over there. We
came second, but he gotta taste the KK and D
or second to none, and you know the rest is history.
Like I say, Quick, tell most of the stories. Really listen,
my name come up a lot of go back, go
let go back and check the records out before black
(53:38):
Tone that ain't come up.
Speaker 1 (53:41):
A whole lot.
Speaker 3 (53:43):
Yeah, that's like Compton.
Speaker 1 (53:47):
Let me when the whole death Row, when the whole
death Row Eric came through, like you know, Sugar was
out there doing what they was doing. Do you feel
like the game was changing a little.
Speaker 5 (53:58):
Bit before that running because we was part of the
first running when before all the homies got out.
Speaker 3 (54:05):
See a lot of people don't know that history too.
We was right there.
Speaker 5 (54:10):
Right there to record shopping Dre. We was in front
of Dras and Neop. I met Snoop before all of them.
Doc introduced me to Snoop at the club. We was
at the Grand Club, same place. I think I met
Sipus Hill, but I met Snoop through DC. He didn
wanted to got me, kay, I want you to meet somebody.
(54:32):
You know, It's a whole bunch of these stories, man,
Like I like, you know, being around they right there
off Santa Fe, Man, you know.
Speaker 3 (54:43):
Santa Fe. All these areas. Man, Man, I'm trying to.
Speaker 1 (54:46):
Figure out how you all cats made music back then. Man.
You know when I I came to La in eighty seven, right,
it was so cracking back then. Man, it was fishing.
Back then, it was a fishing. I don't know how
being in the line like man eighty eighty.
Speaker 3 (55:04):
Nine, Man, it was it was dudes bumping our tastes.
We used to be, uh everywhere in the streets.
Speaker 5 (55:12):
We even got into a shootout and Christian our sister,
and they had that gas back the day dude thought
we was following and we was on our way to
Greedy Greg House.
Speaker 3 (55:19):
He banging. Ain't nothing wrong.
Speaker 5 (55:21):
Because I was one of the tape the underground tapes
before ours came out. I was hitting in the streets,
so we you know, he banging our stuff. He turned
into gas station and started wilding out. I could smell
the water in the ad. You know, I know he's tripping.
We was trippling, he banging our tape. We get into
a shoot out, you know, he started tripping that he
(55:42):
thought we was following it.
Speaker 1 (55:44):
Then the time and that, and you know the thing
is everybody knew, y'all was bloods but quickly.
Speaker 3 (55:50):
We never pushed that line. That's that's that's what I'm saying.
Speaker 1 (55:53):
Man, so vocal with that stuff. Man, it kind of
just spread over everybody.
Speaker 5 (55:59):
It took over the wall storm because Quick promoted the
thing of naming homies you know, or you know or
what not.
Speaker 3 (56:06):
The lifestyle we was living it. And but just like
I say, music over rioted.
Speaker 5 (56:12):
Like like I said it in ninety two on DJ
quick album Fuck the Red and the Blue Team Food
My Color One Green That's on his Way to Funk album,
the title of the song is called no bullsh Shit
Fucking Troups.
Speaker 3 (56:27):
It's temporary. That's that's my mindset.
Speaker 5 (56:29):
That's why the Me and Pock stories, y'all don't hear
about before death row out there in Inglewood off in
Period and IVC and hart On me and breeding Pop
and all of them and stuff, you know, during the
era before anybody really know what was cracking. That's why
we got pictures of us and Easy Easy over there
(56:49):
on seventy six. Crenshaw was my house on Spruce h
That's what it didn't mean, turn your video shot at
my mama house. I stayed in Comptony un till ninety
eight at the kept that same house, you know what
I mean. Earlier he was talking about the Compton Uh man, uh,
you know, no distrittracting nobody else. I'm the only one
(57:11):
that stayed in Compton as long as I could believe
the way it was known. You know, Sugar used to
come to the house easy right down Spruce nine twelve
spruits right for the dead end.
Speaker 3 (57:22):
You can see it. And it didn't didn't mean to
turn your video.
Speaker 1 (57:27):
I was, you know, speaking easy. I don't know how
you let none of y'all get away to me.
Speaker 5 (57:33):
Because he couldn't catch his man that that At the
time before we signed it, we was around, like I say,
the history, we was around, you know from them that
was that was a spark.
Speaker 1 (57:46):
Thank you.
Speaker 5 (57:46):
Eight slipping unknown and all that. Mike te homie even
at his daddy. I think Aunt's sister, you know, just uh,
you know what I'm saying, man, it was already it was.
Speaker 4 (57:56):
It was a.
Speaker 5 (57:58):
That little stint with Q and that man. They ain't
had nothing to do with us. Man, we ain't on
that funny stuff. You know what I'm saying.
Speaker 1 (58:07):
I know we.
Speaker 2 (58:09):
Sometimes it be the peer pressures of niggas around you
and just trying to live up to you know what
you're supposed to be representing. Man, you know that shit
caught a lot of us at a young ages. We
didn't know. Like I told, like I always tell niggas, Uh,
the shit was dumb to me because it prevents niggas
from all trying to enjoy the successful times and hip hop.
(58:30):
You know what I'm saying. Now, you got to give
niggas choices of what they want to buy and shit.
And I want niggas to buy at all, not me.
I want niggas to buy quick. I want niggas to
buy my shit. I want niggas to buy every nigga
that's representing content. And when you drawing the lines and shit,
you give niggas choices. And now they got to take
a side and pick. So it was always dumb, you know,
(58:52):
for us to be beefing within our own section and shit,
because we all just wanted to represent the Hub City.
You feel me and let niggas know that was the
best place that you could be in. You feel me,
And that was my message around the motherfucking world was Nigga,
ain't no place better than condo. Whether you got me,
whether you got quick second or none, conscience most wanted,
(59:15):
whether you got king t, whether you got any nigga.
That's talking about the Hub City nigga too. It's a blessing,
you feel medave man, if.
Speaker 1 (59:25):
You already got to make some records, what kind of
banging ass cracking ass records then would have been.
Speaker 5 (59:29):
We're still here, we all still got our voices and
now we have better life. Like I say, back then,
imagine them seeing me in Tupac together a MC breathe
and had the chance to look at three of us
and lay long like how we looking the world is
looking at us now and have the decent conversation as
(59:51):
grown men. We didn't have that light back then, or
too much to share content and communications, you know, I
mean so uh definitely a blessing to even be talking
and speaking on at the beard, to speak on it,
you know, do all.
Speaker 3 (01:00:07):
The stories everybody's don't know.
Speaker 1 (01:00:10):
Yeah for real, man, you know, the next time you
right around the corner from us. Man, the next time
we were at there, you come in and sit down
with us. Man.
Speaker 3 (01:00:18):
We appreciate you.
Speaker 1 (01:00:20):
I appreciate you, especially in the last minute shit, because
I could hit the homie today, like, man, what you're
doing tonight, Come on the show, come kick it, because
you know it's so many stories, man, And that's the thing.
I'll be knowing these stories, but they ain't never mind
stories to tell. Man. I rather bring the homies on that,
you know, the really thing and their men. Let them
tell their owns, you know what I'm saying. Let them
tell it will better than I.
Speaker 5 (01:00:42):
I appreciate it. You love even reaching out and having
the time to space both your brothers, you know what
I mean, just to say to the world. You know, uh,
like I say, I had the voice, but didn't have
like the choice of platforms to speak back then, and
like like on that record, it just like the truth
that shit was temporary. Let's move forward to some permanent
(01:01:05):
you know that was spoken to ninety twos.
Speaker 1 (01:01:07):
You know, let me ask you this, KK, because you
know what, I'm always had to keep it. I'm always
had to keep it funky, you know. Quick at one
of the most talented people in the universe. Ultra talented
dude man right, super dope man like he rapped just
as good as he produced. He's a dope dude right
when you always was it was it ever hard working
(01:01:29):
with him doog.
Speaker 5 (01:01:31):
Well straight up and everybody, no, straight up. It's always
a toughs to work on something when you have I'm
not I'm not a competitive spirit or a person.
Speaker 3 (01:01:41):
You know.
Speaker 5 (01:01:42):
I can compete, but I'm not pushing the competitive agenda.
You know, I could do that very well, but that's
not the point. That's why like our first single, don't
have no Hooks and called be true to yourself. You know,
I like to pay homage to those of life and
not just rap every thing that came before me, you
know what I mean. So that's that's uh, speaking of
(01:02:04):
who I am and the person I am not.
Speaker 3 (01:02:05):
The world don't know. There just no second or none
because we ain't really had a voice, uh you know,
but it'll come. Uh my man, damn you know.
Speaker 5 (01:02:15):
Like I said, it's my first time world. I appreciate
and apologize from random jumping in.
Speaker 1 (01:02:20):
Now that's all. It's all good man, you know what.
I just you know what, because Quick as a genius man.
And when people he.
Speaker 5 (01:02:29):
Called me a genius, he called me like I said,
That's why I brought up the compet it ain't no competition.
And uh, it's hard working with somebody that feels that
their peers might be an equal.
Speaker 1 (01:02:44):
Yeah.
Speaker 3 (01:02:45):
Yeah, when you find a kindred spirit of how.
Speaker 5 (01:02:49):
Did this start? See a lot of this it started
from me and Quick, let's get your ship straight. Then
it come on, cousin right there and.
Speaker 1 (01:03:03):
On that note, right your man, man, we out of here.
Shueka mm hm
Hosts And Creators
Norman Steele
MC Eiht
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