The Gangster Chronicles: The Adventures of Roc Marciano

The Black Effect Presents... The Gangster Chronicles!

On this episode Steele and MC Eiht sit down with East Hempstead, NY MC  Roc Marciano. We discuss his career starting with Busta Rhymes Flipmode Squad and him moving around until blowing up as a indie Rapper and Producer. We then talk about his influence on such group's as Griselda as well as his dope a** collabo's. Smash that play button homie and relax!

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Episode Transcript

Speaker 1 (00:00):
But all right, job.

Speaker 2 (00:03):
All across the USC Coumpton, Watts Bay, to La, come
on to California, yes day, come out in the valley.
We represent that Keller County. So if you're keeping it
real on your side of your town, you tune into
Gainst the Chronicles.

Speaker 3 (00:19):
Coronic Goals.

Speaker 4 (00:21):
We gonna tell you how we goal.

Speaker 2 (00:24):
If I lie my notes will girl like Pinocchio.

Speaker 1 (00:26):
We're gonna tell you the truth and nothing but the truth.

Speaker 3 (00:28):
Gangs the chronic Goals.

Speaker 4 (00:30):
This is not your average shows.

Speaker 2 (00:33):
You're now tuned into the rail mc ain't Big Steels
the streets.

Speaker 4 (00:39):
Hello, We.

Speaker 3 (00:45):
Welcome to the Gainst the Chronicles podcast, the production of
iHeart Radio and Black Effect Podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles
for my Apple users, hit the purple Michael your front screen,
subscribed Against the Chronicles. Leave a five star rate the comment.
I'd like to welcome you to another episode of Against
the Chronicles podcast. It's your boy, Big Steel along with

(01:05):
Jill and to Day Man. We got one of really man,
one of my favorites in here Man Honeley Rock, Marciano's
cracking mand it Man, I'm chilling man, what's happening?

Speaker 4 (01:15):
Man?

Speaker 3 (01:15):
Good, I just heard you say you just moved out
to the coast.

Speaker 1 (01:18):
I've been living out here, man, Is that right about
seven years now?

Speaker 4 (01:21):
Oh yeah, that's a. That's a.

Speaker 1 (01:23):
And I lived out here before this, my second run
living out here. I was living out here probably from
like twenty eleven to like twenty fifteen, twenty sixteen, and
then I came back. You know, I'm saying, I went
back home for a little bit and came back out here.

Speaker 3 (01:41):
Now, let me ask you this, man, is it different
living on the coast. Hell yeah.

Speaker 1 (01:46):
The weather I never do another winner again.

Speaker 3 (01:50):
That's what it is, man, house.

Speaker 1 (01:53):
I can't go back to the snow weather like paradise
out here, man.

Speaker 5 (01:56):
Yeah, that weather back east gets gets very and brutal,
and you can It's unpredictable, man. Shit, you be looking
for them sunny days and shit like here in Cali,
you know, like Nigga's finna be sunny for the next month.

Speaker 4 (02:13):
On the East coast.

Speaker 5 (02:14):
Now you get the motherfucking thunderstorm come through, tornado come
coming up the coast.

Speaker 4 (02:20):
All kind of shit.

Speaker 3 (02:21):
Man.

Speaker 4 (02:21):
Weather is very unpredictable.

Speaker 3 (02:24):
Yeah, it's really unpredictable, man, so you got your start off,
correct me if I'm wrong. You got your start from
the game with bustering them right, Yeah, I did well.
Flipping Moore, how you run across them kits?

Speaker 1 (02:35):
You know, I'm from Long Island, so me and Buss's
younger brother went to school together, so you know, he
knew I was nice. So you know he told his
older brother, He's like, yo, I got this nigga my school.
This niggas nice, dam booming, And you just end up
making a connection.

Speaker 3 (02:50):
And it just happened like that. Buster man. Buster had
a whole Buster got a whole bunch of hits in
this catalog. Done.

Speaker 4 (02:56):
Oh definitely damn.

Speaker 3 (02:57):
Now, let me ask you this, man, because when you
with a dude like Buster, I know a lot of
people say that you should never sign with another artist.
Buster has never really, he never really had an artist
that took off from his camp bike. You know, he
had spliff, he had some dudes to put some records out.
But he had a whole bunch of heat over there.

Speaker 1 (03:16):
What do you think went wrong with him? Man? I mean,
I can't say they take off because you know, you
got Rod Digger wiggled a little.

Speaker 4 (03:25):
Bit, you know, definitely. She definitely wiggled.

Speaker 1 (03:29):
Yeah, she wiggled, you know. But then later on he
ended up signing ot Genesis. You know, you got a
few cats that pop, but as far as everybody else,
Like when I was there with Flip Mode, Buster was
at the height of his career. So it's hard for
an artist to like walk you through the business when
they're at the height and they got so much momentum.

(03:50):
You gotta wake up in the morning and handle the
Buster Rhyme's business. That's a big enough business. And I
was just with him, just soaking up game. I wasn't
even really expecting to become a big artist under him.
I just knew this was like a like an internship.
That's how I from at it, you know what I'm saying.
I look at it like an internship.

Speaker 5 (04:09):
You got you gotta be careful when you signing the
other artists. You know, not that it's they're not looking
out for your interest, but it's hard to control that
situation when you're still like I'm coming off the bench,

(04:33):
this nigga is still in the game playing. You get me,
and I'm expecting to build up my playing time, you know,
my my my minutes but it's hard to build up
my minutes when it started team, it's still to start
a team. My niggas like they might put me on

(04:54):
the floor every night every other night, but my nigga's
still taking all the major shots.

Speaker 3 (05:00):
See at that time, if you could have a basketball
analytxy look, Buster was definitely Kobe or Lebron exactly.

Speaker 5 (05:07):
You know what I'm saying, because he coming with and
like I said, you you the drift, pick what you
coming off the bench, You get me the record label.
You know, the coach and they like, we might give
you five minutes tonight, or we might let you open
up tonight or you but you know, the star is
still you know, while you're still waiting to take your

(05:30):
publicity pictures and go on that little run.

Speaker 4 (05:34):
You know in the G League is competitive nigga. He's
still playing competitive.

Speaker 1 (05:39):
So it's like even the artists under him, when you
get on the track with Busted, he's still trying to
bust ass and you don't care because you are artist.
What's to getting on the song? He went out shine
your ass. So but one thing I gotta say about
Buster though, if you know anybody that's under him, he
believe in him, and he will scream your name from
the mountaintop, like with his with his platform and who

(06:01):
he is and bust to love you and he behind you,
he will scream your name from the mountaintop.

Speaker 3 (06:05):
Man. He's definitely one of my favorite dudes. You know
how they always say don't meet your heroes. Yeah, he's
definitely one of the dudes that I met out in
the road with my homie, high seat shot at Crawford.
Just cool as hell. And I noticed that, you know,
you going on tour and you see each other like
at dates. He might not be at the next one,
but the next one he would always what's up, brother? Yes,

(06:26):
you know what I mean. He always just like recognized
as a good cat man. One of the things I
was gonna tell you, you know, they got a sound now.
It's called the Griselda Sound, and it's not to start
no controversies. I love Griselda, but I think you was
kind of like the first one to kind of come
with that when everybody was doing the New York drill stuff. Yeah,

(06:46):
you kind of was one of the ones that kept
it like true to what New York does.

Speaker 1 (06:51):
Yeah that's the truth. I mean, it is what it
is they you know, they know because they came to
me to get the sauce early, you know what I'm saying,
Like they first video that popped off, they got like
the first million was a feature with me, you know
what I'm saying. So you know, at the time, you
know they was coming up. You know what I'm saying.
I'm the type of brother I feel like if you nice,
fuck with you. I don't know, I don't feel like

(07:13):
competition doesn't intimidate me. I'm I know who I am,
so you know, and I know what I bring to
the table. So as far as like you know, when
I was first starting the whole grind, I didn't think
it was gonna pop, you know what I'm saying. Like,
I didn't see like later on that this would I
would still be doing this when I when I put
out my shit, it was like a last ditch effort

(07:34):
because the game was so far away from what I
do right time. So it was just like I'm gonna
just get my shit off real quick, and I'm gonna
do it my way, because I felt like even when
I was with Buster, I felt like I tried the
industry way already, So I was like you know what,
I'm gonna do it like niggas from himstead do it.
I'm gonna bring my shit to the table. You know
what I'm saying. I ain't gonna I don't want beats
from this nigga with it. I want beats from myself.

(07:57):
I'm gonna do. I know how niggas from my hood sound,
and I want to bring that ship to the table.

Speaker 3 (08:02):
So that's you know what I mean, work for you,
work from you know, authenticity. That's what I tell artists,
being authentic to who you are. Because this man already
right here, this man already legendary. It's not gonna work
you trying to do him because his fans already messed
with him. It's not gonna work with you trying to
be who Snoopy is. You gotta do what you is doing.
And what I quate your situation too, is like because

(08:24):
I talked to a lot of the homies in New
York right and they really love West Coast rap, but
they don't want to hear a derivative of it. They
really want to hear that up on, you know, on
the funk. I want to hear you feel what I'm saying,
I think that's what you did for New York.

Speaker 1 (08:39):
Yeah, I mean even with that, like you know what
I'm saying, Like I have my debate with some of
my West Coast brothers, like when we talk about it,
but boom boom boom to me, that's where I'm from.
That's epm D exactly, Yeah for real, that's yeah, Like
we had a good like Long Island niggas. I felt
like we had a good hand also in the Gangster rap,
you know what I'm saying, Cause definitely.

Speaker 3 (09:01):
We talked about that on the show. I don't know
if you saw that one, but we talked about it
in the show EPMD. Definitely it was my motherfucker he.

Speaker 1 (09:07):
Wroll specifically Long Island because I know, you know, Public
Enemy all that shit from my town, know what I'm saying.
So when Cbe left nw A, he recorded in five
ten Studios, which is an m stag, right, that's the
bomb Squad and all the niggas. So that's where I
did my first demo at. So I felt, like you
know what I'm saying, like we had we always had

(09:28):
a sound where I'm from. So it's that's why I
was trying to Definitely had.

Speaker 4 (09:33):
A hand, and you win with that.

Speaker 5 (09:35):
Though, when you stick to your elements and don't worry
about what other niggas is doing. You know, especially when
you come into the industry shit you feel you gotta
bend a little bit just to get in that door.

Speaker 4 (09:49):
And sometime that shit don't work. You just gotta you know.

Speaker 5 (09:52):
That's why I've never worried about the position my shit played,
because of course, you could have jumped on another lane
and tried to go, you know, where other niggas was
going if you looked at it as I just gotta
get paid, man, it makes some money. But I always

(10:13):
felt like originality was my key. So regardless of if
niggas was doing this type of shit or everybody was
trying to I'm gonna just do shit that I know
niggas in my hood or in the hoods around then,
you know, because Compton was a big hood, you feel me,
So let me just stick to what I know, niggas

(10:36):
around the corner like, and niggas down the street like,
and maybe even the end of me like you get me, and.

Speaker 3 (10:43):
That'll always go work because that's what he did. That's
what you did.

Speaker 1 (10:46):
That's right.

Speaker 3 (10:47):
You said, I'm gonna go back here, and I noticed
that people always wind up I think everybody because I'm
a good man reverendin Glass and Malone too, And that's
what he always talked about. When he recorded his first album,
he said, I didn't know what I was doing out
of music. I just knew to go to tune and
this person and that person. But I always felt like
it wasn't authentic to who I was. It was working

(11:09):
and it was wiggling, but it wasn't who I was.

Speaker 1 (11:13):
I mean that's important, man. I mean when you're not
when it's not coming from you know, your heart, I
think people can see it. It's like when it's like
even when you're doing a show, people could see when
you're not enjoying yourself, you know what I'm saying, or
you're not confident. I feel like it radiates all for you,
you know what I'm saying. So when you just stick
to your guns, I think that that that just works.

(11:35):
Just for those reasons. Right there, people could see the authenticity,
you know what I'm saying. They can see that it's honest.

Speaker 3 (11:41):
Yep. And right now, man, what you ten plus years?

Speaker 1 (11:44):
In ten plus years, I'm like twenty in this year.

Speaker 3 (11:49):
Like twenty in this Yeah, time go fast, man, time
go fast.

Speaker 1 (11:54):
Twenty in this Yeah, And you said, and you never
saw it for start going as long? I didn't mind.
I dead ass when I when I made h my
first solo album and I put it out, you know,
for a second, it was like quiet, wasn't nothing happening.
And next you know, it started to pick up, like
a year later, and people was like, okay, cool, they
might be fucking with this. So it was a slow burn,

(12:17):
you know, even up to now, like people still discovering me.
You know what I'm saying, and you know it's I'm
in it for the long hauld.

Speaker 5 (12:25):
That's some I think sometimes that that's that's a good
aspect though. You know, sometimes niggas come in and I
always use the analogy of you know, sometimes it takes
some of us a different road to get to that.
You know, wherever we feel is acceptable to us. You're

(12:46):
getting some niggas put out a record and tomorrow nigga
shoot to the moon. But then two years later niggas
was like, what happened to that?

Speaker 4 (12:54):
Nick?

Speaker 3 (12:54):
You see a lot like that, they had big records.

Speaker 5 (12:57):
It's even I feel I'm in that in that motherfucking
class of because you it's some niggas today.

Speaker 4 (13:05):
You can go you know, MC eight, and they'll be like, nah,
who was that? You feel me?

Speaker 5 (13:09):
And then you show them some shit and they be like, oh,
that's that nigga's it's the slow climb. You get me,
But it's what enables you to have that longevity. You
get me because motherfuckers is still like you said, it's
motherfucker still checking for my nigga. You get me, and

(13:31):
they like, oh, God, damn, I never heard of this motherfucker.
It's shit hard as a motherfucker.

Speaker 3 (13:36):
And when you first came in, you came in with
the physical error. I always like to ask an artist, man,
how do you feel about the whole streaming thing.

Speaker 1 (13:47):
I'm kind of on the fence about it because I
just feel like they're not paying us fairly. I don't
feel like the splits they didn't figure that out.

Speaker 3 (13:55):
No, But.

Speaker 1 (13:58):
If you're making quality music and people you know are
fucking with it, you gotta look at it. I look
at it like real estate, you know what I'm saying.
Every project is like a piece of real estate.

Speaker 4 (14:11):
All right.

Speaker 1 (14:11):
Coolest album might not be one of the better ones,
but you know, this makes me this much a month,
this one is, this one was a killer, this one
makes this much a month, you know what I'm saying.
So I just look at them like real estate. So,
you know, with the streaming, it's cool. But that's why
I started to like when I first started to come

(14:33):
back after my like my second win, I started putting
my shit up digital downloads. I was doing like forty
four digital download, so I kind of got that block hot,
you know what I'm saying. And you know, my fans
was fucking with it, cause I just looked at it like,
you know what, the money in streaming wasn't sustainable yet
because I didn't build up a big enough catalog for

(14:55):
it to make me any money. So I was like,
you know what, I'm gonna put it up for like
forty your digital download, and my fans ate it up,
you know what I'm saying, because I felt like, you
can't tell me that my album is not worth a
bag of weed. Wow, here exactly, punk ass dollars. You
spend one hundred dollars on your sneakers, two hundred dollars
on your sneakers.

Speaker 3 (15:15):
I think that's the new model. Oh definitely that's the
model right there, the new model. You know, them up
as a digital download forty fifty dollars. I told them,
you know, for example, like you know, shout out to Stizzy.
They you know ate up with the box, right, I said, Man,
we need to do a program with them, man, where
we put a CD up in that same box and

(15:36):
ass you know, you go do in stores. You know
it's better, you know, if you sell two thousand of
those at two hundred three hundred dollars a pop and
you're putting your album on its half of them streaming platforms.
But I know, me as a core fan, if I
see my favorite gangster rappers, the mcates of the world,
the Scarfaces, the.

Speaker 5 (15:55):
Q, and I smoke weed too, oh yeah, that's the
perfect combination, right yeah, fuck it, I'm all I was
gonna get the nigga, I was gonna get the CD
or download the ship or whatever, and I'm finna go
give me some weeds, so.

Speaker 4 (16:11):
Spend that.

Speaker 5 (16:12):
You know, I've something else too. I'm gonna say, we
gotta do with that, man, something else, do with that
and really have it like set off.

Speaker 3 (16:23):
That'll be hard, man, because I noticed, man that you
go to the non traditional route, and that's just more
lucrative because I'm starting to discover it's a community of people, man,
that's really out here making their es, they making their
bag and they doing it their way. They don't have
to compromise their stuff. How'd they treat you? You do

(16:46):
a lot of stuff over in Europe.

Speaker 1 (16:48):
Yeah, I'm getting ready to go back at next month.
I'm going back over there.

Speaker 3 (16:52):
What's your favorite spot over there so far?

Speaker 1 (16:56):
Damn, it's been between Portugal and in Spain.

Speaker 3 (17:02):
Okay, Stay is always liked London man for some reason.

Speaker 1 (17:06):
Man like, oh yeah, I can't forget London.

Speaker 3 (17:09):
Out to London, I forget that. London got a certain
culture to it. You know, they got just left from
over there. Yeah, they got the East Indian And I
tell people don't go over there in the food they
with it over in London.

Speaker 1 (17:19):
Oh yeah, nah, hell no, you can't play with them,
you know, London don't play no games.

Speaker 5 (17:22):
You can't play a lot of them spots Man, Germany, London,
Like there's a lot of cats man, especially over you know,
I just left from over in Europe. I probably went
to what about seven different countries while I was over there. Yeah,
hardcore fans. They appreciate I noticed what a nigga do.

Speaker 3 (17:42):
That's the thing man over here in the States, I
feel like it'll be a cat that's coming to a
rock Marciano ship, right. He looking at you. He's a
fan of you, but he wrapped itself. So he's standing
in the crowd like this, Yeah, because he almost feel
like I'm equal to you. I can't like you because
I do the same thing. But old friend Europe, they

(18:03):
treat you like you, Michael Shackson. The fact.

Speaker 5 (18:07):
I mean, I don't know if I want to they
they I don't know if you want to use the
term they appreciated more. It's just a difference, you get me.
You know, it depends on who the fan is. You
know here, you know niggas feel here. You know, you
got a certain image to uphold, you know, as far

(18:29):
as the nigga off the block just too cool exactly, Nigga,
I'm not going on the fucking show like screaming and rapping.
The niggas raps the shit. Nigga, I can go over there.

Speaker 3 (18:41):
I'm a nigga. If I'm gonna rock him show, I'm
rapping all his words.

Speaker 1 (18:44):
I'm up front rapping with him, I ain't gonna from that.

Speaker 4 (18:49):
Niggas looking at you like a look at this up here?
Just they just wrap it.

Speaker 3 (18:58):
If you go to enjoy your show, you pay your ticket.
You know, tis be two hundred dollars. Sometime you pay
your two hundred dollars for your ticket. Music is timeless
and it's a time Caps who take you back to
when you were a little kid like me. I'm a
big daddy Kane rock him me too. That's my era
right there. So whenever I hear that, whenever I play that,
I'm at home making a sandwich. Y'all might be making

(19:18):
a sandwich, man might be taking out the trash. But
I'm vibing because I'm fifteen again. I'm fourteen again. So
I enjoy this stuff because music is really infectious and spiritual.

Speaker 1 (19:27):
Bro Oh, definitely, that's how I look at it. That's
how I look at it. I don't play with it.

Speaker 4 (19:33):
I'll hear it.

Speaker 3 (19:34):
You can't. I tell people, man, like you said, the
fans know when shit is not authentic, right, and they
know that if it's somebody, if I'm rapping along, I
don't give a damn about looking like a weird Oh,
I'm up the jam when I'm paying viving. I paid
my money to come up here. I'm enjoying myself. Most
people are too cool a I'm taking their stand up
there like this.

Speaker 5 (19:54):
Yeah, well that's the atmosphere because you know that might
be a nigga feel like like you said, niggas be
feeling like you know, Uh, my my affiliation on my
street presence doesn't allow me to enjoy some shit like that.
You know what I'm saying, Uh, cause you'll notice niggas

(20:16):
just hanging the wall or like you said, arms crossed,
not wanting to even Uh then, why you pay your
money to come here, man, just to stand around and
look mean and mad and mean, mug and mad, you
know what I'm saying. So I get it, man. Uh,
it's just the presence, like you said. When I go
overseas man, they like, man, we don't get this ship

(20:36):
over here. And then you y'all from the States, you
get me, you know, and then they look at it
as y'all coming from the place where you know, hip hop,
original and nigga y'all got, y'all got the motherfucking two
pox and the biggies and y'all got all these motherfucking
you know, they just celebrated more Man might be.

Speaker 3 (21:00):
Here right there though too. Man, I think when you
don't see something as often, it's more endearing to you, like,
you know, because you figure you and him stead that's
like a hip hop hot bags. You feel what I'm saying.
You got legendary stuff out of there. So I'm pretty
sure when you was coming up you saw EPM D.
You might see EPM D Baill, you might see Eric
Simon dipping down the street. Absolutely, And because back then

(21:22):
it wasn't a whole lot of money and hip hop.
I always laugh when I hear the one you got
to chill when my boy does I get a thousand
of show? And he said that with confidence, like I
get a thousand show? Just many places, you know, deal
with do Jackson on a one on one basis for real?
And even when Biggie he said five jez a show gate.
You think Biggie was a huge jazz rse man only
getting five thousand the show? You feel what I'm saying.

Speaker 1 (21:45):
Big money back then too, Yeah, That's what I'm saying.
You A fire call back then was a forty thousand
dollars car exactly.

Speaker 3 (21:52):
So them cats, you saw them cats, they were accessible
because they wasn't making the millions of dollars yet to
just be gone. They were still accessible. And I think
when you see people that kind of take away like,
don't nobody really want to know fuck with Clark Kent?
They want to see Superman?

Speaker 4 (22:06):
Right right?

Speaker 3 (22:07):
You feel what I'm saying, Because if a niggas see
you in the grocery store, you kind of don't lost
your superpower. It's not like, oh man, this nigga just
like me. He's sitting on their toe with all the
bros he bagged and all the money he got and
he's shopping in the same place. To some people, that's
just hurting on the subliminal lever.

Speaker 1 (22:22):
I mean, I used to see you. I used to
see these dudes, you know, moving around, see Roy Cam
spinning through in the bends. Used to see Ben's Marky
all the time. Used to be in the hood at
the blimpis, at a sandwich spot and Granddaddy ayu he
from my neighborhood too, and you so yeah, so I
used to see him over there all the time. So
I could actually see these brothers and it made me

(22:45):
like Damn, this is I could do this shit because
I see these people, you know, so you know I
will always see Bess at the Blimpy spot, bad bitches,
big truck, jewelry on and shit like that. Shit was like, wow, man,
I could I could be that.

Speaker 3 (22:58):
Who would you say the most some Who would you
say influence your style? Morgause? You got a lot of
MC's coming out of him instead, Man.

Speaker 1 (23:05):
I Kim Yeah, I'm a rock him baby. You know
I'm a rock him baby first and foremost. But you
know after that, you know, you got the g raps,
you got the slick. You know, I told eight eight
cent my style that's in the pot, like you know
what I'm saying. Like even like I look at you know,

(23:25):
Compta's Most Wanted kind of like the path I took
because then when you had everybody was running around, Oh
it's n w a sis Cubans, I was like, Yo,
this comps most wanted ship. Though, this is this is
my ship. You know, I love the other ship, but
I'm like, this is my style.

Speaker 3 (23:42):
But you know why I fuck with them because I
always was a huge hip hop here. I love hip hop.
I like sampling, I like breaks, you know, That's why
I love it now, because they got the ship like
track lid to where you can go get the samples
and then get the stems and all that and there,
so you just like, man, I gotta do Man, I
ain't got to try to filter this out no more.
I'm taking these horns from here and I'm putting this

(24:02):
right here, this Bra singing. I can get a reef
of Franklin's vocals and have her back there and I
only got to pay two hundred dollars. They're putting everything
out there right now. I love that era of hip
hop to creating something from nothing. Oh definitely address And
that's what I'm saying. And that's compass Most Wanted because
when I first heard contains Most Wanted, I heard a
dude from Compton. But it wasn't the regular stuff. It

(24:25):
wasn't because I liked the bember bump too, but I
didn't want to hear that all the time.

Speaker 4 (24:30):
I didn't like that.

Speaker 5 (24:32):
It's not that I didn't like it, it's I thought
it was typical get me, because that's what made the
Easies and the nwas and it basically is what cultured
our style. The Zap, the Rogers, the George Clinton's that

(24:53):
was used a lot on the West Coast, And I
always tell niggas, I want to to be more cinematic
with my shit. I didn't want niggas like if you
was finna ride around and my shit, nigga, you was
finna do somebody like, I ain't want you riding around
and my shit happy and like yeah, nigga, yet no

(25:17):
he was. I wanted you to ride around to my
ship like the mobsters getting ready to go pull a
hit on a nigga, or nigga, you and the motherfucking
scene in a movie and it's finna get fucking serious
and crazy.

Speaker 4 (25:33):
That's what I always wanted.

Speaker 5 (25:34):
My ship was always cinematic because where the era I
grew up in, niggas shit was crazy as a motherfucker.
And always used to tell niggas, ain't nothing fun over here.
I don't see how niggas riding around thinking life is
fun and you know, partying and shit like nigga, fuck

(25:56):
that shit, that shit ain't happening, or in real life,
niggas getting shot up every day, niggas going to jail,
niggas on the corners trying to motherfucking survive, we piecing
up on boxes of chicken and forty ounces and shit.

Speaker 4 (26:12):
You know in the neighborhood.

Speaker 5 (26:14):
You know, the thousand niggas man trying to piece up
on a twelve piece and get a couple of forties
and shit. That was real life. Niggas was coming through
with the lights off and dumping and shit like that.
So I couldn't write songs about like, you know, it's
bitches going down the street and we going to the

(26:36):
party and shit like Nigga. I'm like, niggas is finna
shoot this motherfucking party up in my record, That's what's
finna happen or or or nigga the battle ram fit
to come through the front door while niggas all in here,
Dad sitty partyer this shit. Yeah, niggas finna get shot

(26:57):
up around this motherfucker.

Speaker 3 (26:59):
You come from him. Stayed in New York. Y'all had
some serious king pins. Y'all had king like lad king pons.
York had king pins. Y'all have balls. So you saw
that whole crack Jenner.

Speaker 1 (27:11):
That whole crack thing, notorious block. My whole block is
a project. My whole every the whole strip is project.
So my my my block. They didn't did documentaries about it,
this fucking uh the raid, the raids from remember Public
enemy Ship?

Speaker 5 (27:31):
Uh.

Speaker 1 (27:31):
I forgot that song they did about crack and they
showing some of the raids from from uh from my
actual block. So you know, I'm from Terry Save, Terry Save.
You know, it's like a notorious like it's still it's
still littered with drugs to this day. You know what
I'm saying, Terry Sava is still a notorious block. So

(27:52):
like it was saying, I wanted my music to feel
like how how we feel. I will always wanted my
music to be the background or how when we was
out there hustling. I wanted my that's it. So that
was how I wanted my ship to sound like the
pissy hallways. You know, I just wake up. You know
fiends had their couches in the hallways sleeping, you know

(28:14):
what I mean, that type of shit, you know. So
I always wanted that. And even when you said cinematic,
that's I still say that to this day when people
were like, how you pick your beats? I picked my
beats and I think I think of it like a
movie and I feel like when my beat play I
wanted to feel like this is the part of the
movie where I walk in. It's how I want it
to sound. So Yeah, So the music and all of that,

(28:37):
the drug eraror and all of that, that's what the whole,
that's where it comes from. Because I always wanted my
ship to be the soundtrack to what we did on
the block.

Speaker 3 (28:46):
Yeah, man, because I know Kools you rapped. I'm gonna
tell you that. Who was nice from over there? Man,
No nobody crying. Daddy IU was a bad motherfucker.

Speaker 1 (28:55):
That's the big homie that was on.

Speaker 5 (28:57):
He was on the label with me. Yeah, back in
the day. Is when I was signing the epic. Back
in the days, Granddaddy IU was over there.

Speaker 1 (29:04):
Recipe to grand Daddy Yu.

Speaker 3 (29:06):
You know that.

Speaker 1 (29:07):
That's the big that's the big bro.

Speaker 3 (29:08):
Man.

Speaker 1 (29:08):
He took me under the wing early when I was
trying to get on and he put me on some
records and stuff like that.

Speaker 3 (29:14):
Yeah. I think that's necessary, man. I think everybody should
go back and do that like once, because that means
a lot. Man, that means a lot. And I'm pretty
sure you picked up some jewels from him.

Speaker 1 (29:24):
Yeah, I mean, just to have you welcome me into
his home. Like, you know, I understand Big Daddy Iu
is a cold, chilling artist. Like to be able to
like you know, be able to make music with him
and get game from him firsthand. All of that stuff
like that gave me all the confidence in the world.
When somebody like you say your rock you nice. You

(29:46):
know what I'm saying, You're gonna be something. That stuff
like that, It just it faed my confidence.

Speaker 3 (29:51):
That makes big as difference.

Speaker 1 (29:53):
How did she from my town too? Even though he
wrapped Queen's Bridge, you know what I'm saying, but he
also wrapped him Stead as well.

Speaker 5 (30:00):
Up.

Speaker 1 (30:00):
Yeah, he grew up around uh, you know, around the
town too.

Speaker 3 (30:03):
That's what I heard, you know what, because I read
his book and stuff. I'm a the avid book reader, right,
so I read his book, especially anything about hip hop.
I guess making my business to know about the culture. Right.
So you in New York City, How the hell did
you get hooked up with Carson Dally?

Speaker 1 (30:19):
Oh that's crazy When Loud Records was still popping, Like
I was getting ready to do a deal with Loud Records,
I had a crew caller, you win. So you had
Scott Free and Maddie c They was like two of
the biggest an r's under there. So they bought Woo
Tang and you know Pond and all these guys over there,

(30:41):
you know what I'm saying. So they were bringing us
over to Loud at the time, and Loud folded while
we was doing our deal. So Steve Rifkin was the
owner of Loud. He had a younger brother, you know,
John Rifkin, and he he was clicked up with Carson Daily.
So they decided they was gonna do a little label,

(31:03):
you know what I'm saying. So we was dudes of
the Free and uh and Maddie c was working with.
So he just brought us over to them, like yo, yo,
these guys are nice, yo, get them you know what
I'm saying, Get them a shot. So that's how that happened.

Speaker 3 (31:17):
That's crazy, man, because Carson Daley was huge as a
motherfucker at that time. That was that was MTV.

Speaker 1 (31:23):
It was crazy because yeah, he's a hip hop dude,
you know what I'm saying. And at that time, I
was still knee deep in the streets. So you know,
he would hit me up after Blue Yo rock whatever,
you know what I'm saying, Like you'll go down to
Western Union go snatch you a couple of thousand. I
was like, Oh, this dude is Yeah, he's official, Like
you know what I'm saying, So shout out there. I
don't I don't forget shit like that, you know, shout

(31:45):
out to Carston Delhi.

Speaker 3 (31:46):
Man, it's enough horror stories. Man. We definitely got to
salute all the good cats. So did you think the
whole label thing is obsolete right now?

Speaker 1 (31:57):
Labeling what and what? What?

Speaker 3 (31:59):
What you mean?

Speaker 1 (32:01):
Sign a major? Yeah, definitely if you well, you know,
if you want to be a superstar and you want
to be in the limelight on a big scale for
the most part, you still kind of need to surfer
on that line.

Speaker 3 (32:17):
A little bit.

Speaker 4 (32:18):
If if that's your if that's your quest, if your
quest is to.

Speaker 1 (32:23):
Be ain't gonna be Chris Brown independent?

Speaker 5 (32:25):
No, unless you unless you know, you just one of
them niggas who hit it off greatly. You if I
tell niggas this, if you fantasize of being uh signed
to a label, you know, because there are some cats

(32:48):
who still have that. I'm signing the Universal, I'm signing
the Deaf Jam. You know what I'm saying.

Speaker 4 (32:55):
It's some niggas who still loan for that you give me.

Speaker 5 (33:00):
And I don't know if it's, you know, economically a
wise decision, But some dudes want that that moniker. I
want to put on that jacket that says death Jam
on the back and walk around. I want to put
on that coat that says Sony Music. And you know,

(33:23):
because some dudes, I get it, I could be independent.
Am I gonna be as big as if they did it?

Speaker 4 (33:33):
You give me?

Speaker 5 (33:34):
Because nine times out of ten, they're not gonna even
put the money behind you to be that.

Speaker 4 (33:40):
You know what I'm saying. They're not gonna drop the money,
you know, on you.

Speaker 5 (33:47):
To feel significant for putting on that jacket you give
me you on death Jam.

Speaker 4 (33:52):
But nigga, you still living on the block. And shit,
see a.

Speaker 3 (33:56):
Dude like Drake though he kind of eating major label
system because he getting a big chunk of money, I'm
pretty much, I don't know. He probably not getting nothing
else off than records.

Speaker 1 (34:07):
You know, everybody else is anybody else?

Speaker 3 (34:11):
Yeah, he's getting a big chunk of money. So I
think if you're in a situation like that, it probably
worked for you.

Speaker 5 (34:16):
Well, it works for a lot of uh uh say
newcomer artists in that era, Like you said, there's only there.
You know, there ain't gonna be another drake come along,
just like twenty years ago there was an M and M.
Who so you get me. It's always hip hop pop. Yeah,
they're there there there. Yeah, it's like a motherfucker making

(34:39):
some gumbo. It ain't just you know what you're getting
when you eat some greens. You know what you're getting
when you eat some fried chicken. When a motherfucker make
a pot of gumbo. Everybody make they shit different and
it's all kind of shit in there.

Speaker 3 (34:58):
This is the one thing I do say because I
look at some of these records, man, and I'm a
conspiracy theorist by nature me too. I'll look at certain
stuff and the record just be out of five minutes,
and you might go on the end there, look at somebody.
You come back to the record that three million views,
then five million. I think it's a big bot game
being played right now, even with the podcast dog.

Speaker 1 (35:19):
It ain't no secret.

Speaker 3 (35:20):
Even when there's a big bot game, and it's whoever
got the little infrastructure to play the game the right way.
Because I'm gonna tell you something the way stuff feels now.
Social currency is a real thing. If you see a
video that God, if you go to a video to god,
let's say twenty thousand views, it might be the dopest
shit ever. But you see this other villea that got

(35:40):
twenty million, it's gonna be a people that it's gonna
be a certain contingency of people that think the video
that got the twenty million views is the better product.

Speaker 4 (35:48):
You damn right. And that's how they turn That's how
they turn that wheel.

Speaker 1 (35:52):
Yeah, that made your money though, But that's what when
you go over to one of the big companies, they're like,
don't worry, we're gonna guarantee your success. They don't always work,
but when they can put that kind of money behind you.
Independent artist, you can't pump millions of dollars into your
marketing and promotion, but they can.

Speaker 3 (36:11):
Man, let me tell you something. If you messed around
and put a single out tomorrow and that motherfucker jumped
up to about seventy eighty million spins by Friday, they
would be trying to flag your shit for something. Oh yeah,
even if it was super legit, they would be oh no,
there's no way.

Speaker 1 (36:25):
Oh they gonna pop up and try to offer you
a bag. They're gonna try to, you know, to see it.
They try to throw you up under the wing.

Speaker 3 (36:31):
And I could tell you, man around when that first happened,
I could say it now because I ain't snitching on nobody,
but I usould sell a lot of I used to
sell records right for different people. I used to distribute
dash them stuff overseas. I met a cat man that
told me, hey, man, if you got an album, I
can guarantee you top ten, and I just start building

(36:51):
with him, I said, because he said, Man, I'm dealing
with a dude that's from northern California, and I'm doing
it for him. You send me five thousand CDs and
me six thousand dollars. I can guarantee you top ten.
But if you want to stay top ten, like the thing,
you gotta keep paying. They were sending I guess a
certain amount of copies to all the sound skin stories

(37:12):
And I'm not gonna liab, but what happened was your
shit hit billboard. You start selling more records. It was
like a marketing thing at one point.

Speaker 4 (37:19):
Yeah, because people see you selling and they feel like,
oh shit.

Speaker 5 (37:22):
I gotta get that look at it or what Last
week it was number twenty, This week it's number thirteen.

Speaker 4 (37:29):
I gotta go buy that, motherfucker.

Speaker 3 (37:31):
It's a skin. That was master. People was the master.
That's a marketing scheme. He was the master of the
marketing thing. Master. People would put records that probably wouldn't
go never come out, and you know in the line
of notes.

Speaker 5 (37:42):
And people would actually be checking for that stuff. Damn right,
they'd be checking. Just built it, built your anticipation.

Speaker 3 (37:50):
He had a lot of hustle. Let me ask you,
this man, was you around what was the vibe in
New York? Because I almost know the answer. When the
whole East Coast, West Coast Shenanigan ship was going down,
what was the vibele? And nobody gave the fuck about it?

Speaker 1 (38:06):
That that's what's crazy. In the streets. I felt like
the industry they took control of the narrative because in
the streets we loved the West Coast music. Like when
I was a care I remember we got our hands
on West Coast music and how raw niggas was with
it and how they was talking. Man, we was playing
that shit like cause that to me, that represents a

(38:28):
time like when you know, we were first jumping off
the porch, and you know, even though we loved our
lyrical artists, but to just hear motherfucker's talking about n
way they kidnapping holes on the records, you know, shit
bitches in the car like it was just like some
shit we ain't never heard. So we really, we really

(38:50):
was fucking with West Coast music real hard. And I
felt like the the industry took control of the narrative
trying to kind of try to make it, you know,
they put a lot of smut on the game and
made it seem like, you know, it was some type
of like hate or animosity on the on the East Coast,
but it was It wasn't like.

Speaker 3 (39:11):
That, And it wasn't like that in the streets out here.
That's the funny thing. That's why I asked, Because the
funny thing is, when that whole thing's going down, I
used to wonder who the hell got beef because I'm
still gonna listen to whoever the fuck I want to
listen to.

Speaker 1 (39:23):
It.

Speaker 5 (39:23):
I wasn't a biggie, It wasn't. I don't even think
it was like everybody like you have to see that
it was really, like you said, the media and and
and people loved outside who really wanted to spin that
narrative because it sold magazines. It kept reports going off

(39:45):
East Coast, West Coast. But it was two motherfucking it was.
It's just like it was two hoods beefing with each other.
It wasn't the whole city beefing, you get me. It
was two hoods beefing with each other. And it just
happened to be. It was a hood on the East
Coast and there was a hood on And I'm saying
that in representation to the record labels.

Speaker 4 (40:07):
You get me. It wasn't.

Speaker 5 (40:10):
It wasn't like they made a bag of money off
all that shit. It wasn't like every motherfucking you know.
Nigga and the hood over here was like, Nigga, we
just gonna jump on the plane and go to New
York and just Nigga.

Speaker 4 (40:24):
I was still doing shit with niggas from New York. Nigga.

Speaker 5 (40:28):
I never had an issue ever, And I was going.
I've been going over there since I first started rapping.

Speaker 1 (40:35):
It ain't real, It wasn't real.

Speaker 5 (40:36):
I never had an issue going to New York. Nigga
going to record stores and clubs and everything. I never
had an issue, like.

Speaker 1 (40:45):
Never second biggest market, like you know, I'm my shit,
I don't we make music like New York make music.
And it's like my second biggest market. So I get
a lot of love out here, so people like you
know that. To me, I felt like it's not reflecting
what the streets and the people are saying. It was
all industry shit.

Speaker 3 (41:06):
But no, well, I'm gonna tell you right now, it's
a lot of narratives that gets fun. And even with
the way the internet is right now, man, it's a
lot of foolishness. So you kinda kind of dig through it.
And again, social currency is the biggest thing is let
me tell you this. You can ask a kid right now.
If you ask a fifteen year old kid, I got
ten thousand dollars in this bag for you right now.

(41:27):
Or I got a fully automated Instagram page. But your
name wanted already got a million followers already. You know
what he gonna pick. He gonna say, Man, give me
the Instagram that page.

Speaker 4 (41:37):
Yeah, ain't page.

Speaker 3 (41:38):
I'm popping already.

Speaker 4 (41:39):
That's a million people.

Speaker 1 (41:40):
Look, even if million people are fixed.

Speaker 4 (41:43):
Yeah, they don't give them people are.

Speaker 1 (41:45):
Genuinely fuck with you, then there is some money there.
There's business there. If if it's really a million people
that fuck with you, but if they just like, I'm
gonna give you a million followers with the blue check,
these people really don't know who the fuck you are. Naw,
that ain't it. But you can make money off of
your you know, like anybody. You know, if you have
a following, you have a big following, you can make money.

(42:08):
So I think a lot of people that with the
social currency thing, they get it twisted because they think
just because they making a fool of themselves that people
really fuck with them. They're more laughing at you than.

Speaker 3 (42:18):
They are, like, well, that's what I'm saying, man, because
it's a lot of dudes crashing out right now. There's
a lot of dudes crashing out right now because they
want to be I don't even know if it's so
much for the money, bro. I think they just want
to be noticed. They just want to be that's the
main focus. The main focus is to get people watching.

Speaker 5 (42:38):
It's like sometimes you know, like you said, this game
ain't what everybody think it is. It takes a lot
to make a decent dollar. But I don't even think
it's about the money. A lot of niggas just want
to be I want to be seen and just heard
like that's what makes That's what makes popularity. Now if

(43:00):
I'm just seeing and niggas is coming in my page
and you know, it don't matter what the fuck I'm
talking about. I'ma be talking about some of the craziest, outlandish,
wildest shit, but I want motherfuckers to come and watch much.
So Hey, that's why I said the other day, there's
no cold anymore. You see niggas who you thought was

(43:23):
the hardest and hardest gangsters and shit nigga on the
microphones right now, spitting like a motherfucking Brad new MC.

Speaker 3 (43:35):
It's certain groups that when you first hear them, like
when I first heard Wu Tang Klan, I knew they
was gonna be out of here. Like when I first
heard Cash rules everything around me, Cream get the money.
I said, Man, this is the coldest shit I've heard.
And I think because they was from long Hour.

Speaker 1 (43:52):
No, they're from statn me moved to Staten Island, meft
from my block, tooleft from uh he from terror side.

Speaker 4 (44:00):
Is that right?

Speaker 1 (44:00):
Yeah? For my projects.

Speaker 3 (44:02):
Is that right? So I'm not real knowledgeable about the
boroughs and so direct him Stay is kind of like Brooklyn, right.

Speaker 1 (44:08):
Instead it is Long Island Island yep. But Long Island, Brooklyn,
Queens all connected.

Speaker 3 (44:15):
Let's all connected, right Yeah?

Speaker 1 (44:17):
Yeah, for me to drive into Queens from from him
Stead at twenty minute drive ten to twenty minute drive,
just like how La is and everything, like a twenty
minute drive, you could just dip over here, like you
know what.

Speaker 3 (44:28):
I said for real, Yeah, unless you living way out
you know.

Speaker 1 (44:32):
The island beg though if you like out Fall, like
out east a Long Island, then yeah you might. You
might have to drive a hour or so. But you know,
I'm from Nassau County, so that's more closer to Quinn.

Speaker 3 (44:42):
So so the WU was kind of like they was
like outside It's almost right.

Speaker 1 (44:47):
Yeah, Staten Island, cause you gotta get a you gotta
get on a boat to go to Staten Island, you
know what I'm saying for the most part that you
gotta jump on a ferry. So they was like, you know,
Staten Island was a little out the way, so when
they came in, it was just like damn these niggas
from Staten Island is like.

Speaker 3 (45:02):
So Stan like the ie niggas. Then they would be
like because you know we got the empire right, you
got a lot of cash out there to get real busy. Definitely,
but they in their own look you know, you got
the shout out, the dirty birdie doggy style lead and
all of them. You know they you know, definitely they
out there doing the thing.

Speaker 1 (45:20):
Definitely, and the wool Staten Island. That was the first
time they kind of like that was like our first
with for some brothers from Staaten Island, like Long Island
been shaken since the eighties, like you know what from
the rock Camp all of that, so you know, the
Dayla Soul, you know, all of that mf doing. So

(45:42):
we didn't have cast since the eighties. So when they came,
it was like, oh ship, we ain't never here with
Statn Island had to bring it the table.

Speaker 3 (45:49):
It was mainland like New York really fucking with them
when they first came out. Yeah, wo took over.

Speaker 1 (45:55):
It wasn't no, it wasn't. I don't fe I don't
remember that being no resistance.

Speaker 3 (45:59):
It could be that came out.

Speaker 5 (46:01):
I was like, oh, this is because it's like when
you know, it's like when music changes. You know, we
all go through the transition of changes with hip hop,
you know you hip hop started for us on the
really on the electronic tip funk type ship. Then it

(46:24):
then it went to you know, the tone looks and
the young yem seas and the ship like that, and
the and the wrecking crews and the motherfucking that type
of ship. And it transitioned over into the streets with
Tila and ice Tea. So people have their transitions, and
even New York, you know, New York went through the

(46:46):
you know, we had the rock kims, you know, the
first lls, the run DMC's, and then we started switching
over and then you had that era where you know,
everybody wanted to make the club Let's drink, Let's drink Chris,
Let's drink, crystyle and money ship Wu Tang was that

(47:07):
fresh breath of air you getting me, motherfucking niggas right,
it's just some regular niggas from the speaking about the
block and dirty life.

Speaker 4 (47:18):
You're getting. They ain't have no like my.

Speaker 5 (47:21):
Nigga was saying. They they speaking on the pissy hallways
type of ship. Like the ship that brought us into
the game, and we ain't seen that ship for a
while because everybody running around this motherfucking shiny suits with
crystyle bottles and ship, you know, and.

Speaker 1 (47:39):
A hundred niggas together. There was another thing about the Wool.
They was deep. They came in the game like everywhere
they went, it was like a hundred them niggas. And
mind you too, I can't. I can't heard the Wool
is stating Island and Brooklyn because jes Dirty, you know,
them niggas from Brooklyn, Master Killer, they from brook So

(48:01):
there was definitely a mixture.

Speaker 3 (48:02):
Oh Dirty Beast. That membre saw that fool of New
Orleans walking around with his shirt off, I didn't I
didn't even know it was him. We in New Orleans
bailing and this nigga got his shirt off. He gets
wrong off y'all singing like like really singing some soft
like Al Green run down Street. You're singing Al Green
with his shirt off, and I'm like, is that him?

Speaker 5 (48:23):
My nigga, Dirty was in Compton and everything my nigga was,
My nigga was, That was my nigga. He I did
a song with Dirty, used to hang out when I
went to motherfucking When I went to Staaten Island and
was in the Can It All Be So Simple?

Speaker 4 (48:39):
Video? Niggas was just regular niggas. Niggas was just regular You.

Speaker 3 (48:43):
Was in the motherfucking Wu Tang movie too. I told
you the series ow me that ship. That shit fucked
me up because you know, I'm sitt up there watching.
I always go back and revisit shit. I watched right
because you always see something new. They had the New
Music Seminar and they got this nigga nigga playing MC eight.
Was like, man, I saw you with minutes. Man, that
ship was hard. He was like, yeah, man, you got

(49:03):
to come to comp and to fuck with a nigga.

Speaker 4 (49:05):
Oh yeah, that was my niggas.

Speaker 1 (49:06):
So New York fuck with Oh yeah yeah yeah that spot.

Speaker 4 (49:10):
Yeah game niggas. Man. I used to fuck with the
New York still do.

Speaker 3 (49:15):
Man. He got a big, big ass base out there.
So you actually got to funk with the War and
some ship, didn't you. Yeah.

Speaker 1 (49:21):
I did some joints with brothers in the War early on.
Actually Buster on one of his albums, I'm on a
joint with him, Go Sin Ray on his Anarchy album.
I need my plot too for that Buster, send me
my gold record. It might be platinum by now. Yeah,
you know what I'm saying. I worked with quite a
few brothers in the War and I worked with with Jizz.

(49:44):
You know what I'm saying. I'm on his album, Like
you know, I love the warl So.

Speaker 3 (49:47):
Let me ask you this man, and keep it all
the way A beam man, keep it, keep it all
the way A thousand dog. We all fans of this ship, right,
We all fans of hip hop?

Speaker 1 (49:57):
Right?

Speaker 3 (49:58):
Did you ever have a feature with somebody and it
kind of fucks you up? Like I can't believe I'm
making a song with this nigga. Hmmm.

Speaker 1 (50:09):
I mean moments like those like you know, Ghost and
Ray and you know what I'm saying, So, yeah, moments
like that was like oh Ship, like you're saying, we're
talking about the bench and being me being pulled up
off the bench for that, like out of everybody Busted had,

(50:31):
Like yo, I'm pull Rock up off of the bench
for this one. So that one. You know, even when
I first got in the studio and working with like, uh,
you know Pete Rock. You know what I'm saying, You
were signed.

Speaker 3 (50:47):
To Pete right for a minute, Wagan, that was one
of my favorites. To man, you were looking, motherfucker dog.
Can you imagining the nigga got Pete Rock beats at
his disposal?

Speaker 4 (50:56):
Yeah, Pete is one of them dudes.

Speaker 5 (50:59):
Man, I got a song with Pete Rock, Peak, got
some Peak, got some soul survivors.

Speaker 1 (51:06):
Yeah, fire Yeah. So you know, to work with because
I grew up, like you know, big fans of these brothers.
So to work with.

Speaker 6 (51:15):
Large professor man another professor, Yeah, large professor. Main source
was the ship you know what I'm saying, like, you know,
so working with Tip that was also like, you know,
to me, this stuff like.

Speaker 3 (51:29):
This was like my favorite now man, because I'm gonna
tell you that main see music for me is time
capsules because when I hear breaking Adams, when I hear
when I hear looking at the front door, bro about
me and my wife we married now I've been made
for thirty some years. That was my girlfriend right there

(51:50):
in that song is the mind of us, because I'll
be breaking up with him and ship with like you
know what, I'm done with your ass and next thing,
you know.

Speaker 1 (51:57):
Back together, back together again, you know what I mean?

Speaker 5 (52:00):
That cuts on that album. I'm looking at the friendly
game of baseball breaking that was a class.

Speaker 4 (52:05):
Just just hanging out. Yeah, I used Yeah, we used
that drive by miss days. It was friendly like I do.

Speaker 1 (52:17):
That piano Ship I was live.

Speaker 5 (52:20):
That was my nigga, willie Z. That was my nigga,
willie Z. That's what he had, willie Z. And then
we had excerpts from Scarface. Remember when the bit when
the nigga, Yeah Gina was.

Speaker 4 (52:33):
Crying, that was her on there.

Speaker 1 (52:35):
That's my ship. You know.

Speaker 3 (52:37):
It was crazy though. That's what I had to ask
this nigga when I first started working with him, who
the hell was playing that piano? Because he had the
one song Ship with the just make the World go
just mob and I had some I had some rock.
I had some falls skates in my trunk back then
and my maximum.

Speaker 5 (52:57):
At the end it switched up and just pay and
the applements of music.

Speaker 1 (53:03):
Had a piano pianist come in and just.

Speaker 4 (53:06):
Take it away, play all my Ship live. I never
sampled anything.

Speaker 5 (53:11):
I would listen to Ship and what I would really
do is how I would create music is the niggas
would tell you. I used to ride around on tour
with a mini tape recorder, and I would get ideas
in my head and I would just hum him into
the tape recorder, and then I come back home and
get with Willie Z and play him the tape and

(53:34):
all that ship I would hum.

Speaker 4 (53:36):
He'd just start and bingo. That's how we create a beat.

Speaker 3 (53:40):
He was a bad motherfucker because I'm gonna tell you
when gangs to make the world come around you mobbing
and it's just real cinematic, and then it just break
down like that and it's just like, man, that's.

Speaker 5 (53:51):
Hard right there. That's why I always said my music.
I always wanted that element, that cinemat like, oh man,
these niggas just killed up, or you know, or or
the whole ship just blew up, or that part where
you know the niggas is finna come killed and they

(54:11):
sneaking in and that music is and you're like, oh,
somebody about to get fucked.

Speaker 3 (54:17):
It sounds real.

Speaker 4 (54:18):
That's my ship.

Speaker 3 (54:19):
And then the piano come in. This nigga come on,
she at confidence in the house, and it's like that's
this shi, it's a whole ship.

Speaker 5 (54:25):
So I wanted my ship, you know, I didn't, like
I said, I didn't want niggas riding around. Not to
say it, but I didn't want niggas riding around happy
to my ship like nigga, I don't that, nigga.

Speaker 4 (54:39):
Now, this is not for you. This is this music
is not for you.

Speaker 3 (54:45):
And I used to tell you niggas got fucked off
listening to some MC.

Speaker 5 (54:51):
When I go to towns and niggas is still you
know them towns, the Cleveland's, the Detroit's, the Chicagos, the
mofu like nigga, not.

Speaker 1 (55:03):
Know experimental, That's what I love about it.

Speaker 4 (55:07):
You niggas do that, nigga.

Speaker 5 (55:08):
Nigga, you used to man, we went on, but niggas
tell me all the time, we did plenty of dirt
off your motherfucking tape. We did plenty of dirt, nigga,
off of your tape. Nigga, your tape got me. Nigga, Man,
you just do not know what we used to do
off that music to drive by.

Speaker 3 (55:27):
Well, yeah, and then when your name got MC in it,
because I know I come to day. If you've got
that MC in your name, that means you are rapping, motherfucker.

Speaker 5 (55:34):
Well that's because you know, we prided ourselves back then
on that the DJ and the MC. Uh You know
my era was was that uh D, the DJ, the
M C MC this MC. Why you see a lot
of niggas from my area with MC and the MC
shan mc ran you know, young MC.

Speaker 4 (55:55):
You know what I'm saying. MC eight.

Speaker 5 (55:56):
We prided ourselves on that MC because use that mean you,
That meant you knew how to move the crowd. That
meant you was the microphone, the master of ceremony. You know,
that's that mic feel.

Speaker 1 (56:11):
Back in the days, your hood had to like sanction
you to just wrap everybody. Back in them days, couldn't rap.
You would have people that would rap niggas to tell you, nah, chill,
that ain't for you. Back in them times, like the hood,
I felt like we selected certain artists like some cats.

Speaker 3 (56:31):
So you had trying to come out the apartment trying
to rhyme, and y'all shut them down.

Speaker 5 (56:35):
I think back in our I think back in our days,
niggas looked at that like, oh no, nigga, because it
was like nigga, you right here in the hood with me.
You go through the same experiences. But niggas just like nigga,
that's a gift. Oh yeah, said there was booboo, Like, man,

(56:57):
that ship tread right. Niggas who knew they shouldn't be rapping,
like you had your certain motherfuckers who thought they could
pick up the mic. But then niggas who you had
regular niggas Like, Man, I don't know how y'all do
that shit. I couldn't do that shit for nothing.

Speaker 3 (57:15):
Yeah, Like the whole m seeing thing that they is
so different like, and I'm it's old now, but the
Drake and Kendrick battle right, that shit got almost to
the point to where it was overkilled at the wild
I was like, it's Dot as my man. I love
k out, but I was like, man, I don't want
to hear no more records, yeah, cause it's like they
was just coming back and forth so quick. Man, you

(57:36):
never even got a chance to breathe on them.

Speaker 1 (57:37):
Yeah, that was the first I never seen a battle
keep rolling over like that. That was crazy.

Speaker 3 (57:44):
And you fuck with that on some shit diggas.

Speaker 1 (57:46):
Yeah, actually, yeah we did. We did a joint for
the Homoe consequence put us on the record back in
the days, you know what I'm saying. This was when
dot was first getting getting started. Yeah, that's crazy. You
reminded me. Yeah, I mean dot all the song together.

Speaker 3 (57:59):
Yeah, got to do my research.

Speaker 5 (58:02):
But then I think, man, and then back in our era, man,
it seemed like dis and was more fun because you
anticipated a fun, nice record you give me. I think
with Drake and Kendrick Battle Man, it got to the
point to where Niggas.

Speaker 4 (58:18):
Was like, damn, my brain hurt, like I'm tired.

Speaker 5 (58:22):
Of motherfucker like nigger like you going to class for
motherfucking regular math and the nigga threw some other fucking
calculus in front of you, and Niggas opened the book
and was.

Speaker 1 (58:32):
Like enjoyed it, though I ain't gonna front. I think
it was the Illis battle ever, you know what I mean.
I was alive and what.

Speaker 3 (58:39):
Really tripped me off for you know how you get
to see a dude kind of fulfill his dream our
knew duck. Man, I'm gonna tell you a story about
Kok and you can't dispute this duck. You remember how
we used to wear the dope she and Gabana shades
like back in the two thousand and threes, and I'm
real cool with punching top. You know they over the
spot in Carson. I left my sun glasses over there,

(59:02):
and I paid like twelve hundred dollars for them glasses.
So I'm like, fuck, I left my glasses because you know,
if you leave your glasses in the studio, some nigga
go wind up wearing the motherfuckers.

Speaker 4 (59:10):
Why ain't the motherfucker's stole.

Speaker 3 (59:12):
Yeah, so I see kadot he in the studio, maybe
like they win somewhere. I think they win the road
with game or something. He come back, I come back.
I see him with my glasses. Them motherfuckers is all
scratched up and everything, and I'm like, man, what you
do to my glasses? Bro on my bad? And then
I remember, I just remember funny stuff with Doc, like

(59:35):
Dot wouldn't have no belt and he'd be using his
shoe string. And I say, man, now that motherfucker go
buy any gook she belt, every gookie melt and the
motherfucking them all.

Speaker 1 (59:43):
He won't, don't give a fuck. He just rocket shotring.

Speaker 3 (59:46):
But I always knew that nigga was nice.

Speaker 1 (59:48):
Yeah, now he's super nice.

Speaker 3 (59:51):
I always knew he was nice, though, Yeah.

Speaker 1 (59:53):
He's super nice. I mean shit, I mean, you know
that's what this shit is all about. Man, I mean,
sparring was how we came up. Like I was saying earlier,
like back in the day, it's only be somebody from
the hood, Like the hood maybe had one two people
back in the days that somebody pull up talking about
they gonna rhyme. I was definitely one of the people, like, oh, word,

(01:00:14):
y'all think y'all got somebody nice? Oh yeah, look go
get rocked, get rocked.

Speaker 3 (01:00:19):
Oh so your people put you up against other people?

Speaker 1 (01:00:22):
Yeah, or we go to other hoods and shit like that.
You're like, yo, y'all think y'all got niggas to get busy?

Speaker 3 (01:00:26):
I cool.

Speaker 1 (01:00:26):
We go over there and you know, and clean them
niggas up.

Speaker 3 (01:00:29):
And that's how.

Speaker 1 (01:00:31):
That's how you make your name back in the day.

Speaker 5 (01:00:33):
That's what I used to do in high school. Used
to go to other schools and battle niggas.

Speaker 4 (01:00:38):
That's how.

Speaker 5 (01:00:38):
That's how me and Snoop battled each other at the
park one day in high school.

Speaker 4 (01:00:43):
Wow, yeah, I used to just go around. We should
just go around battling niggas.

Speaker 1 (01:00:47):
Won that battle won that one.

Speaker 5 (01:00:49):
I couldn't say. We was both We both got down
and chill was my beat box. So yeah, we used
to go around just battling niggas, and.

Speaker 3 (01:00:58):
Snoop was just out there, just Snoop had freestyles like
a motherfucker.

Speaker 4 (01:01:01):
Definitely.

Speaker 3 (01:01:02):
Luke used to walk around probably high school with a
ghetto blaster. Well you know the big boom boxes, the
big boom boxes like radio raheen.

Speaker 5 (01:01:11):
Yeah, I had me one too. Nigga, a little sonic nigga,
a little son with the lights and shit on them
lights on that money. I had a little sonic man.
I went through all them little phases man with I
would get the because they wasn't playing a lot of
hip hop on the radio, but they started getting a
little specialty shows on Friday night and Saturday night.

Speaker 1 (01:01:30):
That's when you were taking That's how I used to
make my tapes. I used to listen to the end
of the radio station of college radio stations and make tapes.
And that's how I ended up hanging out with like
a lot of the uh you know, a lot of
the older a lot of the older brothers. And she
used to you know, bring me on like missions going
out the Harlem and ship like that. So I saw
a lot young because I would make them tapes. It's

(01:01:53):
like then we gotta bring rock rocked and stayed up
and made them damn tapes. So you want to ride
around and hear the new ship. I had to tape man.

Speaker 3 (01:02:00):
So since you were a real lyricist, Man who is
the illest ever to come out of him?

Speaker 1 (01:02:05):
Instead him stack out of him? Stad, I gotta say Prodigy, Man.

Speaker 3 (01:02:14):
Got Prodigy was underrated man Like, yeah, he was hard man.
It was at one time. At one time, Man motherfuckers
was talking about him like he was the best rapper.

Speaker 1 (01:02:26):
There was an era when p was top dog.

Speaker 3 (01:02:29):
I tried to tell people that it was rhymes man.

Speaker 5 (01:02:33):
Yeah he was.

Speaker 1 (01:02:33):
He had an errow where he was top dog.

Speaker 3 (01:02:35):
Joe Mob Deep. You know what, Dog, I'm gonna tell
you that's who your antithesis is. CMW and Mob Deep
because both of y'all was dark as hell. A CMW
Mob album would have been hard. That'd have been so
motherfucking hard, would have it?

Speaker 5 (01:02:51):
You do?

Speaker 4 (01:02:52):
Yeah?

Speaker 1 (01:02:53):
I met them doing my my first at at five
ten studios. I met them when I was in junior
high school. I was in junior high school and one
of the one of the Bomb Squad Underlink members. He
used to make beats. Uh. He still make bea shout
out to sleep Kurt when young, but he used to
let us come to the studio and make make music.

(01:03:14):
So one day after school we went to five ten
studios and I session ended up getting interrupted by marb Deep.
This is what I think. They was poetical profits at
the time.

Speaker 3 (01:03:24):
That's when the yeah, I had a deal.

Speaker 1 (01:03:27):
I remember me and my boy we junior high school.
We like how these niggas got a record. We had
no idea how to get a record deal, but they
had a record deal. I remember they had New Jordan's
on and and you know what I'm saying, they was chilling.
You could tell like you want to be signed?

Speaker 3 (01:03:42):
Did you want to be signed the def jam?

Speaker 1 (01:03:44):
Hell? I mean back in the days, have you that
would everybody?

Speaker 5 (01:03:51):
Yeah?

Speaker 1 (01:03:53):
Yeah, that of cold chilling, that'd have been beautiful.

Speaker 5 (01:03:55):
That was nigga. I don't give funk where you was, nigga.
If you was a them, see back in them times,
your dream was to be signed to Deck. Come on, man,
niggas had public enemy l L.

Speaker 3 (01:04:08):
Did you ever have an opportunity to sign the dip jam?

Speaker 1 (01:04:10):
No?

Speaker 4 (01:04:11):
I never had, nig because I signed to Sony and
once I was with Sony. That was it.

Speaker 5 (01:04:16):
I felt like ship, who can get bigger than Michael Jacks.
I'm on the label with Michael Shade and Pearl Jam Nigga.
I felt nigga, we got bread over here. So I
felt like nigga. But they never experienced with hip hop.
They didn't know what the fuck to do with you

(01:04:37):
was profitable for them because y'all, but yeahs far three
straight to three three straight gold albums.

Speaker 4 (01:04:43):
No, we well, probably, I don't know. I know our
first album.

Speaker 5 (01:04:51):
That was with Capital though, and we, like you said,
we got caught up in that that label Fold and Ship.
So our first album, It's a comptant thing, was one
of those situations where the record came out right when
they was like basically while they was closing the doors,
the boxes was going out the back door, you feel me,

(01:05:15):
and so there was no body left to promote the record.
And it's still like, nigga, I think my first record,
our first record is Compeds Most Wanted sold about two
hundred and something thousand copies, So that made that made epic,
go shit, these niggas can do two fifties any nigga.

(01:05:37):
We didn't have nothing I had. I had one video
One Time got for them up.

Speaker 3 (01:05:44):
That was a big record out here though.

Speaker 4 (01:05:46):
Well out here, it definitely was.

Speaker 5 (01:05:48):
Uh so with that delayeled Epic was like shit, but
they didn't know what to do with hip hop. They
was trying, but you still got a bunch of motherfuckers
who ain't experienced in hip hop trying to run a
hip hop label.

Speaker 3 (01:06:09):
Yeah, well right now, you the boss of your own shit, righte.
No major distribution in the background and nothing.

Speaker 1 (01:06:16):
I mean, I got distribution now, you know what I'm saying. Now,
I'm rocking with Equity, So yeah, I did a situation
with Equity, so they doing my distribution.

Speaker 3 (01:06:26):
That's good. That's Jay and all them, right, Jay and
them most shit. Yeah that's some good ship. But you
get to run your own plays now.

Speaker 1 (01:06:35):
I'm still my own label, you know what I'm saying.
We call all the shots, and you know it's still
the same thing. We just have more help now, right, Yeah,
we got a little help now, but still everything. How
I want to spend budgets and how I want to
market and promote, that's all on me. I call all
of the shots.

Speaker 3 (01:06:53):
That's what we're looking to do now with this next album,
looking for the right situation to where you can have
because you need to me when you artists of y'all caliber, especially,
you need somebody on the inside the label that's gonna
do a little work. Not necessarily to run the whole
play because that's why you got brothers like me and
dough Boy and stuff like that to go, you know,

(01:07:13):
run little other plays. But you need somebody up in
there to make sure. Let's make sure he get this playlist,
and let's make sure he get this is the song
of the day on Apples.

Speaker 1 (01:07:21):
Algorithms, you feel what I'm saying, get you up in algorithms.

Speaker 3 (01:07:23):
You're right, and you know, get on certain things or
you not go win. That's what I tell people. I
was talking to one of my homies. He was like, well,
I'm just gonna put the next album out through his
tune core. I said, don't do that. You go fuck
that man's career up, I said, because there's no label
services over there. All they go do is take your
ninety nine dollars and you need something because nowadays, with
this streaming shit, eight might really go in the studio

(01:07:47):
and do a song with Kendrick, But the way this
shit or Spotify might not put the shit up, and
you coming out with your whole campaign and they ain't
got the shit on the platform because they're not sure
if it's clear. Everybody's so pateaches nowadays worry about somebody
seeing them. You need somebody can call and say, hey,
that's legit. Let me sing you this paper off here,
you know, and you got this different now man it is.

Speaker 1 (01:08:09):
I mean, you still can run it up if you
go through one of those other side, but you still
gotta have some type of marketing money on your own
or have some kind of platform to make sure that
it's noticed because they can't. You know, if you just
going through like a tune car, distro kid or whatever,
they not gonna make sure your ship is at the top.

(01:08:30):
When they say new hip hop albums and things of
that nature, you ain't gonna get none of them services.

Speaker 3 (01:08:35):
Because I'm gonna tell you this, tune core and then
other people only interested in one thing. That's that thirty
nine whatever you play. Oh, you got distribution out everybody.
You got distribution. That shit gonna be everywhere. But when
you were an empire or equity, even the ship, they
got the video and all the mother people you gonna have.

Speaker 1 (01:08:57):
A chance to win differences.

Speaker 3 (01:08:58):
It's like I used to do.

Speaker 1 (01:09:01):
I used to upload my shit myself and all of that.
So I do notice the difference, you know what I'm saying.
Even though I was making some money, you know what
I'm saying. But I also had a brand, a quality
brand that people trust. So it wasn't like I was
just coming in there street a new brand, new or
stet like that. But yeah, but I was noticing, Like

(01:09:21):
you know, when people you do a situation whe empire
or equity or whatever. You know what I'm saying, these
places now you can make sure you can muscle your
way a little bit more up in the algorithm or
your video play. Like take fans as if eight video play,
it ain't no coincidence that Kendrick shit come on after
your shit just automatically. They make sure that you get

(01:09:44):
them spots. So when you just forget you playing something
and then something just plays on afterwards, somebody pulled the
play to make sure that that's what's playing next and
got them in that algorithm. So that's what's important. To
make sure you don't forget.

Speaker 3 (01:10:00):
Man, Whi's next on the horizon?

Speaker 1 (01:10:02):
Bro?

Speaker 3 (01:10:02):
What's the big move.

Speaker 1 (01:10:04):
My next I'm working on another project. I'm about to
tour next month. You know, I'm just doing a lot.
I'm gonna do it. I'm about to do a project
with producer joint for my man Knowledge the Pirate. He's next.
I got another artist, Great Guard, He's coming next. After that,
I'm producing a joint for TF And I'm pretty.

Speaker 3 (01:10:26):
Sure you're gonna get one on the eight album, right,
We're gonna get that rock Mars.

Speaker 1 (01:10:30):
I'm looking that the fact. So yeah, so we're doing that.
I got I got a few albums that's you know
that that I'm also working on with other producers. But yeah,
you know, I'm gonna do another one with Worthy. You know,
because a lot of people don't know my producing hand
because a lot of like with the sound that I

(01:10:50):
that I helped bring back and pioneer, you know what
I'm saying, a lot of people think it's just like
me on the mic. Now I did a lot of
the product, the production. I'm ready. Are you ready to
start getting my my production hand out there?

Speaker 3 (01:11:03):
Let me ask you this, what would you say as
a producer that it's a lot easier nowadays?

Speaker 1 (01:11:10):
I would say it's definitely a lot easier for an
unknown producer because now you can you could just hit
somebody on social.

Speaker 3 (01:11:17):
Well what I mean is like as far as like
the technical stuff, because I come from the area to
where you had SB twelve hundred you might only have
three seconds of sampling time. Yeah, and now you can go,
like I said, to a website and get the whole
stems to love having this right now, you got everything,
all our greens, so that organ is in there that

(01:11:38):
you can go snatch that if you want to.

Speaker 1 (01:11:39):
You can't compare the times. The stems just took it
to a whole nother level. But you know, I started
off with an MPC. I still use the MPC twenty
five hundred.

Speaker 3 (01:11:48):
I use MPC too, but I use the one that's
in the computer. And I got the live live YEP.
I like that, man, because you get the same field,
and they got them filters in there. Now they got
the SB twelve hundred fifty. It's crazy. So if you
want to run like the thing is, you get the
al green thing. You might still want that warm sound
on there, that warm analogue sound on there.

Speaker 4 (01:12:10):
Yeah.

Speaker 1 (01:12:10):
I still I'm old fashioned with it. Yeah, man, still
using that p and all the computers do everything and
all that shit. I still use the MP I love
the sound for show.

Speaker 3 (01:12:20):
Since I know you on the coach man now you
definitely have to stop by this montherfucker again. We really
enjoyed having you man.

Speaker 1 (01:12:27):
Back up on your shore and we enjoyed it new
ship and hat getting there and cut the fuck up.

Speaker 4 (01:12:33):
Oh yeah, definitely, that's a that's a must.

Speaker 1 (01:12:35):
Yeah.

Speaker 3 (01:12:36):
Whereking the people text you on the shoulder at oh Man, you.

Speaker 1 (01:12:39):
Want to hit me up, just hit me up on
Rockmarsy dot com, Rockmarsie on Instagram, YouTube, all of that.
Just tap in you know what I'm saying and then
were used.

Speaker 3 (01:12:50):
That's another episode. We holliced y'all next week. Well, that
concludes another episode of Against the Chronicles podcast. Be sure
to downloaded heart app and subscribe to The Gangster Chronicles
podcast for Apple users. Find a purple micae on the
front of your screen, subscribe to the show, leave a
comment and rating. Executive producers for The Gangster Chronicles podcasts

(01:13:10):
of Norman Steel Aaron M. C a Tyler, Our visual
media director is Brian Wyatt, and our audio editors tell
It Hayes. The Gangster Chronicles is a production of iHeartMedia
Network and the Black Effect Podcast Network. For more podcasts
from iHeart Radio, visit the iHeart Radio app, Apple Podcasts
wherever you're listening to your podcasts.