The Godfather of West Coast Gangster Rap

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Against the Chronic goals.

Speaker 2 (00:01):
This is not your average shows.

Speaker 3 (00:04):
You're now tuned into the reil.

Speaker 4 (00:17):
Welcome to the Gangst the Chronicles podcast, the production of
iHeart Radio and Black Effect podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles
for my Apple users, hit the Purple Michael your front screen,
subscribed Against the Chronicles, leave a five star rating. The
comment Oaks, youre what's cracking?

Speaker 2 (00:33):
Dog shit?

Speaker 1 (00:34):
I ain't doing nothing, man.

Speaker 5 (00:35):
We just doing what we do, you know, on this
Gainst the Chronicles day, So you know that's what it is.

Speaker 1 (00:43):
Man. What's up people? How y'all feeling?

Speaker 4 (00:45):
What's up?

Speaker 1 (00:45):
Man?

Speaker 4 (00:45):
You know what I told you, man, We was gonna
make it happen. Man, I don't been asking this man.
I think Gainst the Chronicles going on our seventh year
or something like that, and I've been asking this man.
Out of them seven years, at least six of those
every year. Time when you go come and sit down, Todd,
when you go see down eight, put the pressure on me. Man.
We finally made it happen. We got a true content,
not just a conptant legend, a hip hop legend in

(01:07):
the building tonight.

Speaker 5 (01:08):
Yeah, we ain't gonna put We ain't gonna even though
you know, people don't know the significance of what's happening
right about now. We just got a lot of history,
and we got a lot of significance for the person
sitting here with us today, one of my motherfucking.

Speaker 1 (01:32):
Fore fathers. You know what I'm saying.

Speaker 5 (01:34):
Real, if you want to speak on Mount Rushmoores of
West Coast hip hop, then you would be a goddamn
fool if you didn't include this man right here. So
that's what we're doing today, man, letting people know, uh,
the history of where I'm from, the Hub City, you

(01:54):
know what I'm saying. For people don't know content, we
call that the Hub City, you know what I'm saying.
So this is agnificant right here. Yeah, I had to
put pressure on you man. You know, we had a
few weirdos on the show Man, so got to get
no disrespect nobody, But we have a few weirdos show Man.

(02:17):
Niggas get sidetracked and ship, you know, we trying to
express their feelings and they, you know, niggas looking through
the trees from behind you and ship like, what the
fuck is going on right about that? They still still
have to call me with the show is over. Get
the scratch of his head, like, man, what.

Speaker 4 (02:35):
The like we just had like, what's going on top man?
What's cracking?

Speaker 5 (02:41):
Man?

Speaker 2 (02:42):
Man?

Speaker 3 (02:42):
Nothing much man, you know, just been trying to stay
out the way doing me you know.

Speaker 5 (02:46):
The Grand National, the O G Grand National tiny t
at the building for you feel me.

Speaker 4 (02:52):
And you know what I look at man. Sometimes when
they make these lists, especially when.

Speaker 5 (02:57):
Us what we're finlah go into there right the white
doing it right quick, let's do it.

Speaker 1 (03:02):
Let's this.

Speaker 4 (03:04):
And you know Complex just put out a list of
the greatest LA rappers of all time.

Speaker 5 (03:08):
Bro, Well the Game just put out his list too.
Now they said, yeah, you haven't seen the Game. Had
a powerful rebuttal about his position on the Complex. Uh
you know list, shout out to my nigga, the Game.
The Game has released his top one hundred l A

(03:28):
rappers and.

Speaker 1 (03:31):
I got it for it.

Speaker 2 (03:33):
He got to pull it up, he yo.

Speaker 5 (03:35):
You know still you usually do all that motherfucking computer ship.
But you know Game is one of my peoples, and
you know I follow Game. He followed me, so it
popped up on my ship.

Speaker 2 (03:46):
Yeah, like Game, the game always been hard he was
when he came.

Speaker 4 (03:51):
Out of Man the game is vicious.

Speaker 2 (03:53):
You know what. This is what I tell people. This
is what I tell people.

Speaker 3 (03:57):
Compton took like a little dip for a minute, Nigga
when Nigga, oh man, he started the whole trend back.

Speaker 2 (04:07):
You know what I'm saying.

Speaker 5 (04:08):
You know, mad you already you know we went through
periods of when our type of music was it really
acceptable to some of the people unfortunately who run this
record business. But you know, minus that complex put out,

(04:30):
they list Game put out. His list, Game has a
top one hundred, not fifty. So he has page one,
page two, page three, Top one hundred, La Rappers, page
one from Game. Tupac is one, Snoop Dogg is two,

(04:52):
ice Cube is three, Kendrick is four, Himself is five,
Corrupt is six, quick As seven, Dre is eight, Easy's nine,
and Exhibit is ten. That's the top ten on his list.
Do you agree with that?

Speaker 4 (05:12):
I'm not mad at it. I think it's always gonna
be a little bit subjective, you know, to what people
going to have. But I'm not mad at that at all.

Speaker 5 (05:19):
Though the next ten, Nipsey is eleven, ice t is twelve,
be Real is thirteen, Tyler the Creator is fourteen, YG
is fifteen, Dom Kennedy is sixteen, Ren is seventeen, myself

(05:42):
is eighteen, King T is nineteen, and Schoolboy Q is twenty.

Speaker 4 (05:48):
You know what, I would have probably rearranged that a
little bit. But I'm not mad at it though, because
that's his opinion. You feel what I'm saying. I'm not
mad at that though.

Speaker 5 (05:56):
His opinion is my man Toddy t is on the
is number ninety two as one of the top one
hundred LA rappers.

Speaker 4 (06:05):
I made the list and he should have been on it.

Speaker 5 (06:11):
Of course, you can't like like I go on Complex,
I was number twelve on his list.

Speaker 1 (06:24):
I'm number eighteen.

Speaker 5 (06:26):
I don't complain about any of that, or being within
the top one hundred if I was ninety nine me just.

Speaker 1 (06:36):
For the fact that.

Speaker 5 (06:39):
Those people Complex and then one of your peers the
game recognizes you as being somebody significantly foundational as part
of West Coast LA rap history. I don't know if
you should be angry or upset.

Speaker 2 (07:00):
I really can't.

Speaker 4 (07:01):
You really can't because at the end of the day,
that's his opinion, and my our list might have looked
somewhat the same. You might have had, you know, a
few little tweets here and there, but I'm not mad
at him. And to be honest with you, he had
a little bit. He had a right to kind of
be upset. They had him down there low.

Speaker 5 (07:15):
They had him after me, No, yes, before me. On
Complexes list, I think he's number eleven. I'm number twelve,
and Corrupt is thirteen. Yeah, that's what they have. Complex
has him as number eleven.

Speaker 4 (07:31):
I don't. I think, you know, just for the game
is a rapping ass do.

Speaker 5 (07:36):
And then they explain the positioning, They explain why the
artists made the list, They explain.

Speaker 1 (07:47):
What they have.

Speaker 5 (07:48):
Done contributed as far as hip hop is concerned, and
then they base it on I want to say, the
you know, certain certain niggas have certain skills. You might
do the crossover good, you might Alley you good, you
might so some some of it is based on what

(08:12):
I call the history of our music right because we
were known as storytellers.

Speaker 2 (08:19):
We told stories.

Speaker 5 (08:21):
So I think that is one of the reasons why
I'm high upon the list, because when it came to
the foundation of West Coast music, I told fucking stories
phenomenal about the neighborhood and what could happen to you
in this motherfucking situation. Todd told you stories about Nigga

(08:46):
when you on the block and you hustling Darryl Gates
and that might come through it one time, coming through it.
That's how I learned about the dope game and me
and then and then on the list, there's another I'll
just throw it out there. You got Rage here, but

(09:10):
then you got Yo Yo here. Now, when it comes
to lyricism, you would expect Rage to be way higher
than Yo Yo, right, but Rage is a transplant. Is
a transplant. She's from Virginia. Do you feel Rage represented

(09:35):
la as far as her? Because that's why Rage.

Speaker 4 (09:39):
Is on the list? You know what?

Speaker 5 (09:40):
Because of the death Row Run death Rod being West
Coast significant, You get me, so automatically their artists are
put into the West Coast category. But everybody know Corrupt
was from Philly, fucking Rage is from Virginia, Park was

(10:01):
from everywhere?

Speaker 1 (10:02):
You get me? So, does does that out? Does that?
Is that? How that outweighs?

Speaker 5 (10:09):
Because Yo Yo is o G West Coast, you know,
raised in Denver Lane, born in the neighborhood.

Speaker 4 (10:17):
Ran with you know, she's West and you know what,
to me, yo Yo had bigger records, She had more
impact for records.

Speaker 1 (10:26):
Was played with my yo Yo bigger than Afro Puffs.

Speaker 4 (10:29):
Yeah, I think it was on a nationwide basis probably
so you think, so you know what, I don't have
the numbers. And then looking back me looking back, Bonnie
and Clyde was bigger than big. I just think that
Yoyo was probably a little bit more mainstream than and
but don't get me wrong, Raised Blessing, you know, Robin rages.

Speaker 5 (10:49):
But she's a lyrical genius to me. You know, yo
Yo is you know women's you know whatever. We know
yo Yo yo Yo is one of all.

Speaker 2 (11:00):
Our sisters from the backyard, from.

Speaker 4 (11:02):
From you know, speaking to Yoyo, let me say something.
I'm gonna give us to a yo Yo. Can you
come to sit down with us?

Speaker 5 (11:11):
She hit me and told me when she slowed down,
and because you know, she got her shows and she's
doing her dang now she's doing her cooking thing, you know.
But she she has responded to me and told me
when yo Yo is fine as hell. Man, I'm always
like Yoyo. Yoyo's been off Yoyo's Like I said, she's
one of our sisters from from from around the corner.

Speaker 4 (11:33):
She always had that like feel to me, like she
was one of the homegirls around the way.

Speaker 3 (11:37):
You know, with the list, I've never really tripped on
the list because I wasn't the super super like you said,
I just told stories oning on and it was now
if you go by, let's start with the early people
first and then build a list up like that. It's cool,
but you know, everybody wants to be that number one person.

Speaker 2 (11:56):
You know. I like games list, you know, because I
like game exactly. Game did it?

Speaker 3 (12:03):
Man, Like I said, Compton was quiet into the game,
came to me, he brought he breathed the life back
into it, and he started it. And the next thing,
you know, after him, here come who was that Ygi
And yeah, yeah, yeah, yeah, Kendrick. He just it just
all the little homies just all of a sudden.

Speaker 5 (12:25):
It was what they called themselves, uh, the New West
Coast artists. They were trying to to find their their standpoint.
As far as when that time was happening, I remember
a lot of dudes yelling out New West around that
time between the transition of of us just going silent

(12:51):
till game coming back. A lot of record companies didn't
want to fuck with our music, you get me. It
was the fall of death Row, it was the it
was the world wide band against gangster rap. That's how
I lost my nine album production deal with Big Beat Atlantic.
They no longer wanted to fuck with our music because

(13:13):
of what they felt. Pok got killed, Biggie got killed.
Before then, Nigga, we used to tear up some other
fucking conventions scrapping with niggas, and you know, just you get.

Speaker 1 (13:27):
Me, we put a stain.

Speaker 5 (13:30):
Not that it was just us, but man, we was
beefing and our beef spilled oven having a convention that
Jack the rapper, Oh good, niggas here, Nigga's going to
fuck down, like if we on the block in the
hood right now.

Speaker 1 (13:48):
And that scared them, motherfuckers.

Speaker 5 (13:50):
They was like, like I said, Nigga, I had a
nine album. I had a deal for Bam and Chill,
Niggas on the Run. I had a deal for the homies,
little Hawking Bird. I had a deal for my little
brother Nigga. They was like, nope, after all that shit,
they Nigga, and I'm like, wait their contracts. Though in

(14:12):
their side, they was like, you know, hey you, I'm like,
are you fucking kidding?

Speaker 1 (14:19):
Nigga?

Speaker 5 (14:19):
Everything I turned in they would reject Nope, nope, And
I'm like, are you kidding? I'm using the same niggas
I've been fucking with my whole career, Nigga that everything
I turned in they was like, nope, nope, nope. So
I'm like, so, what the fuck am I supposed to do?

Speaker 1 (14:39):
Nigga?

Speaker 5 (14:40):
After a year or tug of war, they was like,
you can go. I'm like, are you fucking kidding me?
They did not want to. So that was our period
of being lost in transition, And like you said, then
when Game came along, it gave us some significance of
an identity of who we work because Game was spitting

(15:02):
some street shit. You know, he was talking about the
block and the hood, you know, the beatog homies and
all that. So it made niggas feel like, Okay, we
got something because I think before then we had a
lot of young generation dudes who were trying to establish

(15:22):
an identity, but it just wasn't you know, the phrase, nigga,
throw that ship up against the wall and let's see
if it's sticking. The ship wasn't sticking. And no disrespect
to nobody, but it just wasn't sticking. When you come
off of Snoops, Dre's eights Cubes, Easies and now it's
like you hearing crickets and fingers twittling because nobody could.

(15:46):
Who was supposed to get a torch to get me?
Who was supposed to take that torch? So I think
that's what happened to a lot of our music on
the West Coast.

Speaker 4 (16:01):
One thing I want to know tied as far as
the street ship, you was probably the first person really
the outlined, you know, outline what was going on cracking
in the streets, right, like you're talking about.

Speaker 2 (16:12):
The drugs and stuff like that.

Speaker 3 (16:15):
Yeah, but but all that technically came from Spade for me,
and Spain wasn't talking about no, no, you know, drugs
and stuff like that in the beginning.

Speaker 5 (16:25):
And see they see before tide gets started, I won't
tied to start off with what made you niggas go
we're finna do this ship?

Speaker 3 (16:36):
It was it was one of them things where I'm
gonna tell you what happened. See I'm in Spade. I
was an enterprise. Shout out the enterprise. I was in
the in the hood, God damn it and my homeboy
we used to have dances and my homeboys and we
popped locked and did all that.

Speaker 2 (16:54):
Rector. There was a lot of us.

Speaker 1 (16:55):
Shout out the.

Speaker 5 (16:58):
First director about my nigga dirl record hit me about
three days ago, had.

Speaker 4 (17:06):
Shot.

Speaker 3 (17:07):
Hear that time say it was hard, the mother was
hard and uh. One day Spad came. We had to
dance in the gym. My homeboy who I started DJing with,
was r A to DJ. That's the one put me
in a DJ game. And Spade was going to Compton
and he came up there and he saw us and
we was talking and all that. But back then it
was like pop lock and shit. So he would take

(17:28):
us around and sometime, you know, go pop lock with
people and stuff like that. Around about seventy nine or eighty,
Spade used to go back and forth to New York.
So Spade was up on game before anybody. He would
call back and be like, nigga, they got the street
blocked off, nigga's own nigga.

Speaker 2 (17:50):
We had the park, Nigga, it's a block party.

Speaker 3 (17:51):
And they got the old school speakers and the DJ
out there scratching. So Spade would come back with one
of them raggedy ass uh record players to kind of
go up. Didn't go over, just didn't go down, and
the nigga be scratching, and he stayed off of Compton,
Compton and Kemp. That's what Spade stayed at and he
would just be mixing shit and then all of a sudden,

(18:13):
now he's rapping shit. But what Spade is rapping is
New York nigga shit. We don't know this shit out here.
So he's doing crash Crew because you walking down the
street with Yo box in your head and he's just
doing all that. This is before the Dope can This
is before eighty four. So he's rapping Grand Master Flashing

(18:33):
and free as five Freedom. You know, nobody know that
this nigga putting in didn't we didn't have records, No,
we didn't have it. We didn't have none of that.
So everything this nigga's rapping, it's New York shit. So
but everybody's buying these tapes from him. Everybody's pulling up
they getting taped from him. He's the master of this shit.
So around about he steadied doing that. So when I

(18:59):
got the comp and probably like eighty I think it
was like eighty. When I got there, I used to
just sit in the classroom eighty one just writing rhymes.

Speaker 2 (19:11):
And my classmate was BIG's Master.

Speaker 3 (19:13):
Ken was Kenneth Williams, then Kenneth Williams, then so Kenny.
He was always telling jokes and ship. But he would
look over at me like, man, what you doing. I'm
riting the rhyme and he'd be like, damn, how you
do that?

Speaker 2 (19:27):
Ship? And he would just watch me do the ship?

Speaker 4 (19:29):
Right.

Speaker 2 (19:30):
So what kind of sparked my street? My street and
my rast was just basic ship, you know, that's it.

Speaker 1 (19:39):
I'm fresh that.

Speaker 3 (19:43):
Around eighty two Barey Mail, Grand Master Flash and the
motherfucking furiously the message. That's why that was my hero.
You know, Man Malely was telling these stories.

Speaker 1 (19:58):
The message. I mean.

Speaker 2 (20:02):
That motherfucker came everywhere.

Speaker 3 (20:05):
Man, When motherfucking mail came, oh man, I I lost it, nigga.
Everything after that I want to rap about was what
was going on around. So by the time I graduated,
like I graduated eighty three, So now the dope game
is coming in.

Speaker 2 (20:25):
The dope game is coming in.

Speaker 3 (20:27):
Now Spade started rapping, you know, more street ship. But
what he's rapping a lot of shit he's rapping. Kenny
started rapping mixed Master Ken.

Speaker 2 (20:39):
So Spade was just Jack Day raps.

Speaker 3 (20:42):
And now he's rapping and he's rapping mixed Master ken Ship,
you know, but it's like it's his, you know. And
Kenny tapes was hard. Kenny had one tape and that
motherfucker was hard, you know.

Speaker 4 (20:56):
And so and so.

Speaker 2 (20:59):
That's how we were.

Speaker 3 (21:00):
He got more into the street thing, you know, the
street rapping about the streets.

Speaker 2 (21:04):
Now, what prompt the Ogi batter Ram.

Speaker 3 (21:07):
Tape was I went over spade house one day, niggas
is buying tapes, and he kind of clown in me, like, yeah, nigga,
you can't.

Speaker 2 (21:15):
Do this, you can't. Yeah, nigga, this is what I do,
you know.

Speaker 4 (21:18):
And he smiled.

Speaker 3 (21:19):
He always smiling with your sh doing all that shit, right,
So I was like, I was hot.

Speaker 2 (21:24):
Nigga got in my little bucket.

Speaker 3 (21:26):
I said, I'm going home, nigga, I'm finna just make
the best tape I can make.

Speaker 2 (21:30):
Nigga, now keep mine. I'm like seventeen, So I go home.
I'm trying to figure out how I'm gonna do this.

Speaker 3 (21:38):
And I got DJ shit at my house, so all
I needed was a turntable, echo box and the motherfucking mic.
So I happened to catch the batter ram on the
news going to somebody house and somebody crying and somebody
doing something.

Speaker 2 (21:54):
So now over here, I said, okay, hold on the
bat around.

Speaker 3 (21:57):
Okay, I grab a raping doup boom boom.

Speaker 2 (22:02):
Boom boom. Then I started writing the batter around.

Speaker 3 (22:04):
The batter around went through my pad, Compton, Carson, l A,
and Watts. So so I come with that one right.
So then I said, okay, I finished that one.

Speaker 2 (22:15):
I listened to it. I said, damn that ship dope.
So I come back.

Speaker 3 (22:18):
I said, I need another one graded because remember back
then records had instrumental. Yeah.

Speaker 2 (22:26):
Yeah, So I grabbed the freaks come out at night
and come on, tell them who who he?

Speaker 4 (22:31):
So nigga.

Speaker 2 (22:32):
Next thing, you know, the clutchs come out at night.

Speaker 1 (22:35):
The clutch come.

Speaker 2 (22:36):
Out at night, and so I was fucking with that.
I did that with finished that one.

Speaker 3 (22:42):
Then Rock said, rock send Nigga, turned on the instrumental
listens to.

Speaker 2 (22:46):
I said, here we go, let me write this one
rock Man, rock Man.

Speaker 1 (22:55):
So then it was hard.

Speaker 3 (22:57):
So then Nigga I went to I see and this
was one that everybody liked, and Uh, I grabbed Jazz Sensation,
this New York instrumental, and that's when.

Speaker 2 (23:09):
I came with, uh, cluck Head, got you Busted.

Speaker 6 (23:13):
Nigga Doom Doom Doom Doom Doom Doom doom. Oh man,
that motherfucker can you feel it? And that was a
SPAD record. He let me use right, So I was like, man,
I was on after that. So when I what I
did was when I finished it, I ran some copies.

Speaker 2 (23:32):
I'm like, okay, let me see how Nigga's gonna like
this ship. And so.

Speaker 3 (23:37):
Firsthood I think I went to was Nutty Black at
the time, and it was nub Tyrone and Gary. They
was brothers. I went to them because I put them
in the in the wrap. Noub Tyrone and Gary was
kicking back when all of a sudden they heard caks.

Speaker 2 (23:50):
You know, Nub got to think of what could this be.
It's like a jungle some time and NBC, you.

Speaker 3 (23:55):
Know, back then we wrapped about just different neighborhoods, you know,
every they got along then, you know, so I sold.

Speaker 2 (24:03):
The tape to them, shout off the nutty block.

Speaker 4 (24:05):
Yeah.

Speaker 3 (24:05):
So next thing I know, these niggas called me back,
Nigga somebody else. You know, they want some tapes. So, Nigga,
I'm over there. It's about six niggas over there. I
slang them the tape. Now I'm out of tapes because
I'm just thinking, I'm just gonna sing the regular motherfuckers
got So I go.

Speaker 2 (24:20):
Back home, make some mo tapes.

Speaker 3 (24:21):
Nigga, I hit front Hood, Nigga, I hit corner Pocket,
I hit fruit Town. It was just niggas. I knew
because niggas like me. So I knew I wasn't no
threat to no type of niggas. Right, So all these
niggas buying tapes. Now by them buying tapes, they running copies,
slinging the motherfuckers they damn self. Next thing, I know,
the fucking record shops. People going in the record shops like, man,

(24:43):
you got the battle around VIPs and everybody is like,
what are you talking about?

Speaker 5 (24:48):
You know I got mine via Santana Block. Yeah, float
the gold album on the street.

Speaker 2 (24:59):
Next thing you know you got you got uh.

Speaker 3 (25:02):
All the low Riders, majestics, all them, every majestics, they
got them, all the low rider dudes, they got it,
and it just twinkled this way. It got so big,
like the record stops start buying machines where they can
just slang the tape because people was going, hey, you
got that original bat Round tape. So next thing I know,
this one FuG Done went all the way up to
the Bay Fody Me and Spade tapes because I put

(25:25):
Spade on the tapes too, you know, so like if
you that's why I love Fody.

Speaker 2 (25:29):
You see an interview with Eody or Too Short.

Speaker 3 (25:32):
They always mentioned me, like, man, we listened to Toddy
t mixed Master of Spad, you know then my.

Speaker 4 (25:37):
Dudes you know forty Short.

Speaker 3 (25:39):
Oh yeah, oh yeah, too Short all day that. That
was my first tours was with Too Short.

Speaker 1 (25:43):
These niggas was the king of tapes out the trunck.

Speaker 2 (25:47):
Yeah yeah, oh yeah, nigga.

Speaker 3 (25:49):
I went When I went to Oakland, it's a story.
I went to Oakland. This I'm gonna get back to
the bat Round. I go to Oakland, I do a concert.
This when bat Around came out to the record part, I.

Speaker 2 (26:02):
Think it was at the Coliseum.

Speaker 3 (26:03):
I go on stage rocket, rock the house, everybody whatever, whatever,
So Too Short go out. I'm looking at this nigga.
Too Short go on stage, nigga, he do his thing.
They going crazy, But I didn't get the impact of
Too Short tip. Right after that concert, we went to
a club, Nigga. When we got in that club, niggas,
I rocked the club. But when Too Short took the stage,

(26:26):
I knew this nigga was the king of Oakland nigga.

Speaker 2 (26:28):
This nigga started rapping, and I'm like, it's this little
kids in the crowd, you know, but.

Speaker 3 (26:33):
Everybody is mother fucking word where he didn't even have
to say a motherfucking word the whole.

Speaker 2 (26:38):
They wrapping his street tape shit, and I'm like, who
is this nigga?

Speaker 4 (26:43):
You know?

Speaker 2 (26:44):
And I was like, man, it seemed like that's still
my dude.

Speaker 1 (26:51):
The streets.

Speaker 5 (26:53):
We didn't have a voice as far as outside of
Metley Mail. Yeah, you're getting me so for a lot
of those inner city kids and you know, poverty, youth
and struggling motherfuckers, these niggas was our voice. That's why
they would look at like you didn't even need no
record deal. This niggas ship was all taped over TDK tapes. Motherfucker,

(27:19):
like I said, got minds from somebody from Santana. Black
nigga went home, put that motherfucker in the boombox. Nigga
was just like God damn.

Speaker 2 (27:29):
These niggas as hard as fuck.

Speaker 5 (27:31):
And if you was a little young, beg nigga, you know,
banging and shit. Man, this nigga was nigga.

Speaker 3 (27:37):
He wrote everybody, everybody, records from everybody, had nigga boomboxes everybody.
And then what happened to was it caused niggas to
look for me. So you know already say record companies
look for niggas, but it was it was just little
dudes looking for me. And then my homeboy are R
I p Key, which was was my manager keeping a culture,

(28:01):
he found me. He come through the neighborhood looking for
me and he see Mike Williams. You see all these
dudes and he asking them, hey, y'all know Toddy Tiat
and they looking at the nigga like nigga, who is you?
They said, oh no, I just won't want to try
to do a record with him. So he grabs me.
They finally connected with me and he's talking to me
and he said, man, Leon Haywood want to meet you.

Speaker 2 (28:23):
So Leon Heywood r P. Was a genius, genius, I
want to do something freaky to you. Yes, yeah, all
that you know.

Speaker 3 (28:32):
So we go to Leon and he talking to me like, yeah, man,
they your stuff is hot on the streets.

Speaker 2 (28:37):
He said, Man, we want to do a record.

Speaker 3 (28:39):
We originally did the tried to do the og bat
around for but it just didn't have that kick to it.
And Heywood was like, man, let's just speak this up.
And so he started listening to records. He listened to
friends and they said, I want something like Friends. Then
he started making Beach similar to it, and then all

(29:00):
sudden he just put his genius into doing the music.
So we started adding little stuff here and there. And
I was at the time working at will wilson Ford
in Huntington Beach. So I was in wilson Ford writing
a song. You know, we had the Battered Home. They
caught it the Battered Home, and track knew it was
a It was a house where I guess they caught

(29:20):
it battered home because we all wasn't living with our
mamas over there.

Speaker 2 (29:23):
Man, it was the funnest house around.

Speaker 3 (29:25):
So what happened was we started, we made the record,
but people steady looking for me, Rudy Party from the
l A Dream Team, I'm at mixed Master Ken House.
They pull up on me and that's how I got
casting over. The dude that was also rapping with me
on batter Around would come in and say different little

(29:45):
stuff on there, but pretty much that was kind of
like how it went in the beginning. And the radio stations,
like Greg Max said, we kept hearing about it, but
they brought us to tape.

Speaker 2 (30:00):
He was like, we can't play this.

Speaker 1 (30:03):
You know what I'm saying.

Speaker 3 (30:03):
Shot the grid because he was one of the He's
definitely the founding father of getting all our stuff done,
you know. So finally once they got the record, the
tape was so big everybody was waiting. So when the
record came out, that sucker shot straight up number one
on all these regud stays from here to the Bay.

Speaker 2 (30:22):
Just everybody loves me.

Speaker 1 (30:24):
So whose label was Eve?

Speaker 2 (30:25):
Jim Leon Haywood?

Speaker 1 (30:27):
Okay, So was that was that already an established lad?

Speaker 2 (30:31):
Yeah?

Speaker 3 (30:31):
Yeah, he just had a few acts. Bat Around was
probably the biggest one we did on us.

Speaker 1 (30:35):
Yeah.

Speaker 3 (30:36):
Yeah, he had blues, he was more of a blues
Little Joe Blue them type of dudes.

Speaker 5 (30:40):
Because I bought I bought the twelve inch and he
had at the time Captain Rat.

Speaker 3 (30:44):
When I first went shot to Captain Rat, who had
bad times, he did a song called bite Him.

Speaker 2 (30:50):
He was in their recording, so that was on e
JM too.

Speaker 5 (30:53):
See, a lot of people need to understand what the
foundation of West Coast music was because before you guys
came along, I don't think we had anything.

Speaker 1 (31:07):
So what were you.

Speaker 2 (31:10):
Listening to as a young dude? Everything?

Speaker 3 (31:14):
But I was probably more into I liked Ice Tea
because he had cold, cold as ice.

Speaker 1 (31:21):
He had cold as ice.

Speaker 2 (31:23):
You know, this was way in the morning. Didn't come.

Speaker 5 (31:24):
Yeah, it didn't come till later, till after you don't
quit and don't.

Speaker 2 (31:28):
I liked it.

Speaker 3 (31:28):
I liked it Ice Tea, you know, because Ice was
still he wasn't really technical.

Speaker 5 (31:35):
And that's what a lot of music was a lot
of because you know, the Lonzo's.

Speaker 1 (31:44):
And all of those dudes.

Speaker 5 (31:46):
So, like I said, we really it was hard to
establish our identity as far as because.

Speaker 2 (31:55):
We had Egypt, we had l a dream team.

Speaker 5 (31:59):
Nobody was speaking, nobody was speaking. Nigga you sell dope,
the battle ram coming through and you know, we didn't have.
So it's good to see how our ship started from
the forefather because I tell niggas all the time, Nigga
was Techno hopship, Nigga Electric Kingdom, and it's.

Speaker 1 (32:23):
Time and craft work. That's what we was listening to.

Speaker 5 (32:26):
We didn't have, or you had to listen to Bobby
Jimmy and the Critters and ship like that, or Legip Egypt,
listen to some rock Berry or something. You know, we
didn't or turn off the lights there. We didn't have.
And and this was even before Easy came along. Like
I said, Nigga Spade and tied Nigga the genius A

(32:48):
love Nigga.

Speaker 2 (32:49):
Yeah, Jesus loved tapes.

Speaker 1 (32:51):
Was was man.

Speaker 2 (32:52):
He'd say the same thing.

Speaker 3 (32:53):
Everybody's still all the same, mother say the same rap
on different motherfucking istra biddles to be by that ship, Like.

Speaker 4 (33:05):
Just off your the top of your head. How many
of them t DK tapes you think you so it
was thousands. It was a lot that thousands. It was
a lot I had to buy.

Speaker 2 (33:17):
I had to buy, like I had to buy like
new machines because.

Speaker 1 (33:21):
You know, still that ship that O G.

Speaker 2 (33:26):
Battum was platinum in the streets.

Speaker 5 (33:28):
Man, in mother fucking streets.

Speaker 2 (33:32):
Because everybody was.

Speaker 3 (33:33):
Everybody was slaying on all the record shops, everybody, Tower,
everybody had was running copies.

Speaker 5 (33:39):
I couldn't have been no more than I couldn't have
been no more than twelve thirteen.

Speaker 4 (33:43):
Tower Records was selling that ship.

Speaker 5 (33:44):
Man.

Speaker 2 (33:44):
Everybody had that.

Speaker 5 (33:48):
Yes, you wasn't banging the clutch come out at night
or batter ram or none of.

Speaker 2 (33:53):
Everybody had it.

Speaker 5 (33:55):
It just made it just made you feel like, yeah,
somebody knows us. And like he said, Nigga, I went
the nutty Block and later line ething hard like a motherfucker.

Speaker 1 (34:15):
Nigga.

Speaker 5 (34:15):
Like Nigga went the nutty block. I went to Fruit Town.
I went see that. That's where I got my I
got my foundation of rapping. I wanted everybody to buy
my ship. I didn't want to alienate, So I'm not
gonna yell out. I'm from dragging me because I want

(34:39):
the nutty blocks to buy it. I want the Campanella's
to buy it. I want the Fruit Towns to buy it,
the front of hoods to Spook Towns, the south Side.
I want everybody to own this ship, because I'm talking
about ship that every motherfucking nigga and Compton go through,

(35:00):
going through other fucking daily after police all that. God
damn it, I don't give a fuck what set you from.
I bet you a motherfucker came through and did the
drive by last night. I bet you the one times
pulled over a nigga from your neighborhood last night. I
bet you they went through your motherfucking car and found
a pistol and some dope in your ass.

Speaker 1 (35:21):
Last you get me.

Speaker 5 (35:23):
You going through it, and I don't give a fuck
if you from over here, you from over there, if
you ain't Compton, goddamn it, you went through that ship
last night, so let me tell you about it, so
you don't.

Speaker 1 (35:34):
You didn't.

Speaker 2 (35:35):
That was so genius, you get it?

Speaker 4 (35:38):
It was.

Speaker 2 (35:38):
It was.

Speaker 3 (35:39):
It was one of them things where Spain. Spain was
like I said, he was always doing this thing. He
would mark a lot of raps. If Kenny made a tape,
now Spade singing some of his stuff on the tape,
you know, Kenny was funny as hell. But Kenny can write.
Then he had like I told him, he had like
one tape but that motherf I.

Speaker 2 (35:58):
Bought me some shrman.

Speaker 3 (35:59):
Boy does smell because on that side of town they
were slinging shirt saying I walked down the street. I
had a client tell you know that was my boy.

Speaker 4 (36:09):
Uh.

Speaker 3 (36:11):
Kenny did real good, you know he was. He didn't
take it as serious because Kenny was in them streets,
you know. So he would do his raps, be on
the streets chilling. You know, had that nice Cadillac with
the bumper.

Speaker 5 (36:25):
Kid.

Speaker 1 (36:25):
You know, niggas had bread.

Speaker 2 (36:28):
Niggas had everybody had money.

Speaker 5 (36:29):
Man had bread and kind Like I said, I used
to be a little kid on my beach cruisers and
would see the big homies ride by and just be like, niggas.

Speaker 3 (36:39):
Is balling a yeah yeah and bat around bad around
did so well. The record the making was great. I
remember being at Wilson Ford. Now I'm in the back
with the cars. I got to move the cars and
do all that. But they playing the radio and all
of a sudden the radio come on and they say, Toddy,
tuh this a new song.

Speaker 2 (36:57):
The bat around niggas.

Speaker 3 (36:58):
Somebody was like, hey, Todd, I think they call you
come here and say that mother fuck came on nigga.

Speaker 2 (37:02):
We lost our mind. Nigga.

Speaker 3 (37:04):
When you first hear your record first time, oh god.

Speaker 4 (37:08):
Man, that means like you made it.

Speaker 3 (37:12):
Bring on the limbos and the big it's going down.
Yeah that nigga like nigga, pull up the limbo on
the big dookie chain. Harrison, thank you. Mister Harrison was
my neighbor. He was the supervisor. Say, man, but I

(37:34):
got records, a record out now. But he looking at
me like you'll be back. So we did.

Speaker 2 (37:41):
Even my first concert. My first concert was crazy.

Speaker 3 (37:46):
We we had to batter at home and me and Mike,
all of us is there. I tell these niggascause your
friends never take your ship serious. I say, hey, nigga,
a limo coming to get me. I got a concert tonight.
Them niggas, niggas shut up, coming to see you, nigga.

Speaker 2 (38:02):
Nobody.

Speaker 3 (38:03):
A little while later, somebody go, it's a limbo outside.

Speaker 2 (38:06):
I walked up. They looking around.

Speaker 3 (38:08):
I say, I look back. I say, niggas, your nigga's
coming or not. It was like, nigga, we going come on,
get on the freeway. Nigga were going down. We get
off on King. We make a left because it's at
the La Sports Arena. Nigga, they looking I was just
looking at the looks on their face. They looking like
damn because they see all these mother called park a
lot pact. That's when I first personally meant ice Tea.

(38:31):
He walked right up to me and said, man, I
like what you're doing. You know, whole respect for ice Tea.
I love Ice Tea and I think Then it was
Scottland Rock and the Dynamic three request line.

Speaker 2 (38:43):
U TFO was on there.

Speaker 3 (38:45):
I was on there, uh and it was a couple
of more artists on there. Short might have been on
there too, but it was a nice concert. Then after that,
my friends was like, okay, nigga, you you're real with it.
You know, they coming to see you. So that was
that was like such a good feeling. I was scared
of shit.

Speaker 4 (39:06):
Now you have in the streets lockdown like you did
when you went after that's your first concert. Was you
tripping off the reception that you got?

Speaker 3 (39:13):
Nah, I was scared at first because we was practicing
and shit, you know, and they was clowning me because
these niggas is balling.

Speaker 2 (39:19):
So they walking in the house just clowning niggas. The
whole time, so they, uh, they just clowned us.

Speaker 3 (39:26):
And then once we got to the concert, once I realized, like,
out of all the thousands of people there, and I
tell people this all the time, you can't see all them,
You're gonna see a couple of motherfuckers right there in
the front.

Speaker 2 (39:38):
You know.

Speaker 3 (39:38):
So just concentrating on somebody that's in the front, you know,
bobbing to your ship and singing your shit, you know
like that.

Speaker 2 (39:45):
So I was, I was nervous, but after that, I
was it.

Speaker 4 (39:47):
Was over with. You know, that's crazy. So when did
now you had the Leon Heywood situation cracking off? What
transpired after that? Like what happened? You made your money
and stuff?

Speaker 5 (39:59):
How did you? How did you? How did Banaram end
up on epic?

Speaker 2 (40:04):
Oh?

Speaker 3 (40:05):
After we done sold as much as we could, Hey
was like, hey, Epic call. They said they want to uh,
they want battle around. You know, they'll give us like
forty thousand, you know, and they just gonna take over
the distribution and stuff like that.

Speaker 2 (40:21):
And I was like, whatever, you know, I'm young.

Speaker 1 (40:23):
I don't know none of this exactly.

Speaker 3 (40:25):
I didn't really start making the money till I understood
the publishing and all that because I was one hundred
percent writing and everything on that, you know.

Speaker 5 (40:33):
So anybody nobody schools us on that. None, no, nobody,
same shit with me. I had no idea of publishing,
Like I said, yeah me, I heard my song on
KD and I seen our picture and write on magazine
and I said, nigga, I.

Speaker 2 (40:51):
Quit, Yeah, yeah, we done made it.

Speaker 5 (40:53):
You don't, nobody, even though you would think that these
people you come in contact with who have known record
would tell you, and then I'll tell you.

Speaker 1 (41:05):
God damn know. Leon Haywood, No, goddamn Well.

Speaker 3 (41:11):
He didn't really mention too much until the licensing stuff
come in a little later, and then we got into
a little argument about it because somebody on death Row
wanted to use it and we uh, I think.

Speaker 2 (41:24):
Right in front of Reggie.

Speaker 3 (41:25):
We got into a whole argument, you know, about it,
and then he pulled Reggie to the side, So I
don't know he about to tell Reggie like niggat this
my ship. So after that and then I realized, then
I don't think def Roy at the time wanted to really,
I was gonna take whatever they they could have said,
four thousand dollars, I was with it. You're like, nigga,
you you ain't gonna take that, but I'm not understanding that. Hey,

(41:49):
what just came out for getting an in from the
chronic So he was a master at waiting. Let him
put shit out first, and then I go in there
and negotiate a price. So finally he called me in off.
He said, look, this is your song. I'm not only song.
I don't got the pupish you have all that, you know.
I just wanted to work a deal for you, you

(42:11):
know whatever. But Todd, you one hundred percent rider. You
did this, this is yours.

Speaker 1 (42:15):
You know.

Speaker 3 (42:15):
That's why I never had problems even when he was
living licensing, because he said, if you want a license
to somebody, you do it your way. And then sometime
I would just go break them off some money. So
we were that was our relationships. So we was cool,
you know. But that publishing game. And I always tell
people learn that shit early. Oh you have to, because
I didn't really start making money to them there all

(42:37):
that shit till I said if in a wrap. And
that's when nigga, oh, it's start coming in, you know,
go outside of doing some shows, you know, and stuff
like that.

Speaker 2 (42:48):
You know, but that's how it went.

Speaker 4 (42:50):
Now, let me ask you this, you're doing the tapes
in the hood, did you ever imagine it to see
that you come from in particular content whatever, Just explode
on the scene and be looked at. Because me and
him was having a conversation last week. When you look
at the city of Compton, it's some legendary accident came
to that.

Speaker 3 (43:06):
Yeah, I didn't, I didn't, I wasn't. I was young man,
I was like seventeen. I wasn't thinking about none of that.
My thing was to just make a better tape than Spade.

Speaker 2 (43:14):
Right, That was it.

Speaker 1 (43:15):
That was it.

Speaker 2 (43:15):
That was it. It wasn't no because it wasn't nobody
else but us exactly.

Speaker 3 (43:20):
So we was just me and him and Kenny was
just kind of in competition with ourselves. But we was
all homeboys, so it wasn't no animosity. We just go
rap on each other tapes and do stuff like that.
But what happened after that? You know, I had always
saw Dre you know, and that's that's one of my
that's why that's my dude. You know, I always saw

(43:41):
Dre and Spade had got into a car wreck.

Speaker 2 (43:46):
Dre would do all this.

Speaker 3 (43:47):
Dre had did La as a jungle for me, you know,
it with my two because then I made a song
about my DJs and at the time that was Joe
Cooley and dance a lot kid, you know, and Dre
did the bet for me, you know, and so it's
a lot y. Yeah, man, that's lot was hard as
fucked hard, you know. And so after that they played
it don't care, it was all right. So I was

(44:08):
like Spade got into a big car Egient where he
broke his legs, so he in a wheelchair.

Speaker 1 (44:13):
I remember.

Speaker 3 (44:14):
So I go back and I tell Spade, I say, look,
I'm finna bring you on my homeboy baby. Charles wrote
his part for uh just say no, because Charles wasn't
really rapid, but he wrote that you got to have
cash to make it these days, and sitting on the
tape and Spade took over it, you know, and so

(44:34):
and I always gave him the credit.

Speaker 2 (44:35):
Charles failed me, you know. And so I went to Dre.
I say, Dre.

Speaker 3 (44:40):
I called Dre, I said, I got a song in
my head and that motherfucker Dresy genius. I don't give
a fuck with nobody. There is no to me, no
better producer in my time that I've ever worked with.
You know, I loved Dre Dre always and when I
called him, it was come on, you know, And I
called him. At the time, he was at Lonzo's Azzo

(45:02):
had a studio on the back up there.

Speaker 2 (45:05):
He said, okay, meet me and Lonzo house.

Speaker 3 (45:07):
You know, I'll charge you a little bit of this,
but back then it wasn't a lot of money. So
he said, pay Lonzo and then just pay me to
do the track for you. So I'm going in there
easy walking out.

Speaker 2 (45:20):
Now.

Speaker 3 (45:20):
I know Eric from the neighborhood, and I said, nigga,
what is you doing here that? They said, Nigga, they
got me rapping now, and my words, nigga, you can't rap.

Speaker 2 (45:30):
He was like, I don't give I said what you
gonna rap about? Eric? That nigga was like, Nigga, I'm
just gonna cuss. I don't give a fuck.

Speaker 3 (45:37):
But he did say I could do what y'all y'all
to y'all because he had the yeah, yeah, yeah, yeah, yeah,
he said, and I'm just gonna cuss.

Speaker 2 (45:45):
And then I was like, man, they told me I
couldn't do none of that. Ship. I tried that ship.

Speaker 3 (45:50):
They was like, nah, you can't do that. They wouldn't
then stop me from doing that. And so Eric was there,
went in there and told Dre, I said, I need
to beat to go SB twelve. I think Lazzo had
was they called eight track machines or something back then
and doom through.

Speaker 2 (46:06):
They had some records.

Speaker 3 (46:07):
Uh well, because it was gonna be Spade, he wasn't there,
So I'm trying to just sing the part, and then
Dre put the dun.

Speaker 2 (46:17):
You know, Spade state call me and so, and then
I had an A C D C record. Dre was
just man.

Speaker 3 (46:24):
Dre put that motherfucker together so fast then it was ridiculous.
So the next next day, I think we went to Haywoods.
It was just and all it was was me, me,
Dre and easy in the studio and uh we laid
it and Dre was telling us what to do, and uh,
Spade come getting wheeled in in the wheelchair going to

(46:47):
boof in the whole wheelchair, sung his part, you know,
and it went back for for a minute.

Speaker 2 (46:52):
Dre mixed that motherfucker down.

Speaker 3 (46:54):
Oh man, that motherfucker was nice and and I didn't
think because just say oh dam had an impact like
bat Aram.

Speaker 1 (47:02):
Yes it did.

Speaker 2 (47:04):
Greg Mack had.

Speaker 3 (47:05):
A Friday night show at World on Wheels and I
was like, Greg, I got a new song.

Speaker 2 (47:11):
He said, oh, come on, come to the World on Wheels. Uh.
This was like a couple of weeks later.

Speaker 3 (47:18):
When we walked in there and Spade came up and
we sung that song.

Speaker 2 (47:22):
Next thing I know, that song was on the radio
the next day.

Speaker 3 (47:25):
The crowd already went crazy because remember some of the
ship we were seeing was off the mixtape.

Speaker 2 (47:29):
So they already knew the damn words, you know.

Speaker 3 (47:32):
So Greg put it on Kday and oh, man, that
sucker just blew up and just say no, man, it
just blew up.

Speaker 2 (47:43):
Man, it was. It was crazy man. Yeah, gangs the book.
Oh that was Dre again. That was Dre again.

Speaker 3 (47:51):
But that's when Drey and then finally left Lonzo Crib
and went to audio Achievements in tours And I called Dre.

Speaker 2 (47:58):
I said that was Big Boys it too.

Speaker 3 (48:00):
I called Dre, I said, dreh, I got a song
in my head off the fame. Now a lot of
people didn't know all our ship is really played. It's
a cat. His name was Handy Wave Hammy. This nigga
played every He looked like one of the dudes from
the time, but he played every motherfucking instrument. He had

(48:24):
a guitar, put that down, put a horn that down,
put that. He would go from instrument, keyboard, hand me
still around doing big stuff. They even had He was
on the TV show called Handy, the One Man Show
something like that, like a late night dude. But I
called Dre, I said, Man, I got an idea because
Dra was doing all our ship.

Speaker 2 (48:41):
We got some other shit we never released. That was
hard that Dre did. Uh. But the reason I liked.

Speaker 3 (48:47):
Dra because it was easy to tell him what we
want and he would just listen to me and lay it.

Speaker 1 (48:54):
But he enjoyed that.

Speaker 3 (48:55):
You could tell he enjoyed doing this shit because he's
bouncing around. He's you know, he doing him you know.
And uh, gangst the Bookie. When we did against the Boogie,
it was nice.

Speaker 2 (49:07):
It did it did well?

Speaker 5 (49:08):
Man?

Speaker 1 (49:09):
Yeah?

Speaker 5 (49:10):
Well, so who convinced Spade to make his first actual record?

Speaker 2 (49:16):
He wanted to do it.

Speaker 3 (49:18):
So is that Compton Posse? Yeah, yeah, he wanted to
do it. So what Spade did, Now, here's this is
this is a trip. Spade told Pooh Djot out DJ
Pool told poo so and then he already talked to
Taylor because Spade had some other thing.

Speaker 2 (49:36):
Let's get stupid, let's get hyped for king.

Speaker 3 (49:39):
It's King, indeed King t So Spade called me to
his house, so he started wing to write his parts.
So I was like, all right, let's write so because
Spade never wrote a rap in his life, you know,
so I started writing.

Speaker 2 (49:54):
Some of the genius stuff. And so you had DJ
var r P DJ are yes Uh did his part.

Speaker 3 (50:02):
Now stop listen. You know he Var did his ship,
but called Dra Dre. We need to come to the
studio and come on. That record had Yellow Dre and
Pool on it, doing the beats and and mixing up,
helping each other out. Audio achievements. It's crazy audio achievements.

(50:26):
And everybody was there, easy, everybody.

Speaker 4 (50:30):
So when y'all made that record, can you being in
that session?

Speaker 2 (50:33):
Everybody?

Speaker 3 (50:38):
Everybody man, everybody was there and and once again everybody
know his genius, the genius love stuff, you know, and
Drey and them just mixed it down him and Pool,
you know, and Pool was hard too, man.

Speaker 2 (50:55):
People. Pool was like.

Speaker 1 (50:57):
He was dope.

Speaker 4 (50:58):
You know what I'm gonna tell you just real quick,
I gotta throw this alley up the pool. Pool did
the dog Father album, and I think they snatched it
from him too early and didn't let him really do
what he wanted to do on there. Because Pool is
really a dope ass. Don't never get the credit. He
was with Bobcatch and all of them when they went
up to They never mixed them all. But he was
out there when they went to New York and made

(51:20):
that Pilgrigs out there. He was a part of all
that poo is that who is the ship? Yeah?

Speaker 2 (51:24):
Pooh pooh pooh did it?

Speaker 3 (51:25):
And and being in them kind of sessions is we
don't we're young.

Speaker 2 (51:31):
It's niggas drinking forties. It's just a good time. It's
a good feel.

Speaker 3 (51:36):
He in the booth, they were trying to tell Spade
how to wrap, you know, and trying to tell them
how it goes.

Speaker 2 (51:42):
You got to go to school to make it. These
days they in class, get you some ads somebody time.

Speaker 3 (51:49):
You got King T and DJ Farr, Toddy T and
me the Ada Superstars. So by the time you by
the time we finished, let's take it to Greg.

Speaker 2 (52:00):
Take it to Greg. When he put that suck on
blew up.

Speaker 4 (52:04):
That was man, that was nineteen eighty eight, right, I'm
gonna tell you that's when I came to California. I
remember driving the homie Simon Vale with and he had
a motherfucking what was the little jeeps? They had the
Suzuki beating it and I heard that motherfucker going.

Speaker 5 (52:20):
Down they made. That's what made us start. That's what
made me start. That was the sheep. Me and me
and the homie from the hood, Bookie. We used to
be in his garage and watch and had two turntables
up on the pool table and nigga we.

Speaker 1 (52:38):
Would just make.

Speaker 5 (52:39):
We were just we got it from these niggas making
and we went and made a tape about the hood
drag knew and was just giving it to the Holmius and.

Speaker 1 (52:46):
And that's how we got it.

Speaker 2 (52:47):
That's how I got because we was in Fluida. Yeah.

Speaker 3 (52:51):
And you gotta understand too, a lot of times, girls
was always instrumental because if the bitch is like your tape,
the niggas automatically exactly. So I was sometimes I had
a lot of girls I sold tapes to too, so
it was cool.

Speaker 2 (53:07):
They, I mean, everybody was.

Speaker 5 (53:08):
That's where I got my tape from Yeah, one of
my sister friends had it. You get me, because man,
the motherfucker that, like I said, their motherfucking tapes were
so instrumental into what I feel is the foundation of
West Coast music. You get me, especially coming from Compton
in La. If you was a hood nigga you grew up,

(53:32):
if you from my timeline or before you grew up
on that ship, there was like you said, there was
nothing else. There was no fucking n w A and
easy it was. It was Todd Spade, Ken Var, the
Mixed Masters and all.

Speaker 2 (53:49):
That's all. I listened to Walk and Walking and tapes,
and that is.

Speaker 4 (53:54):
What I want to get into, man, like real quick,
because I know time ago. This two story is so crazy.
So let's go back in the pool, King t and
y'all like the Compton Posse, Right.

Speaker 3 (54:07):
I wasn't a part of the Compton posse. That was
Spade and he had like who was part of Compton posse?

Speaker 4 (54:14):
Uh was that Pool?

Speaker 3 (54:17):
Who was part of that pool? Pool was making the beach?
Ye had King ch Tea.

Speaker 2 (54:23):
Varvar.

Speaker 3 (54:26):
Sometimes I'll be forgetting stuff, but it was a couple
of mocats, mo love.

Speaker 2 (54:32):
It was jazzy red.

Speaker 3 (54:33):
Uh.

Speaker 4 (54:34):
It was a lot of people. So y'all so you
wasn't in the comp deposse, but y'all was frequent collaborators.

Speaker 2 (54:38):
We were just all friends. I always did my own thing.

Speaker 3 (54:42):
Spade had a whole different crew, you know, because remember
Spade was from one five one.

Speaker 4 (54:47):
It was Bloods, you know.

Speaker 2 (54:49):
So it was almost me and Spade with just parties
together and just go back home.

Speaker 4 (54:54):
So you're telling me some stuff I didn't know. So
Spade was from one five from Ken was from there too,
you know. And back then with nobody really tripping, like
nobody cared nigga, it was it was it was.

Speaker 1 (55:07):
He was making your money. He was making your money.

Speaker 5 (55:09):
Because I know that's what I felt about back in
those that the late seventies early eighties. Niggas just clicked up.
It's just niggas, okay, because I wasn't. I went to
school with a lot of on.

Speaker 3 (55:23):
The block that was one of the best blocks in comedy.
And I remember, being younger, technically tracked new was Westpark
Py Route because my neighbor was the leader, Gary Davis.
He was like, you go, everybody lifting weights, you know.
I didn't understand the game ship. I only want to understood.

Speaker 2 (55:43):
That was my homeboy. My best little buddy was brothers
leave brother, shout out brother, brother.

Speaker 4 (55:48):
That's my nigga man.

Speaker 3 (55:50):
Brother taught me how to be many that shout out
bro man, that's one of the that's my o g
that nigga talk.

Speaker 5 (55:57):
Man.

Speaker 3 (55:58):
I didn't learn how to be managed. But I'm on
a girl anohing. I thought with brother pit of me
of a track lud. He was so advanced in us, man,
it was ridiculous. But I love you, brother, But I
just was never. I was into the street thing, but
I just was never into like the gang side and stuff.

(56:19):
Now they work, you know, but I just I like
the girls, you know. So I just and plus I
was one of the dudes scared of getting shot or something,
you know. But when that dope game came in and
these records from grand Master Flash and you know, Grandmaster
Mellie Mail, it just changed me.

Speaker 1 (56:37):
You know.

Speaker 2 (56:37):
I wanted this is what I want to do, you know.
And then it was so much going on.

Speaker 3 (56:42):
Motherfucking We always had a crackhead story or some chick
some something some something.

Speaker 2 (56:47):
So this is what I'm gonna rap about, you know.
And it was pretty good. Man. Yeah.

Speaker 4 (56:52):
I don't think people go ever realize, Man, how much
crack impacted everybody come up.

Speaker 2 (56:57):
In the eighties. Everybody had money, nigga.

Speaker 4 (56:59):
I'm telling everybody had.

Speaker 5 (57:00):
Money, dog, and it was you know, everybody, even I,
even I tried to dabble in the little crack selling
every now and then.

Speaker 2 (57:09):
It was just.

Speaker 4 (57:11):
It was hard.

Speaker 1 (57:12):
It was just infested everywhere.

Speaker 5 (57:14):
Man.

Speaker 1 (57:15):
It was just to me, it was like a code
of passage.

Speaker 5 (57:19):
Man, if you was in the neighborhood and you was
walking that line, you didne sold you a little sack
or two every now and then.

Speaker 2 (57:27):
Everybody. It was just it was just the way of
life in the hood. I tried, I tried.

Speaker 3 (57:34):
I tried to stay away from it, but my friends
was in it, and I could never get away from
my friends. So bad around take off, I do the
one show. So now I gotta do a tour. I
called it to a tour. Now the tour is the
fat boys choice, uh choice. Some sees boogie boys, fly girls.

Speaker 1 (57:57):
Fly girl, You ain't fresh, you ain't resh.

Speaker 3 (58:00):
And I'm set to go on Sunday on a Sunday house,
get raided on Friday, and I knew something was up
because the crackhead came to the door with a microwave.
Now the ain't no damn where we're gonna buy that microwave. Yes, indeed,
you know, even though we got two in the house.

Speaker 2 (58:21):
So we give her that.

Speaker 3 (58:22):
We give her twenty dollars. Now they got that gives
them permission. This is on a Thursday to come in
the house. So we got pet boys in the back.
We ain't here and there bark know nothing. Next thing
I know, nigga, they pull a tow truck on the yard.
Were going to the door to get ready to grab
a door. They snatched the bars off the mon fucker.
Everybody out, everybody out. So now I'm thinking, God damn,

(58:45):
I gotta go on tour. So I'm not still not
tripping because I never did nothing. I'm thinking, I'm just
gonna go to jail, nigga for the weekend, and I'm good.

Speaker 2 (58:54):
You know, they just go and go and they gonna
let me go.

Speaker 4 (58:57):
So me and Mike into jail.

Speaker 3 (58:58):
It said it's called Firestone. That was the ship got
a firestone. They took us to Firestone from the hood.
From the hood, nigga. They took us from because it
was course and that raided us.

Speaker 2 (59:08):
God, they took us the firestone.

Speaker 3 (59:10):
They raided, dudes in the block, dudes in the Watts,
they raided everybody trying to see it's this is some
type of organization.

Speaker 2 (59:18):
So they got us all down there.

Speaker 3 (59:19):
So I'm looking at the paper, the bill paper, so
I'm thinking, oh, this one hundred thousand.

Speaker 2 (59:24):
My mama, she got money. She finished, Come get me.

Speaker 3 (59:26):
Mike looked at me and said, nigga, you better keep
counting them zeros. Nigga, that bill was a million dollars, like,
oh da dad, they wanted to cry that. It was like, nigga,
you bet not what they raided the house for. They
thought it was a dope house because so many people.

Speaker 2 (59:42):
It was just.

Speaker 4 (59:44):
It was just crazy.

Speaker 1 (59:47):
Tell you something. Back then, traffic could get your ass raided.
You could just happen.

Speaker 2 (59:53):
And that was just like the house on Barclay.

Speaker 1 (59:55):
Yeah, Pole go to the broomfields. It was just traffic.
But they raised that.

Speaker 5 (01:00:01):
They nigga, they pull up on that motherfucker like every
other day because just seeing like damn, five minutes ago,
three niggas went out and we're sitting in there.

Speaker 1 (01:00:11):
Minutes ago were.

Speaker 2 (01:00:13):
Sitting in there. They say, Okay, we finishing y'all to
the county. I said, what do you mean?

Speaker 3 (01:00:18):
They tend to take us to the county. Them niggas
done been to jail. I ain't ever ben to. They like,
I'll really go to the count anyway. His nigga like, nigga,
take me to the county. So we go to the county. Uh,
they processes got us on a bump, nigga. Some nigga
raise up, say, hey, I heard Toddy t in here

(01:00:38):
me in my head like, oh God, these niggas, niggas
feel the fuck they feel the fuck with me.

Speaker 2 (01:00:43):
Right Mike, he right here.

Speaker 3 (01:00:49):
I said, all damn, I'm scared of the motherfucker. The
niggas come up and the niggas say they didn't say
the new ship.

Speaker 2 (01:00:57):
Nigga, bust that straight shit. Fuck it. Niggas started hitting
the bumps, boom, nigga. I started wrapping the o g
battle around.

Speaker 1 (01:01:06):
I was the man after that nigga.

Speaker 3 (01:01:13):
And they took us to yell in our drugs. Nigga draws,
no shoes, no nothing, just threw some too little ship
to us. You know, we couldn't even fit that ship.
So one dude walked up to me. He was like,
tight to you been to j for? I said, now,
he said, look, I ain't had no shoes. Whoever that
dude was shout out to him. He had some brand
new Adidas that nigga said. They was big as fuck.
He was like, look, man, you can have my shoes

(01:01:34):
because I'm going to camp like Gino somewhere. We can't
wear these, and he gave them to me.

Speaker 2 (01:01:39):
Every time something got ready to pop, they'd be like,
ty t, you know, y'all ain't with that ship over there.

Speaker 3 (01:01:43):
The Coney's finna go down, you know, you see the
Mexicans and Black fight so and they always got the
jail house lawyers like, nigga, you ain't doing nothing, Oh
niggas just the week and.

Speaker 2 (01:01:57):
It's your first time, Nigga, you ain't everga?

Speaker 4 (01:01:59):
You're about now? Did you get to get out on time?
Going to it? Now?

Speaker 3 (01:02:07):
What happened was I had to send my homeboy DJ
Star shout out Lee Walker.

Speaker 2 (01:02:12):
I had to see his star to be.

Speaker 3 (01:02:13):
Me to Washington, And of course he did a horrible
job because the next day we were somewhere else. I
don't know if it was Phoenix and when they said
Toddy t Marky D Prince Marky D from the Fat
Boys sitting there watching, and then he seen me.

Speaker 2 (01:02:28):
I just rocked the fuck out the crowd. And then
I come up say said, I knew that couldn't have
been you at the Washington dude last night. I started laughing.

Speaker 3 (01:02:35):
I said, yeah, man, I got into a little truck
because I got out of jail Monday morning, so I
had to go straight to the airport and so when
I got the airport, I met them out there.

Speaker 2 (01:02:44):
But you know it was cool.

Speaker 1 (01:02:46):
Man.

Speaker 2 (01:02:46):
That was my boy too.

Speaker 3 (01:02:48):
Markey D would call me from time to time to
see how I'm doing. You know, it wasn't like I said,
it wasn't no West Coast East cause that shit was
way before that.

Speaker 2 (01:02:55):
Everybody got along, indeed.

Speaker 3 (01:02:58):
You know, everybody got along, and like I said, said, like, uh,
Short was like my main and we didn't say a lot,
but I just I just felt so much for Short
because Short was the beginning with me.

Speaker 2 (01:03:11):
It was us too, you know what I'm saying.

Speaker 3 (01:03:13):
So I was like, man, I love too Short and
I love you forty two because they always still give
me my prop.

Speaker 4 (01:03:19):
Yeah, man, too Short as my guy man and Too
Short as one of them dudes. Man, whenever you text
them call, he always pick up the phone. Definitely, he
always pick up the phone. That's like, that's who. That's
like me with Premiere. I can call Premiere and it's nothing.
You feel me.

Speaker 3 (01:03:34):
And then when they did the what was that the verses?
They did the verses and then all a sudden theyggas start.

Speaker 2 (01:03:38):
Blowing you up. Nigga, Too Short just shot you out
at the end of it. I said, that was my.

Speaker 4 (01:03:42):
Dude, y'all. Do you know what that's crazy time? You're
all from the same era, dog, that's what you know.
And that's why I just be like, man, I'm really big, man,
I'm reserving its history because without this man, maybe it's
not now. Maybe if the w maybe it's not. No
you know, no game.

Speaker 3 (01:04:03):
Well remember n w A decided to go to go
more streets. You know after that too, they you know,
Dre didn't leave the record crew to do more record
cruise ship. You know, Dre's a motherfucking genius.

Speaker 5 (01:04:16):
Man.

Speaker 2 (01:04:16):
He did what he wanted to do. He wanted to
turn easing them into you know, straight.

Speaker 5 (01:04:22):
Game was did you see that transition of him going
from the Linzo w recon cruise ship when they.

Speaker 3 (01:04:30):
Started doing the Boys in the Hood and all that ship.
Oh yeah, oh yeah, because they had a they had
a crew. They had a DJ crew Easy. A lot
of people don't know that him and Dred had a
DJ crew. They was called high Power, him yelling and
uh Dred and they would go DJ like Lynwood.

Speaker 2 (01:04:44):
High all that.

Speaker 3 (01:04:46):
That's when he first stopped messing with lines on them
and then they start I guess some type of way.

Speaker 2 (01:04:54):
He talked Easy into doing it, you know. So you know,
me and Eric was partners. You know.

Speaker 3 (01:04:59):
I'm like I said at that time when they did records,
everybody was in the studio with them. To me right now,
I don't give a fuck with nobody say. Rin is
one of the hardest niggas. Oh yeah, period period.

Speaker 2 (01:05:11):
He just one of them dudes. Don't want to be
in front of the cameras and all that.

Speaker 5 (01:05:14):
But shout out to Rin, Shout out to my nigga, Chill.
Yeah yeah, him and Chill was real good friends.

Speaker 1 (01:05:22):
And Rent is just like that.

Speaker 2 (01:05:26):
I like Rin Man was hard.

Speaker 5 (01:05:29):
Sometimes niggas just feel like they never got the respect
they deserve. And so when you when you go through
time and you look through history and through the future, past, present,
and now, I think niggas get comfortable about what has happened.

Speaker 1 (01:05:52):
That's just like me.

Speaker 5 (01:05:53):
I tell you all the time, stop calling me that ship.
Stop saying I'm an icon, and I did this ship
and did because I am comfortable with what has happened.

Speaker 3 (01:06:07):
That is me.

Speaker 1 (01:06:08):
That is mean.

Speaker 4 (01:06:08):
That's why.

Speaker 2 (01:06:09):
That's why people used to always say you never see
him on podcasts, And I know that.

Speaker 5 (01:06:13):
That's why I said, I know that about Todd. Todd
is like, I'm comfortable with what happened. I don't look
at it like damn my nigga, you should platinum, triple platinum,
and you better than these niggas, and and you started
it and you was the fourth I see the same ship, nigga,

(01:06:34):
you feel me. I'm satisfied about my contribution to the game.

Speaker 1 (01:06:39):
So the game you.

Speaker 4 (01:06:41):
Y'all gotta steal. Accept the I'm always telling you.

Speaker 5 (01:06:43):
I like I said, I'm I'm like you when it
come to him because he him Spade.

Speaker 1 (01:06:51):
That was our fucking foundation.

Speaker 5 (01:06:53):
And I'm gonna go like, not no disrespect, easy Dre,
but that right there, same neighborhood.

Speaker 1 (01:07:03):
Same same niggas.

Speaker 2 (01:07:05):
I know, same niggas I walked the streets with.

Speaker 5 (01:07:08):
And on top of that, he know what we went
through as poverty streaking young men in fucking Compton, California.
He saw it first. Even before I got to see it,
they were seeing it. I never got my house raided.
I've been of the house that got raided, but you

(01:07:28):
get he was right there with the walk of life.
He know the niggas, he know the terms, he know
the people, the actions. So it's always good to let
people understand the history. Like motherfuckers that hear this, and
they gonna be like, damn, he came before Easy and
NWA and Spade and Todd and hearing all this history.

Speaker 1 (01:07:53):
Of Compton and whatever. A lot of niggas didn't know
that shit.

Speaker 5 (01:07:57):
And that's why I always every time time I did it,
when I would do an l A show, and I
know it's significant.

Speaker 1 (01:08:04):
I get on the phone tied, please come do bad
around for me.

Speaker 2 (01:08:08):
You get me.

Speaker 1 (01:08:09):
Niggas need to know that, Like.

Speaker 4 (01:08:11):
Yeah, people need to know that, and people like even
like Rin Rin, you need to know you the ship
cause I'm be real becuse you don't heard me say
it multiple times, Cube like I take it away from
Q because.

Speaker 2 (01:08:24):
My top ripper.

Speaker 1 (01:08:24):
You know, no, no, no no, not to cut you
off right, but if you'd have gave me a list,
he's my number one.

Speaker 4 (01:08:33):
Get Cube. I'm gonna tell you.

Speaker 5 (01:08:34):
I love Kendrick, and I love Snoop and Game and
all my niggas, Nipsey rest in peace, but Cube is
my l a number one.

Speaker 4 (01:08:44):
I'm gonna tell you a lot of these young cats
wouldn't around the field Cube's impact. But at that time,
Dog Cube was just like that like when you listen
to Grand Finale on.

Speaker 2 (01:08:54):
There, you know, like we got like corrupt came along
and we start like corrupt. Cube was our corrupt.

Speaker 4 (01:09:00):
That's what I'm saying. It's hard. Was Cube was hard
Dog And I'm gonna tell you Wren was a was
a real m C dog. Wren ship was the ship
to the red Flow was cold.

Speaker 5 (01:09:12):
N you know you're gonna hear easy. You know you're
gonna hear Dre. Wren was that nigga that you was
waiting like this nigga f there. I'm like, damn, I'm
gonna to beat the sixth nigga with the whole.

Speaker 2 (01:09:34):
Wing was hard saying I thought the niggas was hard
when him and Dre used to switch back.

Speaker 5 (01:09:42):
Off former contents in the house, that was hard.

Speaker 4 (01:09:48):
But let me tell you this though, Dog on the
last one when they was do the n w A
ship and they was gonna put snoop in it, Rien
busted everybody's asking that record cubes first.

Speaker 2 (01:10:00):
It was hard.

Speaker 4 (01:10:00):
Everybody was hard. But Rihen said that motherfuckers thought the
pussy had a pair of luck slept the ass. That's
alarming because now she's on a worm like Carmen. That
nigga killed him before we get out of here. I
know this is off left or off side, and I'm
just gonna go back to this list right quick. They

(01:10:21):
say LA rappers, right, and to us, we know LA
is considered to the masses of people. You can put
Compton in LA. You can put Watts in LA, South
Central and Long Beach, right. We had a lot of
rappers outside of those, you know, like I said, when

(01:10:43):
you go to complexes fifty lists, they don't mention my nigga,
they don't mention the tone looks yeah, they don't know. Dog,
you gotta think some of the niggas made the list
twenty three years old.

Speaker 5 (01:10:55):
They mentioned cocaine, which is outside of La Pomona is
still considered, but they don't mention one eight.

Speaker 2 (01:11:04):
I was just gonna say they didn't even is is it?

Speaker 5 (01:11:09):
Is it because it's Pomona, But then I go no,
because then they got sugar Free on the list. I'm
gonna tell you what, living like Hustlers above the Lost
first album was the Ship. To me, it was hard murder, rap,
fucking on nothing.

Speaker 1 (01:11:27):
That ship was hard.

Speaker 5 (01:11:30):
You, Like I said, you have to understand the nature
of the editor or whoever came up with this list,
their age, their their their foundation of what they considered,
because I'm pretty sure whoever did this list they listen to.

Speaker 2 (01:11:48):
And I like that, and I'm gonna be a hundred
I liked it. I don't know where Quick landed on.

Speaker 1 (01:11:53):
The Quick landed in the top ten on the complex
this list.

Speaker 3 (01:11:57):
Okay, yes, because Quick was hard than the motherfucker and
I listened to Quick made another street tape that was
good too.

Speaker 1 (01:12:03):
Yeah he had the street tape. Yeah that was nicely. Yeah. Yeah.

Speaker 5 (01:12:06):
We didn't get to we as comptons most wanted. We
didn't get to go the mixtape route. Yeah, because once
we got once we linked up with Slip and Unknown
and Lonzo, we automatically got thrown into the studio.

Speaker 2 (01:12:27):
So was the first one one time I got for
them up.

Speaker 5 (01:12:29):
No, my first song was with Linzo rhymes too Funky
Because I remember.

Speaker 2 (01:12:34):
You was on a record label. I was on Capitol.
It was a Capitol record.

Speaker 5 (01:12:40):
Orpheus Capital. Basically I was in the studio. Well, I
was in the garage with Bookie, with one of the
homies from the hood.

Speaker 3 (01:12:52):
You know.

Speaker 5 (01:12:53):
I met Bookie going to school. Uh, he was fucking
with one of my people. He brought me to the hood. Yeah,
this is history. But me and him started because he
had a love for rap. I was a young dude, thirteen.
I just came back from a family reunion and in Mississippi,

(01:13:15):
I know shit about rap music. I'm listening to motherfucking
Pat Benatar and Dan Duran. That's how all we had
was Casey Caseon in the top forty and shit like that.
We had motherfucking Kiss FM and shit like that. I
didn't know about rap music and none of that shit.
I went to Guffport, Mississippi, and my cousin put me

(01:13:38):
up on Sucker m c's. That's when it started happening,
and I'm like, what the fuck is? So I came
home and by the time I came home in junior
high hit.

Speaker 2 (01:13:48):
I hit it.

Speaker 1 (01:13:49):
I'm like, oh my god.

Speaker 5 (01:13:51):
So me and the homie Bookie when I started claiming
trag new we in the garage, you know, and we're
doing the same thing. We're rapping off of in instrumentals
and shit like that.

Speaker 1 (01:14:02):
And I met Chill. I met Chill through church.

Speaker 5 (01:14:11):
And my cousin used to go to church, and you know,
churches used to have all kind of functions, softball games, recitals,
choir rehearsals, wally, little girls was at So Nigga, I
went to church with my cousin just as a ride along,
not to be in church, but I'm going my little

(01:14:33):
my cousin female shout out my cousin, Dorothy Nigga. She
had the brand new whip, motherfucking brand new tape decking
that motherfucker. So she would let me get off all
my rap shit on her because everybody else was adults
going to church and wom she was the young cousin.

Speaker 2 (01:14:53):
So she pulled up eight come roll with me.

Speaker 5 (01:14:57):
I got to bang my recordings off of Ca and
her tape that I had nowhere.

Speaker 1 (01:15:03):
Else to play my ship.

Speaker 2 (01:15:04):
I can't play it in the house.

Speaker 1 (01:15:06):
Moms don't want to hear that ship.

Speaker 5 (01:15:08):
So Nigga, I get in the car with Dorothy Nigga
popping the Fly Girls, sucking anything I had taped off
of kDa, And that's when I found my first tid tape.
So she used to let me bang that motherfucker talking
about selling dope and come out at night rolling up
the church banging that. So that's how I met Chill.

(01:15:31):
And from meeting Chill, I start writing, like Nigga, I'm
just gonna start writing Nigga. From from from the garage
with Bookie to doing motherfucking high school, motherfucking football game
half times, Nigga, they bring me out at half times
a Nigga, I done rolle a rap about the football team.

Speaker 2 (01:15:54):
I'm like, oh, I'm liking this ship, Nigga.

Speaker 5 (01:15:57):
People at school nor So Nigga Bio lived across the
street from this girl who Wren was dating, had a
kid by Wren used to pull up every other day
and so we looking at Nigga. See when Nikka, like Chill,
you live across the street, Wren started noticing us so

(01:16:20):
Hn with Nigga. You look at early n w A albums, contius,
most shout out contence, most wanted. The man knew we
was trying to get on, and from there everybody there
was some singing niggas that also lived there, and they
trying to get on because you know, the singing groups

(01:16:40):
was cracking crack then it was cracking, so fucking.

Speaker 2 (01:16:45):
They knew we was trying to rap. We knew they
were singing niggas.

Speaker 5 (01:16:49):
Had a meeting with Linzo one day and Nigga, we
just happened to jump in the back seat and I
had the fucking tape on me that I me and
Chill I did my first rap in the girl Ds.
Nigga had it on the cassette tape and took that
motherfucker with me the Lonzos and Nigga played that mother.

Speaker 1 (01:17:08):
Nigga ship. Nigga, I was busting off of Marvin.

Speaker 2 (01:17:11):
Gay Boom boom boom boom boom.

Speaker 5 (01:17:15):
Nigga, Nigga what that tape in the who Nigga's somebody
motherfucking Junkyard trash or something something. But from there we
got to meet Lonzo a known happened to be there,
Slip happened to be there.

Speaker 2 (01:17:28):
The rest is history. Lonzo was you know, you you
see in the movie Fuck that Gangster ship.

Speaker 1 (01:17:34):
Fuck that ship.

Speaker 2 (01:17:36):
But at that time them niggas broke. Todd was out.

Speaker 5 (01:17:41):
Easy boys in the hood was out, so he going
and he capitalized off of this gangster ship. So he
put together a comptant compilation. It was just all just
nobody acts. But we got a we got a song
on there and it's called Rhyn's two Funky.

Speaker 3 (01:17:58):
Wass too Funky. You know, I ain't never been able
to watch that n w A movie like twice. That
ship was so touching to me. But some of that
ship was kind of boyishit too, because I was looking
at the park when Easy kick the bars out from
the inside.

Speaker 2 (01:18:12):
You can't kick the dope bars was hard than the
to turn that. When I first was watching it, I
was like, oh, this is boyish.

Speaker 4 (01:18:23):
I'm gonna tell you.

Speaker 3 (01:18:24):
The more I watched it, I just like it got
so touching, just because I started reminiscing on all the
all of us in the studio, just all of us
people just sitting around.

Speaker 2 (01:18:35):
You know, the times I was with them you know,
and I was like, damn, it was the pool parties
that all that, the pool parties. Oh god, the tapes.

Speaker 1 (01:18:44):
We go for hours.

Speaker 4 (01:18:45):
Man, this is your first interview, man, if I'm not,
If I'm not mistaken, correct me if I'm wrong, you
did the only one. Yeahnes with them don't count. Yeah,
you know that's that family. That's family right there. But
you don't just come sit down with anybody. Dog. And
I really appreciate you, man, because definitely this is real

(01:19:06):
pivotal man. It's a lot of history. And we could
have probably went on for like four or five more hours, man,
because there's so much more stuff. Man. But now you
know we got this door open, man. We you know
you can come on again. Man, you know.

Speaker 5 (01:19:18):
Yeah, it's it's it was just I advocated so much
for this interview because and not that it's an interview,
because we hate to say that we interview niggas. We
like to bring niggas on and just conversate like we're
sitting in the garage after the conversation.

Speaker 1 (01:19:35):
But it's pivotal because of.

Speaker 5 (01:19:41):
Like you were saying the other day about how Compton
is so significant.

Speaker 4 (01:19:46):
Yes, it's just significant.

Speaker 5 (01:19:50):
And not just even hip hop, but just in a
hole in a whole after Yeah, if you go back
and you pull up the last one hundred years of
motherfuckers who then came through Compton as far as sports figures, artists,
you know hip hop, motherfucker nigga, We got motherfucking g's.

(01:20:11):
We got niggas who ain't even done that, who are
historically significant in our streets. You can name niggas like
Gangster Mike Williams and niggas like brother Niggas are significant
to our history and foundation that a lot of people

(01:20:31):
don't know. And it's good that somebody is able to
connect those dots because you know, a lot of motherfuckers
go or Kendrick, or they'll go all the game, or
they'll go to as far as maybe even go Wanted,
and then.

Speaker 2 (01:20:50):
The buck stops, like there's more to and then you
get me before we go.

Speaker 4 (01:20:55):
Man, I gotta say this, and this ain't to cause
no controversy or nothing, but and I'm leaving this everybody.
When y' all do these lists bring a will round
the group of people together. It ain't no thing called
reach out to eight. Reach out to me. Don't just
get people who up under a certain eggs because.

Speaker 5 (01:21:11):
You need or you need to get or you need
to get people that are age appropriate exactly who can
connect the dots from the inception of West Coast hip
hop or any even if you do New York or
you're Borough down South or you have to be able

(01:21:31):
to reach out to someone who can go.

Speaker 1 (01:21:35):
From the beginning of time, you get me, not go.

Speaker 5 (01:21:39):
Oh from nineteen ninety to ninety you have to get
somebody who can go. But wait a minute, I didn't.
I don't listen to shit butt shit from ninety on
back to second.

Speaker 4 (01:21:54):
I'm gonna tell you get most disrespectful shit I've seen
a long time, doog. But then we go get out
of here, going over the thing. But there is no
place ever in this universe, not a moment, not a second,
that Draco the Ruler was ever more significant than the
motherfucking mac tin.

Speaker 3 (01:22:12):
Yeah, oh, he certain city is just disrespect like I said,
but it's a different times.

Speaker 2 (01:22:17):
It's a different time and the s agena and it's
like I said, you are now.

Speaker 5 (01:22:22):
You are now basically playing on on on the on
the foundation of dudes that when you respected hip hop
like you still do. But niggas was wasn't even born,
but some dudes weren't born in some dudes was two
years old. And how can a kid two years old

(01:22:43):
from you twenty years ago he was two, how can
he significantly understand how a fucking tone look or a
young yng see or a toddy tam meant to you
in your fucking growth.

Speaker 4 (01:22:58):
And not just to me, but just the hip hop period,
because if it ain't no fucking tiddy t it's not
nothing the mother niggas.

Speaker 5 (01:23:03):
It's not a it's not a lot of of of
it's not a lot of us, it's not a lot
of c MW's. It's not a lot of nw. You
had to follow you get me. It's like the passing
of the batime. They say you had to be able
to get it from somebody like I'm not going like, well,

(01:23:26):
I know you didn't invent the ship, so where did
it start from? And that's the start. And a lot
of niggas you can't act somebody who's thirty.

Speaker 4 (01:23:34):
And you feel me, Tod, there's not no disrespect to
Drake because Raco did his thing. No, there's nothing disrespect.

Speaker 1 (01:23:41):
Something And I don't give errors.

Speaker 5 (01:23:46):
I respect and love every motherfucking artist represents southern California
because in one fashion of another, whether it was your dad,
your grand and dad, your uncle, they know the foundation
of where we started. You get me, I don't give

(01:24:06):
a fuck if a niggas a preacher, or he working
at the ore refinery or.

Speaker 1 (01:24:11):
He retired right now.

Speaker 5 (01:24:14):
If he's my age and he your uncle, brother, cousin, father,
he knows significantly what we went through as being young
men growing up in south central l A counting lone
beat your watts.

Speaker 1 (01:24:29):
We went through fucking hell and.

Speaker 3 (01:24:31):
Most and most and I'm being real, most young younger
rappers like Kendrick and.

Speaker 2 (01:24:39):
And uh y g. You know, if you really talk
to him, they'll tell you my daddy told us.

Speaker 1 (01:24:47):
Y'all.

Speaker 5 (01:24:49):
Stories don't tell you when my daddy or my uncle
or back when my mama or blah.

Speaker 2 (01:24:57):
Blah called the originally looking for on in the beginning.

Speaker 1 (01:25:01):
And that's how we do.

Speaker 2 (01:25:02):
And he was like, come on, man, I know who
you is.

Speaker 4 (01:25:05):
Yeah, on that note, we aut of here time man again, Man,
thank you man, you'll.

Speaker 2 (01:25:14):
Talking me into this, Yesterded And on that note, yes.

Speaker 4 (01:25:19):
Well, that concludes another episode of the Gainst the Chronicles
podcast be sure to download the iHeart app and subscribe
to The Gainst 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 Gangst Chronicles podcasts of Norman Steell, Aaron M. C a. Tyler.
Our visual media director is Brian Wyatt, and audio editors

(01:25:39):
tell it Hey. The Gainst the Chronicles is a production
of iHeart Media 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

All Episodes

Episode Transcript

Hosts And Creators

Norman Steele

MC Eiht

Popular Podcasts

Stuff You Should Know

24/7 News: The Latest

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}The Godfather of West Coast Gangster Rap