Replay* Rapper Kokane Details How Suge Took Over Ruthless Records

In our sit-down with entertainer Jerry "Kokane" Long we discuss his legacy with Above The Law and Ruthless Records and his relationship with gangster rap pioneer Eazy E. We also discuss Ice Cube's departure from supergroup NWA and the spark that ignited the fight between Cube and Above The Law and much more. Glasses Malone also stops in to discuss his soon to drop classic "Cancel Deez N*ttz"

 

 

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Episode Transcript

Speaker 1 (00:00):
We like to welcome everyone to another episode against the
Chronicles podcast, and I got my boy, yeh man, tonight
we got some special guests in here. Man, we got
you know, a legend here in the future legend the
future Hall of Famer, one Hall of Famer, one first
balltlet Hall of Famer, and another one. You know, he
gonna have his time coming pretty soon. But he's far
from them. When either one of them is far from them.

(00:21):
We got home these cocaine and glasses malone in the
building official, Yeah, man, So what's happening to night fellas?

Speaker 2 (00:28):
Man, appreciate you having us on this platform. You know,
I've been minuted to come up here for a minute.
But it's the right time right now, for.

Speaker 3 (00:35):
Sure, for sure, for sure, we've been planning this for
a minute now.

Speaker 1 (00:40):
Glasses. This is about this one hundred time on the show.
So I don't even know why I gave him an introduction.
I'm starting to think this nigga live in the back
of the closet or something.

Speaker 4 (00:46):
I was here the first day when you came up
with this shit.

Speaker 1 (00:49):
Yeah, that's crazy. Look where we're at right now. Two
indo sth episodes later.

Speaker 4 (00:53):
I was telling hey, that shit just old fancy screen
back here big time now he's doing a little safon time.
So big time now, that's us dog, that's us man.
So you know, fifty years in on hip hop man.

Speaker 1 (01:09):
And you know, in those fifty years, I would say
probably one of the most pivotal things to happen in
rap music was gangster rap a reality rap. We said,
we can start calling the reality rap, right. You know,
brothers talking about tales from the streets, what's going on
in their neighborhood.

Speaker 3 (01:26):
One of the.

Speaker 1 (01:26):
Forefathers of that on the West Coast, you know as
many You know, you got Ice Tea that came before him.
You had the brother School, they d the did the good.
He put his version of what it was. But to me,
it really didn't gain no bunch of significance until it
hit the West coast. Right, and you was one of
on the pioneering labels Man Ruthless records.

Speaker 4 (01:44):
Right.

Speaker 3 (01:45):
How you linking? How the hell you link up with easy?

Speaker 1 (01:47):
And you was reasonally on the right on the California right.

Speaker 3 (01:50):
How did you link up with easy?

Speaker 2 (01:52):
Well? Through my cousin cot one seven above the log
go mac Recipeace Laylag, the late great KMG Total Chaos.
It was back in early eighty nine, just when their
record was about to come out, you know, living like Hustlers.
And you know, I did a three songs demo and
put on the California and first signed a production deal

(02:14):
with Larry Goodman and Laylaw and you know that landing
me a deal through Easy Easy heard me when Hutch
you know, and Laylong shot the kite to him and
take long for me to sign because you know, Easy
loove controversy. So he tripped off the name cocaine, but
he was like, damn, it's like when a person is

(02:37):
on cocaine, you don't know how you gonna your mind
state gonna be because you do so many different styles.
I'm fucking with you. So and it take long for
me to get signed to Ruthless Records.

Speaker 3 (02:47):
Oh for sure, for sure, man.

Speaker 1 (02:49):
I know Easy Man to me, he don't get enough
credit for what he did in the game and what
his legacy is, right because he pretty much brought street
music like to the forefront. You know when you heard
them records like Hey, Ball Boys in the Hood and
all these different records that gave you a glimpse of California.

Speaker 3 (03:04):
What funny.

Speaker 1 (03:04):
It was like I came out to California in nineteen
eighty eight, so that's when Dope Man that started hitting
across the country kind of like and I remember I
heard that song and I was like, damn, man, I
wondered like it made me wonder about the city of Conflinent.
I was a nigga, you know, riding the street with
one of my homeboys in Cleveland. That song came in
a race. He looked at me and said, Man, you
sure you want to go out there with them comfin

(03:25):
niggas and them crips.

Speaker 5 (03:28):
So I asked what I was supposed to be over?

Speaker 6 (03:30):
You was supposed to went down else where else you
had the scholarship to.

Speaker 3 (03:34):
Go, man, I could have went to Coffeeville, Kansas. I
came to.

Speaker 6 (03:39):
West Coast to go to Coffeeville.

Speaker 1 (03:45):
I wasn't having it, man, I wouldn't have it. I
wasn't going nowhere to know Coffeeville. Man, I knew this
is where I needed to be. What made you want
to come to California? I never asked you that all
these years. I know you, man, you know what's crazy
outside of football? Man, I think I said this a
few episodes ago looking at ice T's album because I
actually told Darlene that shut out to Darlene or Teaz.
I met her up here and I said, you and

(04:06):
iced Ty the reason I wanted to come to California.

Speaker 4 (04:08):
So you saw a fucking album covering that made you
want to come here?

Speaker 1 (04:12):
That was actually that actually led to my decision, man,
of going to Coffeeville or coming out here to Los Angeles.

Speaker 4 (04:17):
Because I know you had to compare it like Los
Angeles Coffee Vie that. Man, it wasn't even no comparison,
because I know football in the Midwest is big.

Speaker 3 (04:24):
Yeah it was.

Speaker 1 (04:25):
But I'm not thinking about football. I'm thinking about what
I'm gonna be doing. Yeah, he wasn't get all this crip.

Speaker 6 (04:31):
I said, I'm thinking about what roder the hood they
got out there in California.

Speaker 4 (04:37):
You know all of you know what do they call
it extracular activities? You Darlene boy, for all least.

Speaker 3 (04:43):
You know what. That's what I wanted, man, I said,
I want to bra like that. I want a chain
like that.

Speaker 5 (04:48):
Man, And I.

Speaker 3 (04:49):
Said I wanted to sack my boy.

Speaker 1 (04:51):
Fine, be supplied the sack, I said, I want to sack.
I was listening to that music, and it sounded like
it made it finnest sound.

Speaker 4 (04:57):
Being a D boy was la D boy crack already
in Cleveland when you left.

Speaker 1 (05:01):
Oh hell yeah, this started already infiltrating everything. So I'd
actually start dibbling and dabbling a little bit when I
was back at the crib. Was the most you've had
fifty man shooting o'hillo. Fifty man out here. I was
fucking with zones and ship.

Speaker 4 (05:14):
You know when Ohio is fifty piece, fifty fifty piece
in Ohio had to be little. Yeah, it was a
little probably is like a dime out here.

Speaker 1 (05:23):
Cut like a motherfucker called that ship blow up, motherfuckers
shop hit that ship, that ship, get the blowing up
and parting this ship.

Speaker 4 (05:28):
Man, he niggas out this everybody on this side of
the cow just like biggas also that every nigga up
here soul blow up.

Speaker 1 (05:37):
Yeah, nigga, that ship would blow up in your face,
that that ship would blow up in your face.

Speaker 3 (05:41):
They came.

Speaker 6 (05:42):
I remember when you first came out, because you know, uh,
I think ruthless at the time. Your deal was, uh
and if I'm not mistaken, went through epic. Yeah, and uh,
they had controversy with your name because I remember they
had Romo cards with us on them and they had

(06:04):
you as who am I.

Speaker 2 (06:06):
Yeah, yeah, that was al Masaku and Kenny Campus at
that time, because you know, Worries Morefield was cool. But
you know, Eric had landed a big deal and he
was considered our West Coast Wussell Simmons because it was
like the biggest deal at that time, with an epic distribution.

(06:27):
He had above the low Cocaine and poor Broken Lonely,
you know what I'm saying, and Broken Lonely. That was
an R and B group, Chris the Glove who did
a lot of stuff.

Speaker 4 (06:38):
Chris signed to Chris one of myselves. Chris was R
and B singer.

Speaker 2 (06:44):
Oh man, he's an incredible producer. I don't know if
he was, I don't think. But once they signed, once
they signed on, we was going everywhere. The Abbey Road
back in the day. It's this was prior England be
put the you know out here Abbey.

Speaker 6 (07:03):
Roadstributors, Distributors, isolet Brown.

Speaker 5 (07:09):
Yeah, that was time to get this. It was right.

Speaker 6 (07:14):
It was right over it in wats a little bit
like like off of Alameda.

Speaker 1 (07:20):
Because Actually, Abbey Road was where we would go buy
the records at the count of Abbey Road.

Speaker 2 (07:26):
Brown Brown used to take us around there.

Speaker 6 (07:30):
Still me a gang cassettes going, don't going through Abbey Road, man,
you know, hell yeah, goddamn they that that was like
the biggest West Coast distributor as far as a lot
of products. So we would do a lot of fucking uh.
We would do a lot of promotional ship at Abbey Road,
signings and shipped for the retailers and all.

Speaker 1 (07:50):
That's what I did. E. P. M. D up there
as a retailer. You know, we would go get you know,
we had the pictures in our stories back in the
day when people signing them.

Speaker 3 (07:57):
We would get those that a lot of the.

Speaker 1 (08:00):
Wholesale spots on Abbey Road, West Coast record distributors on
all those other spots you go pick up your retail
front and one.

Speaker 2 (08:09):
That was a one stopping plus back that was back
in the days. You know, we used to go to
record Pool's foot recipes. Scott was a big significant part
of this game. But you know, once they you know,
it was like about three months before my record was
gonna come out and they decided to change it. Because

(08:33):
the FCC laws wouldn't permit them to say cocaine right,
even though we changed it now saying when you listen
to cocaine, it's like it's a it's a mind trip.
You're like, you don't know what this niggas gonna do,
but it's gonna be funky. They wasn't having that. They
were stuck in tradition. So the last name they changed
my name I had to cut out there called Nikkels
slick Nigga. A lot of niggas was on that shit

(08:55):
in nineteen ninety one. I finished the record in eighty nine.
I had to wait well blah blah law to put
out Living Like Hustlers, which was one of the most
prolific albums you know, on on the project on the
West Coast at that time, and they changed my name.
They said who am I? So when a lot of
niggas was going to the stores, they was like, well,

(09:17):
who the fuck is this? We look at Yeah, but
that was that was That was a blessing. I'm gonna
tell you why, something about getting doors shut in your face.
And there wasn't no secret to controversy. They was like
Chuck D n w A and NW at that time,
there was like a modern day bomb squad, you see

(09:38):
what I'm saying. And they was like, well, fuck Epic
Records if you're gonna change the name cocaine, you know,
the easy e. The whole fellas over there was very
adamant about it because they were behind cocaine and they
wanted Cocaine to come out just as big as n
W had. Butther Law and everybody else on there, but

(09:59):
they the door and a lot of people don't know.
You know where I come from. You know, music is
embedded in my twenty three chromosomes because of my father
j Everybuddy long senor you know who was a ranger,
composer and writer. Plus my uncle was Willie Hutch So
it's like, I don't care what y'all decided to do.
This is my creativity. Wing gonna compromise it. And Eric

(10:21):
felt the same way. And Eric was pissed off at
that time, and that was one of the moves he
made from Epic Records and saying bye bye going over
to Alan Grumblatt and Relativity Records. You know what I mean,
because because Ka whom I was out in nineteen ninety one.
But it didn't have a critic acclaim just because you know,

(10:41):
Epic Records were scared at that time. I mean, if
you can't really fault them fccs. He was like, see
this nigga come along, nined cocaine. They think a nigga
just like Escobar or something. But it was all about
the punk. But they didn't have They wasn't hearing that shitty.

Speaker 5 (10:57):
They didn't know what they but do. That's all.

Speaker 2 (11:00):
It was beautiful because you know, me and the fellas
got together at Audio Achievements at that time where we
was recording shout out to Donovan Rest in Peace, Donovan
Dirt Biker. So it was like, man, well, shit, man,
we're about to shoot this do this Niggas for Life album,
Well we want you on it. We're about to do

(11:20):
Black Mafia Life. We want you on it. And that
was the chance for me to get on Niggas for Life,
introducing the character called sweet Talk. Well all right, y'all
across the USC Comptain March they do I know, just
as well as easy saying, man, you'll call mop fucker
with your pen. I want you to write my part
for Appetite a Destruction, which I wrote his ten Gangster

(11:42):
commandments for that, and I was like boom because that
was my first platinum record in ninety one platinum, and
prior to that, I had experience and chance to in
nineteen eighty nine go over to Brixton London. So here
I am a young coca over there and Brixton London
like this shit is crazy. But yeah, but you know,

(12:08):
those doors being shut on me is a is a
significant reason why I'm the most featured recording artists in
the world, because you know, at that time had you know, kids,
and you know, things was political. But I've always kept
working in nine times out of ten when I go
to the studio, whatever style I'm doing, I'm blessed enough

(12:32):
that the other artists would be like, hey man, this
this ship is cracked. Put the ship on there. So
that really that that first door being shut in my
face by not by me not being played on the radio.
I think it's a significant fact that I work my
ass off and twenty three, you know, thirty four years later,

(12:53):
I'm over four thousand and one and twenty eight features.
You know what I mean.

Speaker 4 (12:57):
I heard of thousand mofucker, so I got about a
thousands at the Doe thousand.

Speaker 2 (13:03):
So it's it's unheard of, and a lot of people
look at me and I'm like, nah, that's some bullshit.
But people know what's happening because I can show you
better than I can tell you. And I ain't never
think about being the most featured artist. I was. I
was the person that was, you know, influencer, just as
well as influenced by your MS and your doctor dre's

(13:27):
and above the laws and your dcs and the list
goes on and it's like still sharp and still at
the same time. So you know, that was the beginning
of something that was very good because years later, you know,
the resilience of any artists that stay consistent is the
reason why they manifest and where they are today is
because this game is brutal. It's worse than the dope game,

(13:49):
you know what I mean. But music was embedded in me,
and I was like, shit, man, I'm gonna keep going
and I'm not gonna throw in the towel. Because a
lot of people became one of it wonders and through
in the town. We could look at each other here
and as old g's and as elders. You know, it's
a blessing to go back and see youngsters all over

(14:11):
the world now being intrigue with what's going on, because
we used to be like that when we used to
look at old records and we used to we was like,
then who did this? Who did that? So now it's
going back because of the computers of worm up digging
into crates and it's right on time, man. So you know,

(14:32):
I'm happy. I don't live with no regrets through the
good and bad. You know, the same thing that's designed
to kind of stop you was the very same thing
to catapult you years later.

Speaker 1 (14:44):
And see, you know what you being around Drake kind
of in this I ain't gonna say it's emphasty stages
because it's by the time Drake was doing NWA, he
had done world class recking crew and all kinds of
other stuff. But you getting to work with him back
then versus you getting to work with him now, kind
of like in the prisons when you guys start doing
all the stuff aftermath and everything like that. Did you

(15:06):
see any difference in his production style or was he
more laid back?

Speaker 2 (15:10):
It was it was Dre is a phenomenal producer and
a phenomenal DJ. First of all. You know, so back
when they was doing any thing with Lonzo and Macola Records,
can't forget about my coola. Yeah so yeah, yeah, yeah.
So I had the privilege, I choose my words carefully.

(15:32):
I had the privilege of seeing doctor Dre, you know,
and above the law and DC and mc ran. But
when I would see Dre in the studio, man, he
mastered that s P twelve like nobody he never mastered.
He was like, you know, back then, doctor Dre was
like so it was like considered the West Coast bomb squad,

(15:55):
you know, because he was a hell of a DJ.
And to be able to see him, you know, knights
up there with him in Easy arguing like him and
Easy used to have arguments like Easy was like, man,
put this shit on, like this man. Dre was like, nah, man,
we don't want to do that shit man. But they

(16:16):
still came to an agreement and came up with two
of the most bombased classic records that arguably one is
greater than the last, but they both greater. And that's
straight out of Compton and Niggas for Life, And those
guys gave me an opportunity. I remember in nineteen eighty
nine when Warren G and Jewel Rest in Peace, they

(16:38):
used to be at audio achievements and they used to
be the highlight because they used to always bag. Warreng
G said one time.

Speaker 7 (16:46):
To Jewel, he was like this, I make you chuck
my dick and then want no bullshit. And then Jewel
was so covid she said, well pull the motherfucker out there,
you know what I'm saying.

Speaker 2 (16:58):
So those times around there, you know, seeing Jude, even
michele A, Warren G above the law, Doc mc ran, Rescue,
pece CPO, Chip DJ Train, Rest in Peace, you know
what I'm saying, It was incredible because you got to
realize all the success that came from ruthless. It's a

(17:22):
significant reason why because of ruthless success is the reason
why death Row is successful, is the reason why West
Coast is successful. Of course, big ups to my twin,
my og Pont the iced Tea. You know, he laid
down the foundation, taking some of the elements because he
knew the East Coast roots. But then easy put the

(17:44):
shit on steroids because he took a chance being from Compton,
and Compton is a significant part of West Coast because
they gave cats from Pomona. They gave cats from Cleveland,
you know what I mean. And that was the mission statement.
You know, when Easy decided to put up his water money,
you know, and his dope money for this to happen

(18:06):
is the reason why years later it became a multi, multi,
multi billion dollar industry helding from the West Coast. So
you know when you tell me that the Easy don't
get his credit, he deserved, that's genuine because he don't. Man,
do not because Easy took a chance on us. Man,

(18:30):
you know, he never made you feel like a two
dollar bill. The nigga used to roll with the Compton
had in the back with the big ass body bends
quartis and woo tee woo, pulling off greate nuts and
made you feel like he was a multi million dollar nigga.
So I learned that from him, how he was able
to not just mex mess with brothers from the hood,

(18:52):
but mess with essays that was a no no and
political at that time. He took a chance. Then he
went outside. I had the coast because he had the
vision to say, Man, I'm listening to these dudes from Cleveland.
They're gonna be the next this, this, this, and that
Eric ideas a lot of people don't know people. I

(19:12):
ain't gonna say bite, but was inspired by his ideas.
Even all of us can say that, no, mam. So
you know, for me to be here and being that
I was able to do what I was able to do,
as being on all these records, I always pay homage

(19:35):
to Eric, right, And of course I pay homage to
Dre and everybody else that invited me on their project.
It would be my blind arrogance if I was to say, yeah,
I'm the most speeched artist, but love is a two
way street. Me all those people invited me on there,

(20:04):
like your aids and your Dre's and your stoops and
your bust the rhymes. And so that's the importance of
fellowship and unity that years later, because some of the
homies ain't gone. Rest of Peaks KMG recipeace a lot
of people. But we're here as pillars to really reminded

(20:25):
the youngsters that hey have a certain tribal protocol. We're
not here to bash the youngsters, but we're here to say,
get your elbows off the table. You know what I mean,
because back when we was raised, you have your elbows
on the table. Granny was slept shit out of you,
and it's like, we got to get back to that
because the youngsters is our future. So the discourse and

(20:46):
disconnect between them is the reason why I think that
we're still here able to put out those frequencies in
magic and tell these stories that really gonna inspire people
because people forgot about those stories and we didn't have
no internet, we had storytelling.

Speaker 5 (21:03):
Do you feel you know what I mean?

Speaker 6 (21:05):
Because you come from the era of you know where
I came from as far as music and hip hop
is concerned. But you know, a lot of young influence
nowadays really kind of you know, I want to disassociate
themselves with our generation of hip hop. Not all because

(21:31):
there's a lot of today rappers or the generation behind
us or whatever that respect, you know, the craft that
you know I did or Easy did, or King Tea
or Iced Tea.

Speaker 5 (21:45):
But then there's a lot of.

Speaker 6 (21:49):
There's a lot of disconnection from dudes who want to
even associate with our era of hip hop.

Speaker 5 (21:54):
Well, how you feel about that?

Speaker 2 (21:56):
Well, first of all, youngster's got to know that ain't
no expiration data on dope music period. It's not like
you in the NBA and then you break your achilles
and then you can't play no more. But you see
cats like George Clinton eighty three years old, still killing them,
you know what I mean. And it's only in hip hop.

(22:17):
You can go to you can go to rock and bro.
You can have Mick Jagger, they can fall off, they
can lay back for fifteen years and pack eighty thousand
people and the stuff. So the stigma between young and old,
it's just some bullshit and bullshit propaganda that if you're

(22:37):
willing to listen to it, you're gonna be seduced by it.
So I'm saying all the youngsters out there, you know,
get back to the point to where you learn from
the legends. And at the same time, it's accountability for
the ogs because some OG's wasn't even leading people youngsters
the right way. Let's just keep it one hundred. Let's
not throw it all on the youngsters like that, you

(22:58):
know what I mean. It's accountability for everything. But it's
a season for us to go ahead and talk about it.
So that way, you know, once we gone and our music,
you know, a hundred years from now, we'll be able
to make a difference and be a cornerstone piece to
influence them. And of course, you know, the disrespect is
not tolerated, you know what I mean, because we was

(23:20):
raised from the era well we you know, you would
have a hundred gang bankers out, you know, in my
front yard or something. And when miss y'all meanee Selem
came by and said take that shit down the street,
we say yes, yes, miss y'all, I mean the celn yes, ma'am. Now,
because of the Internet and because of the real weirdo shit,

(23:41):
it turned up on steroids to where they're mostly projecting disrespect.
But the good the good thing about us is that,
oh Jesus, back to back against the wall. It could
be a lot of y'all, but we're gonna stand tall
because you know, all sperm cells don't get to the egg.
Only one gonna listen. So you know, if we talking
to that one youngster out of ten that ain't gonna listen,

(24:05):
that's gonna make a difference. And it really ain't no disconnect.
It's all mental, you know what I mean. But more
and more we embrace our youngsters with letting them know that, hey,
it's a tribal order to this shit. You know what
I mean, we didn't get down that, like we don't dish.
When George Clinton come in the room, I don't disrespect him.
I might have a difference of opinion, but at the

(24:28):
same time, I don't disrespect my elders. And we just
got to keep pushing it and pushing it and stay
in the rhythm so that way the youngsters could feel
comfortable as the OG's feel comfortable. Boy opening up that
dialogue with everybody not pointing fingers, well, no, it's not
about that.

Speaker 3 (24:47):
Is that really still though?

Speaker 4 (24:48):
At this point? Well, like where y'all feel like young
rappers is like that.

Speaker 2 (24:53):
I don't feel all young rappers like that. But the disrespect,
you don't disrespect. It's just like you don't disrespect your mother,
you don't disrespect your g's. Now, if a person's not
leading by example and only doing a sample, well that's
some hypocritical shit. But for those that are out there
OG's that are on the front line still packing them shows,

(25:15):
we're basically telling the youngsters you're gonna be one of
us one day live. Don't be a three pot, you
know what I'm saying. Everybody trying to be a three pot.
There was only one Tupac, everybody trying to be a
three pot no man, if you humble yourself, you know,
and know that all the rhetoric with the money and
this and that and the lean and this. See what

(25:38):
generation we come from. It wasn't cool to use drugs.
Now it's cool to use drugs, and they pushing that
line and pushing that agenda, especially with corporate structure, because
we have been there before where there was meetings and
shit to turn reality wrap into gangster rap, which white
media did that shit. We was calling ship reality because

(26:01):
guess what it was reality, you know, so I think
give it some time.

Speaker 5 (26:08):
You know what the fuck I was calling my ship?
I was just making rap.

Speaker 2 (26:12):
She was out and all that shit. I don't even
I don't I call my shit reality rap, like you.

Speaker 5 (26:17):
Know what gangster rap. It wasn't reality.

Speaker 6 (26:21):
I was just making fucking music for ship that I
saw going on.

Speaker 2 (26:27):
But that's reality.

Speaker 6 (26:29):
But then I wasn't like it's a trag new on records.
You know, I didn't do that on records, y'all.

Speaker 3 (26:37):
Remember, basically was.

Speaker 6 (26:38):
Telling you, uh, when we hung out on bar Clay
niggas came through dumping, how he got killed when the
police came through.

Speaker 2 (26:51):
Let me ask you something.

Speaker 5 (26:52):
We got Jack holding tank for twelve for.

Speaker 2 (26:55):
But let me ask you something. Let me ask you something.
Is that fake or is that reality? No?

Speaker 5 (27:01):
That was shit. We were it was reality. But I
don't think like I don't.

Speaker 6 (27:06):
I didn't look at it as like you know, because
this ain't everybody's reality.

Speaker 5 (27:10):
This is what's going on in my neighborhood, right.

Speaker 2 (27:13):
You know what we used to call it street reporting.

Speaker 6 (27:15):
I used to call it just neighborhood music. I'm making
neighborhood music because it's it's for it's for a certain audience.
Everybody ain't gonna like my shit, and this is not
everybody's reality.

Speaker 5 (27:27):
You get me.

Speaker 6 (27:29):
So this is my form of reporting because motherfuckers all
across the country is curious about what's going on because
they done saw colors or saw some others. Motherfuckers is
curious about what these niggas doing cripping in blood. But
I'm not gonna go there because some of you niggas

(27:52):
don't even get the aspect of what cripping in blood. Niggs,
y'all just see bandanas in rags. These niggas gang bang.

Speaker 2 (28:00):
That was curious.

Speaker 4 (28:01):
Let me carry something right, because y'all like, right, the
generation before minds. Right, do you remember the first time
who was the first rapper you heard claimed their ship
is gangster rap?

Speaker 5 (28:13):
Because I was singing on wax record.

Speaker 4 (28:15):
No no, not not gang banging, but like really saying
gangster rap, like the first thing that come to my mind.
And y'all could tell me sooner. But I remember Doctor
Dre saying it on the chronic don't let me ride
this gangster shit makes a ganga snaps word to the
motherfucker streets.

Speaker 2 (28:31):
Well, butter Law was saying gangster ship and they ship. Yeah,
you look at living like hustles. They were saying, balling gangster.
I'm just telling the truth facts.

Speaker 4 (28:42):
So I'm saying, do you remember the first time you
heard it when somebody claimed the life not banging on?

Speaker 2 (28:48):
I don't know, man, A lot of stuff. I mean,
I know, I know we talk about but you know
you gotta get I.

Speaker 6 (28:53):
Heard it on and King t Uh yeah, King T.
I heard it with Ship. I heard it on I
heard it with Tody t mixed on TDK tape. Yeah
you give me uh todding them was selling TDK tapes
through the neighborhood.

Speaker 2 (29:10):
For twenty dollars rodeo tape.

Speaker 6 (29:12):
It was all they was talking about gangsters and cluckheads
and straw.

Speaker 2 (29:17):
That's how I remember all that.

Speaker 4 (29:18):
That's how I remember those were.

Speaker 5 (29:20):
That was my.

Speaker 1 (29:21):
First glasses is asking if you're who was the first
one to rip their hood openly going.

Speaker 4 (29:28):
No, no, not not that big, but just say gangster. Yeah,
I'm not talking about gang bang because that's difficult.

Speaker 6 (29:34):
You just talking about somebody heard the motherfucker gold nigga.

Speaker 5 (29:38):
Make that gangster. This is a gangster U ship.

Speaker 2 (29:42):
A lot of a lot of a lot of people
back then you say street knowledge. That's what street reporters.
We're street reporters. They were saying that in eighty seven.
Weren't nobody saying, man, were on some gangster ship on
MTV with five fath No, they wasn't.

Speaker 6 (29:57):
They just did that I think because in like I said,
because of where we was from.

Speaker 2 (30:02):
That was my white media. And I don't even want
to say the name. It was a publicist that.

Speaker 6 (30:07):
Said he represented and Cali was known for blood and
that was gangster or as far as people looked at us,
like oh, because you know, back in the days, gangsters
was the niggas who wore the hats with the three
piece suits and shit like that. But as far as
the West Coast was concerned, gangster was the niggas who

(30:31):
wearing the red and blue rags.

Speaker 4 (30:34):
I always looked at it like like like a modern
day extension of cowboys. So when I would hear y'all
records when I was young, like my mom, feel me,
my first experience to a one stole my mom, you
know what I mean, raised me, you know, in the
forums and richly forms. So we used to go to
this one stop in Orange County and this she would
buy so many albums. This is where she would go
to bomball. It was a better deal. And I remember

(30:57):
always seeing it like y'all was like black cowboys, like
all the stories are like cowboys stories, and as funny.
As I get older, I think back, and I'm like,
I never looked at y'all, Like I didn't even look
at I don't think I looked at y'all so much
like rappers versus niggas from around the way talking about
how shit was going down around the way. It was
like cowboys, like outlaw feel me, niggas gonna have a

(31:19):
gun niggas is going where they're going, whatever is happening,
And that's how I always consumed it.

Speaker 2 (31:23):
But when you think about it, you know a lot
of people, you know, because I remember when they had
self destructure and then we came. We came with our ship.
We all in the same game with Mike exception on
A lot of gangster shit came from the East Coast.

Speaker 3 (31:39):
That's what I thought.

Speaker 2 (31:41):
Just Ice was cast the message. You know what I'm saying.
A lot, a lot of stuff, you know, came through there,
and it was a blessing that that, you know, Ice Tea,
you know, Twin had those East Coast elements because it
ain't where you're from, it's where you're at. It's like
they used to get the clothes, they used to get everything,

(32:04):
used to come to New York first, the Mecca, you
know what I mean. So we wanted to change the
whole thing by introducing our shit but coming from the
West Coast because a lot of the names that were
named were similar to the names of the East Coast.
No bullshit, I.

Speaker 1 (32:24):
Can dig it, I can you know. I want to
go back and ask a few more questions about my boy.
Easy right, so easy goes to this big turmoil, everybody leafing,
everybody bounced pretty much. You and him had a really
good relationship. Absolutely did that impacts you when he did?
You like, when that whole riff happened, where was you

(32:45):
at with everything?

Speaker 2 (32:46):
Well? It was crazy because let me, let me, let
me sum it up, and I got this shit down
to a t nineteen ninety Above the log came out
in the nineteen ninety Warren g on Snoop and Ny
Dog to the studio on loci Enegan, Cittanella and Inglehood.

(33:06):
Prior to that, in eighty nine, Orange and myself used
to stay with Hutch and Colton, California, Department one eighty seven,
Cottonwood Ranch, so we were all with each other everybody.
You know, Sugar was our bodyguard back then. We used
to hook up. I mean I got my first cars

(33:26):
from Sugar in eighty nine. And Ron Brown that used
to play for the Rams and shit. So you know,
but it's a trip. How just everything just transpired after
you know, you know, Snoop and everybody audition for Hutch
actually above the law because they was gonna put their

(33:47):
record on a lot of people don't know, just Snoop.
Snoop was going to be a ruthless artist, but because
I was signed and had contractual obligations to him, he
had to wait. You know what I mean, we created
something called black Mafia life, and you got to realize,
you know, everybody was influencing everybody, still sharp and still

(34:09):
you know a lot of people say it was bid,
it was this and that. You know, hot Show and
the butter Law and co Cocaine was influential to n
w A and Doctor Dre and Snoop and everybody else,
and they were too to us, you know. So it's
a trip to see how the revelation of those two.

(34:31):
I would say not brutal because Biggie in Pockshit was brutal.
They're not here, you know what I'm saying.

Speaker 1 (34:38):
If anybody in here going live, kind of cut it
right now, we've got to put the show out and
release it.

Speaker 2 (34:43):
So, yeah, what you talking about? Now? What was he saying?

Speaker 5 (34:50):
Now?

Speaker 2 (34:50):
I forgot about what all said?

Speaker 3 (34:52):
It was?

Speaker 4 (34:53):
How was the break?

Speaker 3 (34:54):
Really? Where was you at?

Speaker 2 (34:55):
Like?

Speaker 3 (34:55):
Where was you at with the rift?

Speaker 2 (34:56):
Like as y'all was okay, so we were gonna leave
Ruthless Records Ba La Lag cocaine. Wow, because of the
contracts was fucked up at that time. That was Jerry,
Oh wow, they were double tipping. You sell records over

(35:19):
here and we shipped three hundred thousand international all that shit,
so we were tight. Drey didn't have to leave. Dre
wanted to leave, you know, because he's seeing Q leave.
The poison as being spread. And I can't fault him
because the paperwork was wasn't correct. You wasn't getting publishing,

(35:42):
let me tell you, and all that shit. And re
rekindled our business relationship with Eric because we loved the
brother so much, because he gave us an opportunity of
a lifetime. And he called the meeting Loci and against
Centinella at the Edge Recording Studio, and Dre didn't show
up to that meeting. We rekindled our business relationship because

(36:05):
actually the first people that were gonna be on death
row was not Snoop, was not Dog Pound, was above
the lawng Cocaine, But we backed out of the deal
and to stay with E and at the time I
had obligations with Rupeless and at that time much past

(36:26):
Warren g took Snoop and they dog to a barbecue
whatever they was having playing the music. Doctor Dre called
Hutch and said, I know you're working with Snoop Man,
I want to put some shit out of him. I said,
go ahead, man, he's a dope preestyler. I'm working on
cocaine shit. That landed the deal because Hutch gave Doctor

(36:48):
Dre the blessing for Snoop Dogg back then. So we
were listening to some shit and even at the same time,
we were at a port party because it was all homeboys,
even when the breakup happened in ninety one and we
was we was at this function right and we was
playing Black Mafia life. I'm not big and just ahing

(37:12):
you know some of the ship and Doctor d was like, Hey, hudgman,
what's that ship? Y'all call y'all shit man, that's shit hard.
I was just like, Nigga, we call a g phong man,
that's our shit. He's like, Nigga, y'all go wing all, Drea, Nigga,
y'all go win on that. So then we were all cool.

(37:32):
Dre was beefing because the poison was spread. You know
what I'm saying. Niggas hated on us and I know
who was behind it. I don't need to say his name.
You know, he in jail, you know what I mean.
But yeah, it was like hearing them say some of
our words, bawling, chronic all the shit that came from us.

(37:54):
So we was like and then we heard it was
like damn this and us man, like you auditioned for
us at that time, but see when you look years later,
it don't matter if you right or wrong. If you
ride with somebody, you don't care about shit. So I
understood and in respect that that they were riding for

(38:15):
them no matter what, and we was riding for us.
So in nineteen ninety two, I still had a chance
to get on a Death Row orientated soundtrack that was
called deep Cover. Nichols Slick Nigga is on that was
on that shit. And I got a chance to get

(38:38):
on Minister Society soundtrack doing a record for mss Keylo
call all over a whole.

Speaker 5 (38:44):
Yeah, that was the shit.

Speaker 2 (38:45):
You feel what I'm saying, So everybody you know it was.

Speaker 3 (38:48):
It was.

Speaker 2 (38:49):
It was a crazy atmosphere at that time, and easy
was like, man, I ain't finna dished them because I'm
making more money off Dre because Drace Deal was on
contract and all this other shit. So but we got
to the point to where we was like, easy, you
gotta say something, you know, and then whoever put corrupt?

(39:10):
And I loving the life, I love dash to life.
But they dissed us on a song called Blunching Tanger
Ray in nineteen ninety three. I don't I don't fuck
with no motherfucking cocaine, cocaine to blow up. This is corrupt.
But I love you nigga. You know. But back time,
they was riding for death row and we were riding
for roofless because we felt we had more yaps in

(39:33):
the game because of what influence we did and what
we felt like y'all took.

Speaker 4 (39:39):
Let me ask you a question, me what made so
did dre and all of that stuff went a certain way?
If I remember being a kid and reading about it.
What made the ice Cube about the lost shit so crazy?
How did they?

Speaker 2 (39:54):
Well? First of all, First of all, Nwa didn't fight
ice Cube no, and he said some stuff at that time,

(40:16):
you know, and ice Cube ain't no buster because ice
Cube defended itself way and lose draw whatever. He defended hisself.
But at that time, we was like why you gotta
say something about us, you know what I'm saying, Because
he said, niggas from Pomona. He was like count clowning us,
and it was it was clowning us. He said, niggas

(40:39):
from Pomona. The only thing they need to be thinking
about is the ten Freeway because they ain't nothing. Now, dear,
she'd have said that that's what gangster shit going on,
because when we came to Robelest Records, Niggas was selling dope,
Niggas was busting on niggas, Niggas was doing all that.
Niggas was spiking the clubs. You know, nigs it was doing.

(41:01):
Niggas was really know I'm.

Speaker 6 (41:03):
Saying a lot of people, Yeah didn't you know? It
wasn't Yeah, so you can tell people what Yeah it
was like, yeah it was it was. It was street,
it was neighborhood.

Speaker 2 (41:18):
But see when we came came out because we had
to prove ourselves because it was a small andreacy issue.
But but with the last county out of l A,
in order to go to the l A County fair Grounds,
you got.

Speaker 4 (41:32):
To go to Pomona, So you'll go to the county.

Speaker 2 (41:35):
Yeah, so we had some we have some real See
when above Law and cocaine came to that, it was
on a different element. Eric was like, man, y'all need
to stop selling DoPT really above the law, y'all need
to stop selling dope. Man, y'all need to stop doing this.
So they called Above the Law henchmen for n w A.
So when that thing happened with q Q came up

(41:57):
to the celebrity, I was the celebrity. That was the celebrity.
It was rest in peace, Guru.

Speaker 5 (42:03):
But it was it was above the law. It was
us yep. It was low profile.

Speaker 2 (42:09):
And guru gangstar. Yeah, that was when the stage rotated around. Yep, yep.
So when CBE came through, you know since Cube and
Larry and mister Larry Goodman Laylaw were very tight, you
know what I mean, Ben tight, You know what I mean?

(42:31):
You know Cube try to you know, just come through
and try to hash it out. And you know, Hutch
wasn't having it. The crew wasn't having it. But it's
not like he didn't defend itself. It's easy to be
like boo boo, you can say that, but then is
you gonna take that fade? He took the fade, however
it went. He took that fade. But then that was

(42:54):
at that time where it was like Nigga, you don't
say nothing about pomoning niggas man. We we considered ourselves
at that time the real ones at Ruper's records because
we were smoking weed when niggas didn't smoke weed. We
were selling dope when niggas said they were selling dope
outside of e It's real shit. It's not to take nothing.

(43:15):
It's not nothing to take away from anybody else.

Speaker 4 (43:18):
I mean, you gotta remember that Niggas was in high
school and y'all, yeah, you kind of heard that, you know,
I mean, growing up. But I just wonder why the
Dre stuff. I don't think it was as bad as
this stuff. Like I guess maybe it had a chance
to come to a head at that point because y'all
ran into somebody.

Speaker 2 (43:33):
Yeah, but you know, it was a lot of shit
going on. And like I said, when you talk about beef,
you gotta talk about people that are not here no more.
I mean, Doctor Dre and Easy was dissing each other,
but they lived in Calabasa, seeing each other traffic Hong
Kong around the corner deuces. So nah, that was some

(43:56):
other when other people are behind it. Did it something else?
And there was other people behind it, because years later
me and Snooped and Orange all of us, Doctor Draven
hooked back up and was like, man, what the fuck
we was fighting for? That was on some rubless depth
row and that's on people. You know, sug was right

(44:19):
when he was saying certain things as far as publishing.
It's far as certain things, you know, But this is
my opinion. It just got to his head. A lot
of shit got to his head, and he took things
in the wrong manner, you know. Now, just imagine if
he would have took it in a different manner, you

(44:40):
know what I mean, he would be a multi multi billionaire.
Park would still be here. But in this game, you
cannot let your mind think you bigger than the bridges,
you know what I mean.

Speaker 3 (44:53):
Yourself, especially when you're being successful.

Speaker 2 (44:56):
And even see Easy, she was never like that. And
see Easy was going to get rid of. I remember
walking in the office in Calabasas. He was like Jerry
Heller was on his side and Easy on the side.
Me and Hutch walked in. He was like, I'm about

(45:17):
to get rid of him. Man, it's bullshit because everybody
found out even Easy that if you press up two
hundred thousand and a lot of the mafia motherfucker was
doing that in the industry and about that they would
double dip in print out of town. But that shit
got done to him too, and got done to all

(45:37):
of us, and you know, yeah, but at the same
time it yeah, but at the same time pros and cons.
Jerry Heller was a significant fat of Ruthless Records doing
what he did with JJ Padd because JJ Padd opened
up the doors to straight out of Compton and every

(46:00):
anything else that derived from that, you know what I mean.
So it's pros and cons and everything. But you know,
I hear a lot of people talk about a lot
of stories on how Easy went, when all I know is,
I'm gonna tell you this me Jada Pickett hutch KMG
Recipes had a meeting prior to Eric Passion who that

(46:23):
was gonna do. Jada Pickett was gonna do California because
her Jena King there was after we used to go
to Peanuts. They used to come to the studio with us.

Speaker 3 (46:36):
So.

Speaker 2 (46:38):
It was like we was talking Eric's coping. It was like, damn,
I don't like coming man, and then all of a
sudden we hear you know, he's in the hospital now.
Eric was cool a week ago. Magic Johnson, It's still here.

(47:02):
Eric had enough access to enough medical stuff just as
much as Magic Dunton. So I'm gonna leave it right there.

Speaker 6 (47:12):
It's a lot of people have a lot of difference
of opinions and controversy behind.

Speaker 5 (47:16):
What happened to you know, because of the way it
happened and how.

Speaker 2 (47:22):
Like this put it like this. A lot of motherfuckers
don't know. Easy was really connected. He was connected connected
on some other ship, and he wanted to do right
by his artists. He wanted to do right by n WA,

(47:43):
his whole ship. But because he was too deep in
the ocean, you don't know what to expect.

Speaker 1 (47:52):
It's a lot, especially when you start talking about that
amount of money, because I know the physical game, right,
you're talking about two hundred thousand records. If you were
able to go print up to press up two hundred
thousand records overseas, you gotta think about the exchange rate
at that time for like the pound right compared to
the American dollar. So if you go over there and
get five five you tell it to them for five pounds,

(48:14):
that means you getting ten dollars, possibly ten to fifty
depending on this change rate that day. So we talk
about millions of dollars being gone. Man, somebody could feel
that some kind of way when they get put out
that monic.

Speaker 2 (48:24):
Cheese and see Eric was like, man, we're finna get
NWA back together. He had a quick meeting with QE.
He told us, called us on the phone, was like, man,
we gonna make all this shit happen, but it's shit
happens the way it happens.

Speaker 1 (48:41):
Now before we go on. You know further, if Easier
stayed it live, let's just stay theoretically he stayed alive.
You think Ruthless probably been the biggest record label hip,
our record label of all time.

Speaker 2 (48:53):
Of course, of course, absolutely, because it wasn't no stopping us.
It was something new, it was fresh. It was I'm
from a suppressed environment where everybody I don't care where
you're from. They related to that, you know what I mean.
They influenced all of us, man. I mean, you can
go back and say I might have been rapping at
the same time, but they out the gate. They influenced

(49:15):
all of us. Man, that allowed people from a suppressed
environment or ghettos or a hood for us to go
ahead and capitulate to success. You know, we were very
successful because you know who would think, man like a
brother from Compton that put up his dope money and
years later you see the family tree he created. It

(49:38):
just on a business administrative level, it's just astronomical. So
of course they would have been the biggest shit ever
because death Row wouldn't be death Row without the success
of Rupeleus records.

Speaker 1 (49:52):
Yeah, you gotta remember. I think a lot of people
forget that. When trade, when he had all those defectors,
he had a budd of law y'all was still doing
your thing, signed bone thugs, harmony who blew the fuck
up because they were so different.

Speaker 4 (50:04):
With dope for it to be out of state, that's
that was always a different kind.

Speaker 2 (50:08):
Of He knew. When Eric came to us, he said, look, man,
all that where you're from. Yeah, I don't care if
you crip blood essay. We got to sell records to everybody,
so we don't need none of that ship. You know
what I'm saying. We're selling records. He understood the vision

(50:29):
that we all do down like we messed with a
lot of people. Definitely, but he understood that vision and
you know it's safe to say he was the first
one to have that vision. Definitely Hustler, you know what
I mean, and don't get nothing, don't get twisted. Every
rhyme Sitdeka was definitely doing their thing.

Speaker 3 (50:50):
I want to say that.

Speaker 4 (50:51):
I mean at that time, to me, that's how I
look at it, right, Ryan, all the stuff that came
with Iced Tea and Unknown and all the stuff that
came from Easy and everything which goes to me like
Uncle Jam's Army and world class record crew. So all
the things, right because Unknown come from Uncle Jam's Army. Unknown,
you know, you get the Ice Tea records, you get

(51:12):
the comp's most wanted and then all the same from
Easy Dreven.

Speaker 2 (51:19):
Check few Egyptian Lover was motherfl Us.

Speaker 5 (51:24):
They had King t Ye that's Unknown, right.

Speaker 6 (51:27):
Ye.

Speaker 4 (51:28):
All of that stuff came from those things as a
head elements.

Speaker 2 (51:33):
But it goes back Man to to influence. You know.
Influence is important because all music is recycled, you know,
and we were influenced and we was on the custom
things that we didn't know years later, how much West
Coast influence would have an impact on the world wide
coaches from low riding, the banging to how we wear

(51:55):
our whole ship. We don't call it. We didn't call
it a trap. We call it the spot. You know
what I'm saying. We influenced a lot. And what you know,
at that time, they didn't give East Coast a chance
to have breakout records to make millions of dollars. What
Eric did? He and Jerry Eller they showed a blueprint

(52:22):
on how to make millions of dollars. Because if there
was no rubless records in blueprint, it even goes down
to jay Z. I mean, they wouldn't even knew what
to do because on the West Coast we were making
money on the West Coast, East Coast. It started from there,

(52:45):
but then when it moved to the West Coast, we
were checkbusting, we were doing our ship, you know what
I mean, And it became a rival. At that time.
I remember Tim Dogg had a record called Whoop Woop
Compton and it's like, why did he do that? You
feel me? Because West Coast was making a big impression

(53:09):
on the whole fucking world. You know what, I'm saying.

Speaker 4 (53:13):
About it right there was talking about self destruction. Now
you look out there and they got bloods and crips.

Speaker 2 (53:17):
They got bloods. And man, I went out there. I
went out there, Hey man, this is Brooklyn blood do
Jersey grape streak, all kinds of ship.

Speaker 4 (53:28):
And I don't hung in all the hoods. They got
neighborhoods in the Bronx, they serious and Brooklyn they got
brims and and and and and I was calling still
I'm telling him every time I'm hanging out with different people,
they got were woo tangs from they got brims and
them projects.

Speaker 5 (53:45):
Now you know what I mean.

Speaker 2 (53:48):
But that's what that's that's that's that's you know now
you know when we looking back and you see all
the movies you did it was part of and different
other things that we did. It it's like it's deep
with the influence. Man, definitely, it's it's super deep, like

(54:08):
like the gospel so to speak, you know what I mean.
And we're we're definitely privileged to be able to tell
a tale because some of the homies, you know, restipees.

Speaker 5 (54:17):
Ain't like you who just didn't make it.

Speaker 6 (54:19):
And uh, like I said, it's it's it's it's definitely
fortunate to be able to come from and walks of
life and be able to still sit around and tell
people about you know, uh, what you basically had to
go through, you know, to get to this point right now,
because it wasn't always studios and microphones and shit. Before

(54:40):
that ship came along, niggas was really living. Uh, you
know what we speak about and what you see and
what we try to represent, and that shit wasn't easy.
You know, No fuckers look at being from the neighborhood
is a glorified faction or some shit like that.

Speaker 4 (55:00):
Poor niggas trying to make mother. That was a hard
That was a poor bunch of poor niggas trying to
hardever you can. It's funny. I did an interview with
Aaron Foster and some white guys and they was like,
you know, what do gang members do on Tuesday? And
you know, he didn't want to ask, he felt his embarrassed,
And I'm like, ship, what you do on Tuesday? Usually
some nigga line. And it's just so funny how they

(55:21):
look at it like it's this different thing, and I
keep explaining, it's just a bunch of poor people trying
to make a name for.

Speaker 2 (55:28):
Themselfs for makes ship talk.

Speaker 4 (55:31):
Like you said, those oppressed communities always tell still to
still always give me ship about it, And I'm like,
it's not as crazy as it seems.

Speaker 5 (55:40):
A bunch of sorts.

Speaker 4 (55:42):
You act like a unity.

Speaker 6 (55:45):
Where you you was from somewhere to now? Where hood
you was from? Say where you was the Long Beach nigga,
he was from one hundred and five.

Speaker 4 (55:54):
Nigga came out here five the Loan Beach game.

Speaker 5 (55:57):
That's why.

Speaker 3 (55:58):
That's why you ain't get put on the wrong.

Speaker 4 (56:00):
He got put on the Long Beach game.

Speaker 3 (56:02):
Put him on.

Speaker 6 (56:03):
He got what was what they call you over there?
What fine being? Them call you? They all you big.
They called his ass state, they call his ass big country.

Speaker 5 (56:15):
That's what they call.

Speaker 6 (56:18):
He come up with CONTROVERSI you know what, I don't
know why I got to bed. They called that nigga
big Country. When he came through the hood, it was like,
that's that nigga from Cleveland.

Speaker 4 (56:29):
That nigga probably looked like a slave back.

Speaker 3 (56:31):
Here because cocaine. You know, he came through and blisters
some albums.

Speaker 4 (56:35):
Still look like a young slave back.

Speaker 6 (56:37):
Yeah, yeah, your nigga that played Oiga, that played roots
running through the day.

Speaker 5 (56:44):
He's gonna kill back here real quick.

Speaker 3 (56:47):
Classes.

Speaker 4 (56:48):
I want to ask you about cancel thee nuts because
you got an album. Yeah, cancel theese nuts cocaine on it.
Like I just told you, I added another three to
that four thousand, two hundred and thirty five.

Speaker 5 (56:59):
For sure, you don't like or for a record.

Speaker 3 (57:02):
In all kind of fingers. He definitely gonna make any
songs better.

Speaker 4 (57:05):
Him and sugar Free them niggas will do some ship.
They will be like, send me that, and they'll just
have these little parts and these little ports could just
make the song better. Like sugar Free heard a song,
He's like, I'm just do your ad libs. I'm like,
why are you hearing the ad libs? You know what
I'm saying. But that's the but.

Speaker 2 (57:24):
But but you know what, Malone, It's like, you know,
why have a six four if you don't have the
check the flags on it, if you don't have the detail.
See like certain ship when you just do little ship,
people pay attention to details, you know what with the
cruise and so between me and p we we we

(57:45):
a detail type type of or like my record like that.

Speaker 4 (57:49):
It's funny on this album. And it's so funny because
I was listening to I'm like, it's these little small
things like Cuz only this nigga could do this ship
and then free se me. He was like, send me
this and he did the same thing. I just thought
that was y'all. It's a funky town, creat just creativity. Man,
funking that town for man. I don't know where y'all
get that from.

Speaker 1 (58:07):
Here, y'all, y'all know before we go, we got always
touched on the news right right for gettle news, though
not the regular news, but the ghettle news. What's y'all
think about this whole situation? Man with blue face and creation,
I don't think nothing about it. Some high school ship
can't get your groopies pregnant? Man, that was just groopy.

Speaker 2 (58:28):
High school ship. A lot of people still in high school.

Speaker 5 (58:32):
I don't pretty much follow uh ship like that.

Speaker 8 (58:37):
It's unfortunately it's a muffler, know, and that's a little
lot like like I always tell you, you know, it's unfortunate
that we as a people like to see you know,
silly and crazy ship and embarrassing ship.

Speaker 6 (58:52):
And that's what puts the scales of curiosity up there.
But sometimes you gottah. You gotta respect who you are
and not want to do a lot of ship for
a paycheck.

Speaker 5 (59:04):
And that's what I feel. Just listen to this world
ship and you.

Speaker 6 (59:09):
Know sometimes his world like I like I said a
couple of shows ago. Today, motherfuckers would do anything to
become famous.

Speaker 3 (59:20):
Social currency, you feel.

Speaker 6 (59:22):
You see him the Cocker Road, Yeah, you're on the
internet bathing in mayonnaise or that's how motherfucker running across
some hot, cold butt ass naked just for a ten.

Speaker 4 (59:35):
Away for my future. That's how he got on. He
had the Cocker Roads in this video. Just just uh,
he tough. He tough as fuck you. I know, you
know he is his first video. He ate a roach,
but I think blue Face he just you can't get
She was a groupie, like she was trying to change
your life, and he knew that, and he let her

(59:55):
get all loney and it kind of messed him up.
And now you get your groopie press, and now you
got this craziness because she ain't gonna never be grateful
to him. She ain't gonna never give me credit for
her success. It's all about her, but every other woman
is gonna make him the trauma of her life.

Speaker 2 (01:00:11):
But you know what, you know what, you know what,
And you know some people have strengths, some people are weak.
That's a weakness, you know what I'm saying. Yeah, he
just young, young brother, live a little bit. You know
he gonna go back and be like damn man. Because

(01:00:33):
that's that's what we want to really perpetuate, is that
youngsters listen, learn because you want to be a O
G two one day, you don't want to be no
fire pop po pop pop will get short.

Speaker 1 (01:00:49):
And they want to talk to you about in past
tense for sure. And you know I'm gonna ask you allays,
y'all think you know the sister that got here with
the brick, don't raise thirty thousand dollars on go fund me.

Speaker 2 (01:00:58):
So far, all I can say is, you know I
wouldn't do it, but don't start no shit. Won't be
no shit prior to that. You know, whole live about this,
she run around slapping people.

Speaker 4 (01:01:14):
I don't really want nothing. I just wouldn't be on
my phone. So I've seen a video, right, and this
is some real quick shit. I'm just let out like
Instagram couzins for Brandon. It's short, so people come up
with silly shit off the smallest thing on Instagram. Twitter
will read your motherfucking ass. Twitter is where the smart
motherfuckers go. They will research everything about you and make

(01:01:35):
a qualified decision. I saw one video where the lady
is antagonizing the niggas in a parking lot that she
said let her get hit with a brick and they
let him leave. Well, why would you antagonize these niggas
if they just let you get hit with a brick.
You know what I mean. You just seen the last
time you was antagonizing, some motherfucker got you hit with

(01:01:55):
a brick. Why would you antagonize the niggas who let
you get.

Speaker 3 (01:01:59):
Hit with a brick.

Speaker 2 (01:02:00):
Some people ain't playing, But you know, like I said,
I don't know.

Speaker 6 (01:02:04):
People do anything today to be seen, to create a
lane for them to become famous, and nobody is satisfied
with being a regular motherfucker.

Speaker 3 (01:02:18):
Just think about it.

Speaker 4 (01:02:19):
Like this, She's the new brick baby, that's her name.

Speaker 1 (01:02:21):
You can get cancer for any motherfucking thing. Baby, You
can get canceled for saying some real ship. It's backwards nowadays,
if you go online and talk about crazy shit ship
that don't make no sense, you get praised for the
reward for it. But if you say some real ship
they talk about canceling your ass.

Speaker 2 (01:02:37):
Yeah that's what that That that lets you know it's
a real agenda.

Speaker 4 (01:02:40):
Briack baby, Man, she's gonna be Oh she got thirty bucks.

Speaker 2 (01:02:44):
All right, O, man, raised more, probably raised more, and
then at the end of that shout the big brick.
She Probably she's probably gonna be like, Damn, I'm glad
that motherfucker hit me in the head with a brick.
Ship got a hundred thousand chips.

Speaker 4 (01:02:58):
To that paid the bill. This shit right here is
gonna get thirty thousand. They got it.

Speaker 3 (01:03:07):
You know what.

Speaker 4 (01:03:07):
It be hard, you know, but you know what it
be hard. They should bring her on no jumper.

Speaker 6 (01:03:12):
They're telling to pick up the homie ship. Man, want
to do Glasses Malone? Talk about your album, Man, you're
supposed to be the promote album.

Speaker 4 (01:03:19):
It is trouble everything about Glasses. Every nigga sitting up
here gonna tell you it's trouble.

Speaker 3 (01:03:25):
Anytime a nigga call this album canceling's nuts. You know.
He coming with some bullshit.

Speaker 4 (01:03:29):
It's just trouble.

Speaker 2 (01:03:30):
That'sawll.

Speaker 4 (01:03:30):
I represented trouble, this earliest Gangst the rap phases. It's
exactly everything. That's why when eight everybody get mad, I'm like,
y'all made me this way. How y'all gonna be mad?
How you gonna be mad at me? Y'all made me
say what I want to say. That's why I say
what I want to say now. So this is nothing
but a continuation. Shout out to the giants, shout out

(01:03:51):
to EP. We're just telling you what it is. It's
the first socially charged album and Gangst the rap history.
It's ain't politically charged. We just on everything here. That's goofy.
We the voice of barber shops. We the voice of
the Promona barber shops, counter barber shops, was barber shops,
l a barber shops. Whatever, that's it. We said what
we say. We're getting our haircut.

Speaker 3 (01:04:10):
Somebody need to say something because we.

Speaker 2 (01:04:11):
Some crazy And I'm glad I'm the man you invited
me on the project.

Speaker 3 (01:04:14):
And tell you.

Speaker 1 (01:04:17):
All picked this up. Yet right here, this is a
bad motherfucking album. Dog Sugar Cane Man, sins Rat.

Speaker 4 (01:04:25):
When we're saying it should have been a funk album
so hard.

Speaker 2 (01:04:30):
Yeah, that's what it is. Funk.

Speaker 1 (01:04:32):
Is this ship banging like a motherfucker. It's like to me,
a transcend rapper remind me like listening like with Boots
and Them would be putting out the day, you know exactly.

Speaker 4 (01:04:41):
And I was. I was saying that to Ted and them.
I'm like, this is a real funk album. It's a
disservice to call it a hip hop album.

Speaker 5 (01:04:48):
Right.

Speaker 4 (01:04:48):
It's bigger, it's greater.

Speaker 1 (01:04:50):
Even the way the album covers the sign. Look at this, man,
this is like an album cover that your mom had shot.

Speaker 2 (01:04:54):
That's that. That's that old school nostalgia from the Ohio
Player player. Yeah, feel me, but we call ourselves pum
on the Players.

Speaker 4 (01:05:03):
I like that.

Speaker 3 (01:05:04):
Oh and Banks produced another who does.

Speaker 2 (01:05:07):
Yeah, we actually were actually doing the video this Friday.
Catch one song called Bitch Shut Up.

Speaker 3 (01:05:15):
You were just talking about that and she'll produce put
the tippy in.

Speaker 2 (01:05:18):
Oh yeah, chill produce that that motherfucker to I definitely
got to do more work, man. We're already working on
our second album right now.

Speaker 4 (01:05:27):
Songs every three months.

Speaker 1 (01:05:28):
Man. But what I think y'all should go with it
this time. I think y'all should have George cleaning up
in there with y'all, because that's what y'all doing.

Speaker 4 (01:05:34):
Boozy Boy, why breathing Boosy is alive.

Speaker 2 (01:05:39):
I got something brewing in the store. I just don't
want to say it to everybody, but.

Speaker 4 (01:05:44):
Yeah, you are too many ear ear hustles.

Speaker 2 (01:05:47):
Yeah, I got some ship coming out with this with
this Doctor Cokenstein Funking Adventures of Doctor Coachstein coming out
next year. It's a double album, funky like your baby,
Mama Monkey. You know what I'm saying, and you're gonna
dig it.

Speaker 1 (01:06:04):
I know we gotta started relating. I promise you ain't
gonna hold us too much longer. I think something that
y'all both doing is dope. Is they both got your
own labels, And I think what you're doing with Buddy
Boys genius. I was talking to him one day about
going to go stream his music. He said, you gotta
go to Buddy Boy stream my shit.

Speaker 2 (01:06:20):
Oh yeah, iTunes. I'm gonna tell you something. I'm gonna
tell you something not to cut you off. Motherfucker's laughing
at me. It's like, yeah, streaming streaming fourteen years I've
been pushing this website now who laughing everybody, and they
Mama bo, you go to my web because dummy, is
nothing more important than cutting out the middle man and

(01:06:44):
direct marketing. That that point zero seven on the sense
is fuckery in the industry. Did this on purpose. They
purposely put out a propaganda blitz, and they made more
money with the streaming company than they ever did in
the fucking music industry.

Speaker 1 (01:07:00):
But let me take that back, all something all three
of y'all is doing because he is putting his own shit.

Speaker 4 (01:07:04):
Out to that you just talking about cocaine and eight no.

Speaker 1 (01:07:07):
No, all three of yo, all three you know, y'all
putting out y'all own music now. And I think that's incredible,
and I think that's important out because you really don't
need no middle man.

Speaker 4 (01:07:15):
Yeah, I say, I sold four hundred and thirteen CDs
in eleven days.

Speaker 2 (01:07:19):
Look, let me tell you something. Let me tell you something.
You you gotta sell a billion, a trillion one to
get a little bubblegum check compared to like selling twenty
or twenty five thousand units. It's like, are you this
is the music business? Do you do you? Are you
in the business? Are you in the just industry, and

(01:07:42):
it's like, I don't consider us a part of the
industry because that shit is over with. Man. The word
celebrity is unheard of. Anybody can hop up on TikTok
and do some bubblegum ass ship and go viral, you
know what I mean. So us as the last of
a dying breed, it's for us to control the culture
because we have the autonomy. Just be patient, you know,

(01:08:03):
don't don't don't. Don't sell your pork bellies yet. Man,
when you already got your stable, and it's like we're
blessed enough to be here. We do shows money's is
coming through. We can license out, records, all kinds of
things because we have went to that stature, you know
what I mean. We have paid the cost to be
the boss over a thirty four year plight. I can say,

(01:08:27):
me and this gentleman right here, we're able to go
ahead and transcend the time. So when you get older,
you're supposed to learn more, you know, that's what you're
supposed to do. And we were blessed enough to take
a risk, because no man can't win if you don't
take a risk on yourself. If you always want to
bang on somebody door where you're gonna capitulate them being

(01:08:49):
the third or fourth fifth party on your music. And
I got tired of that shit. Motherfucker's just taking take taking.
They don't take into consideration. It costs over ten fifteen
thousand the promotion, you shit, it costs over ten to
be in the studio. It's like the word candy striper
and free became intertwined when it came to the internet.

(01:09:10):
Now we get an opportunity and chance to direct market
and really create a new fucking industry because the old
industry is archaic. It's out the fucking window. They done
stole from us, you know what I mean, did this
And it's like you see a lot of big record
labels they shaking in their boots. Who whatever thought MCA

(01:09:32):
will foul chapter eleven. There's no mc A, no more
mcaight you feel me? But then that's good because it's
good for the independent artists, you know what I mean.
And you know I get deals offered all the time.
Y'all could do the cash money thing right now. But

(01:09:54):
if a person say I'm worth fifteen to twenty million,
that let me know I'm worth a billion.

Speaker 4 (01:09:58):
Nigga, your wife and make money.

Speaker 2 (01:10:01):
It's just a matter of time taking ship, taking no deal,
my nigga, and I don't want to put nobody on blasts,
but they offer me a significant amount of money, and
I said, nah, cool you want so if.

Speaker 1 (01:10:13):
This Jim walking here right now said eight, we want
to put out one. We want to put out a.

Speaker 2 (01:10:20):
Padish now, don't get it twisted. Don't get it twisted.

Speaker 5 (01:10:26):
One album.

Speaker 2 (01:10:27):
The only way you deal with majors like that is
if you license out some ship. If you you license
out some ship, you own your ship. They got so
much to collect and sell the record that give you insurance.
It's no reason why anybody that has a that has
a structure or independent should sell the rights and ship

(01:10:50):
and and get into a con con where they can
track you. You feel me, contracts, you get into agreements, man.
That's why things that I do all over the world,
whether it's music commercials, not just in the United States.
You want to license on some shit. I have a
catalog so motherfucking big, but hell nah, I don't take no. Man.

(01:11:14):
I got offered four million dollars. I said, hell no,
because they seem my catalog like and that wasn't enough.
But you know everybody gonna try to Penny Pitch. I said, nah,
And that's what makes you more powerful when you say no,
thank you for the whole thing.

Speaker 3 (01:11:30):
Glasses.

Speaker 4 (01:11:31):
Where can people go get your album shit for me?
The cripstore dot com. The cripstore dot com. Uh, cripstore
dot com.

Speaker 1 (01:11:40):
So you all hear that. I'm pretty sure ain't nobody
out there gonna forget that. The cripstore dot com. It's
you crack last and stuff. Oh buck, you cooker where
they're going?

Speaker 2 (01:11:49):
All right? Man, you gotta go to www dot Buddy
boy music dot com if you want to get the
autograph copy of the Sugarcane, because unfortunately you can't sign
an autograph copy on a motherfucker digital. You can go
the www. Sugar Gang Official dot com. In your mouth,
super simple, come to the source. You know what I mean.
And we ain't on no AI shit or none of that. Man.

(01:12:10):
We still hear living legends, messing with the young G's
and all that shit. So make sure you come to
my site. Don't ask where you can get it from.
Come to my site. Now, you might hear a single
or two on a social network, but I'm using him
like they're using me. Come to my motherfucking site and
get the album.

Speaker 1 (01:12:28):
Bengo listens to and listens to us out that's everywhere
because ain't fucking with the streaming platform.

Speaker 5 (01:12:34):
I fuck with anything I can get some money. I don't.

Speaker 8 (01:12:39):
Now.

Speaker 3 (01:12:42):
Yeah, he did the thing, the thing, let's go. It's
all right, man.

Speaker 2 (01:12:46):
Shout out to sugar Free and Tied too, pushing that ship.

Speaker 4 (01:12:51):
What's up with it? G l a double dollar sign
the shot. That's right, Glasses Malone And on motherfucking September
twenty second, I'm dropping my new album, Cancel These Nuts.
But for anybody that want to support right now, hop
online go to the cryptstore dot com. That's right, the
crypt Store t H E c R I P S

(01:13:12):
t O r E dot com and buy a physical
copy right now autograph from me right now. You can
have it ahead of time before it's on all streaming sites.
So social support to the real was you know what
I'm saying. Jump on the cryptstore dot com and buy
my new album, Cancel These Nuts, buy it right now
before it drops online September twenty second. Yeah, the cryptstore

(01:13:33):
dot com