The Spice 1 Episode : "Me & Pac Stayed Blunted"

We sit down on this episode with the East Bay Gangsta himself Spice 1. We discuss his start with Bay area legend Too Short's Dangerous Crew and how his indie album got the attention of Jive Records leading him to sign a faulty record deal. He also details his relationship with the late Tupac and Spice also say's he may be responsible for Pac beating down movie producer Allen Hughes and much more. 

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Episode Transcript

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

Speaker 2 (00:03):
All across the USC Compton, Watts Bay to LA. Come
on to California day from Rowley 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,
the Coronic Goals.

Speaker 1 (00:21):
We gonna tell you how are we goals?

Speaker 3 (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.
Gangs the Chronic Goals. This is not your average shows.

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

Speaker 1 (00:40):
Hello, we 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
on your front screen. Subscribed to Against the Chronicles, leave
a five star rating and comment. We'd like to welcome

(01:02):
every one to another episode The Gangster Chronicles Podcast. And
I got my dog in here shit, and you know
we got the legend theory journalistic straord. There s Baker,
what's up everybody? And you know we doing this Thanksgiving
style man, you know it's Thanksgiving. Man, I can't ask them,
the homies to come off with ours Thanksgiving? Is we
gonna be a own cooking turkeys or roots and all

(01:24):
that other good stuff? You know what I'm saying. So
were doing this the lives train tonight.

Speaker 4 (01:28):
Man.

Speaker 1 (01:29):
We got Alex in the motherfucking house man, dude that
had two albums in the top fifty Gangster Round albums
of all time, Spikes One What's That? And the Dog
What is It? Madden? It was faddening my guy. Oh man,
you know what, man, everybody been asking us to have
you back. They was like, man, why you didn't ask
them about this? Why you didn't ask me about that

(01:49):
last time? So we said we would have to have
another one where we go a little bit more in
debt with you, man, as far as all the legendary
stuff you don't done, man, a man, I appreciate it,
you know I'm saying. You know it's you know, it's
been what thirty years, so you know that's that's thirty
years of his the historic gainst the rap shit. You
know what I'm saying. Oh for sure, yes, indeed, yes indeed,

(02:11):
And you happen to get put in the game by
one of the pioneers in the game Man as far
as Street Rep Go and the penthology Man too Short
of Himself? Man, ar did you wake up with Too Short? Man?

Speaker 3 (02:23):
I mean, you know, sure you used to come come
pick me up from school back in.

Speaker 1 (02:28):
The day because I was like sixteen. You got an
album called The Dangers Crew. You know. Uh, it was
crazy because I took the album back to the school.

Speaker 3 (02:39):
You know, I was walking back to school with the album.
Shit that showed everybody.

Speaker 1 (02:43):
You know, you know I got an album Too Short,
So I mean, yeah, you know, even back then, you know,
just letting motherfuckers know. Whileman, even in high school, you
know what I'm saying, what I was kind of knew
what I was dead it for, you know, knew what
my uh my final destination would beat it. You know,
took up with my guy him. He ain't to do

(03:05):
some gates and rap ship. You know the own up
right quick?

Speaker 5 (03:09):
Spice what you got hanging by you some pantyholes or
purse or something hanging by you.

Speaker 1 (03:21):
Don't want, dog, I'm in I'm in Japan, man, you know,
I'm looking. I'm looking at that. I'm looking. Let's see Steel,
What the hell is that by your head? While didn't
get it's a Jeff and left. I'm not even talking
I'm my bad spice. I'm not even talking about you.

(03:41):
I'm talking about Steel lad. What then yeah, what the
hell is that still in the corner? Then? Yeah, what's
that one? Nigga? That's a bad dog. Stay, that's the
Beatus bag dog. They look at three undred dollars bag
thinking that motherfucker looked like an old fucking thing your
grandma used to have hanging on the bathroom door when

(04:02):
she used to have to, you know, clean that clean
that twad out. That's what that looked like. That nigga
said it was some petties, pattyeholes or something hanging on.
We're gonna get back to the interview, don't go. So

(04:22):
if you linked them were too short, right?

Speaker 4 (04:25):
And and then yeah, wow.

Speaker 1 (04:30):
So you linked up with short man. And what happened
after that? When did you like like like whatever, you know,
he you know, he picked me up with uh, you know,
like you know, one of the biggest de boys in
the tail at that time and in the bay you know, uh,
well when in the tail, you know, and you know

(04:51):
I didn't even really know who the cat was in
the back seat.

Speaker 3 (04:55):
You know, he was just one of the biggest bosses
in the town at that time.

Speaker 1 (04:59):
You know what I'm saying. He was he was. He
was really really relevant. You know, we in the in
the Bay, we in the in the in the Bay,
we call a nigga a factor. It's you know, it's
it's it's you know, if he's sticking out, if he's
standing out, we call him a factor. So, you know,
dude was a factor in the town. When I say
to town, I mean open you know what I'm saying.
So dude was a factor in the town. But I
didn't know. You know what I'm saying. I'm a youngster.

(05:19):
You know, I hop in the car. You know, he
started talking to shit, don't hang with ass nigga. I'm like, oh, nigga,
you know because he was he was. He was a
chubby nigga.

Speaker 3 (05:27):
I was like, yeah, nigga, you you're a professional.

Speaker 1 (05:29):
Birthday cake even ask nigga, you don't be the first
nigga to kept the cake and everybody else birthday party.
I just got on him, you know what I'm saying.
Who I got So, I mean, you know, but uh.
You know, we turned out to be real good friends.
You know. So I'm and we go up to the
studio and record, and you know, every time the uh

(05:53):
police rode by looking for somebody else. You know, he
had started looking around thigging it ain't chasing you, nigga.
You know I didn't know, but they I mean, you know,
his ands brother. Yeah, we we was around. You know,
I was around a lot of a lot of ship
back then in the town. But you know, Pops was
a real serious dude. I remember he he caught us
short up to the house one day and he was like,

(06:14):
you know, he told me, he was like, man, I
need the hollow red too short.

Speaker 3 (06:18):
I need the hollow Red hallboys shortened and his manager and.

Speaker 1 (06:22):
I'm like, you know, damn, you know what do you
what do you want to how he gonna fuck everything up?
You know? So, but Pops, I guess, you know, he
was just you know, he just told you know, shorten
them to you know, make sure take care and take
care of his his son and make sure he's straightened
or whatever, you knowuse he came back and told me
what he told him. He said, I you know, I
told him, you know, make sure that you're straightened, you

(06:43):
take care of you, make sure you ain't up in
the bullshit and all of that.

Speaker 3 (06:46):
And I'm thinking back of my head, Pops, I'm already
in the bullshit.

Speaker 1 (06:52):
Him so short, So the short John well no after
uh what this was like eighty I was I was
like sixteen back then. This was like eighty six when
I was a rocket was short from the from the
beginning after you know, sixteen, maybe uh for the four

(07:12):
to six years later, four years later, I'm I'm eighteen
twenty and uh I read I put out one eighty
seventh proofs. Uh. He was in all of the record
stores and uh it was independent so that uh r record. Yeah,
he was on Triad Records and and uh with Georgia Willis.

(07:36):
And that's when you know, that's what Barry called. Uh
uh this guy named Pizzo, Uh Piso to beat fixer.
You know we I'm talking about a ot Pizzo. You know,
the east of DJ was short en forty. You know
what I'm saying. So I guess, uh, you know, I
was at Piso House in uh uh Jive records. Uh.

(08:00):
One of the representatives called and it was very wise.
He was Mordary. He was running. You know, he's running.
He can call it t that's the biggest dollars charge.
And he called and he like, you know, where's where's
Spikes one at? He asking, uh, Piso, where I'm at?
And I'm sitting there, like, tell on right here, tell
on right here, Piso, like you know, hold on, you know,

(08:21):
let you there's some serious ship man. Lets you lawyers
talk to this nigga man. You know what I'm saying, so,
you know, and then eventually I connected with with Barry
and and got them in touch with my lawyers and
everything and and my people and management and stuff, and uh,
you know, from then on, you know, that's when we
we we dropped h the whole album. We took the
songs from the first EP and added some more another

(08:44):
eight or nine songs, and and released the first Spikes
One album on John for the show. You know what
everybody's saying about give records from eugenk on you. But
then say Job don't like bringing motherfuckers. And they had
the same experience with the people he he was fucking
with over there. Joe's job ass records man Jugy J

(09:07):
said they never saw a royalty from that motherfucker you
angle man or that was that was shit.

Speaker 5 (09:14):
Nobody I can speak on that. That's because you was
getting budget. We was getting budgets of anywhere between two
fifty and three hundred grand, okay, And they looked at
it like a lot of you niggas is doing your
own shit.

Speaker 1 (09:33):
You get me.

Speaker 5 (09:35):
So, because that's where it blamed with me. I didn't
see a royal t check because they spending more than
you making back. They're gonna recoup what ninety percent of what.

Speaker 1 (09:49):
They give you.

Speaker 5 (09:50):
Right we're making what you lucky to make seventy cents
of record, okay, So you ain't gonna see a royalty
check because we gave you three hundred and fifty up front.

Speaker 1 (10:05):
Right then you got what three videos?

Speaker 5 (10:08):
We spend about eighty five to one hundred grand on videos.
So when you think they're like, yeah, man, I have
sold a platinum record, nigga, I'll fit see some bread,
they gonna know that motherfucking million and something that you
owe is coming out of your seventy six. It don't
come out of the motherfucking Yeah, you sold a million records,

(10:31):
so about seven to ten million came in, But no,
you still owe us a million point whatever out of
your seventy six out of your you owe us one
hundred and you owe us a million and something. So
that's why a lot of niggas try to be smart

(10:52):
and take that budget and pocket that budget. You get
me that advance, so to speak. So if you're a
nigga controlling your own destiny, you get me and you
walking in there and you like, yeah, I'm eight Hype
Productions nigga. I'm finna produce MC eight's new record, and
blah blah blah. They finish cut me a check for

(11:14):
three hundred grand, and then I'm finna go back to
the house and I'm finna record that motherfucking my motherfucking
BATHROOMK or my bedrounk.

Speaker 1 (11:23):
You get me and I'm finna cut and then.

Speaker 5 (11:27):
I'm feel Then I'm fin the motherfucking double back, and
I'm finna produce the motherfucking myself, me and DJ Slip.

Speaker 1 (11:34):
So I'm finna break Slip or whatever. I'm finnla soon because.

Speaker 5 (11:38):
I don't have a budget, Like right, my budget ain't
a fucking Doctor Dre or Snoop Dogg's budget.

Speaker 1 (11:46):
I a fucking MC eight budget. With him.

Speaker 5 (11:49):
You get me, I can't afford to give a nigga
thirty thousand a track how they was getting back in
the days. You get me, I can't. I can't afford
to give a nigga one hundred thousand in a track.
So I'm finn learn how to turn this fucking in
PC on and get with my nigga slip and we
find to produce this motherfucking record.

Speaker 1 (12:09):
So there go. I keep that money you getting.

Speaker 5 (12:12):
I keep the production because if you was a nigga
from our erain, you wasn't getting no royal teacher back.

Speaker 1 (12:19):
It was just that it was royal.

Speaker 5 (12:22):
But I don't even get no LEAs niggas eight off
of them advances and offer show money.

Speaker 1 (12:30):
Period about it. The cold part about that is if
they spent two hundred thousand all releasing your album all together,
you know they gonna say, you know, we spent two
hundred thous releasing your album. We won't we need seventy
seventy cent out of need. We need to do our
money back out of your seventy cent record. When you
when you do the math, you know, because I look

(12:52):
at my album, I say, okay, you know ceds was
going for about you know, uh shit, then little twenty
dollars a a CD, you know, nineteen eighteen thousand a
CD or whatever motherfucker CDs times times that by nine
hundred thousand. That wasn't what we was getting off. You see.

Speaker 5 (13:12):
That's that's come from the step that comes from the
motherfucking distributors.

Speaker 1 (13:16):
You give me the distributors.

Speaker 5 (13:18):
Know, the distributors were body shit from motherfuckers like Sony
and them for about nine ninety nine or ten dollars
and fifty two cents. That's what their motherfucking CD sold for.
Right now, once they get the motherfucking tower or some
tower gonna rank that motherfuck up to what steal fifteen
ninety nine, sixteen ninety nine. But I know as a

(13:41):
motherfucker basically the record labels sold, they product to the
one stops in the whatever you buy a motherfucker for
nine ninety nine or ten dollars in fifty two cents.

Speaker 1 (13:53):
Actually yeh, because you gotta remember the record company they
getting anywhere when it first came out during the first
ninety days, they might give it up for seven dollars
and he were from six dollars to seven dollars. Yes,
they trying to do that chromo clomo. So if you
if you rushing by a certain amount within that first
thirty days, they'll let you get it for seven bucks. Yeah.

(14:16):
You gotta remember they was charging for shelf space back then.
So if you had like the inn cap like at
the Tower Records or a listening station or whatever, they
may give it to him for five dollars. Then you know, everybody,
everybody made money except the artists exactly. They were selling
merchandise too, you know, like we would do big tours
like you know, I did a tour with me r

(14:38):
Kelly uh Nia uh h town and uh too short
and and uh and scarfaks and uh. We was at
Graanlin State University. And you know I have I had
Roger Travels tour bus. He let me use a tour
bus of forty was forty was uh it was in

(15:02):
his own tour bus, you know, right behind us doing
his doing his own thing. He funded his own ship.
You know, he was a hustler, you know what I'm saying.
And I and I brought forty along with us and
and we we tour. We was tors doing shows. They
was getting money from the T shirt and because what
we I pull up. I pulled up to Grayland State University,

(15:23):
man and I seen, you know, my fans with with
Spice one hats, T shirts, uh jackets, the Saint Jackets
of War. They hair done like mine, you know, with
the with the braids and ship like that, you know,
and you know as far as the merchandise, and we
didn't see no money from that ship either. I don't

(15:44):
see no merch no money from the merchant stuff from
the big tours and shows. I didn't see a dying
from none of that ship. You know what I'm saying.
Everything I got now I had to hustle for. I
take more money now than I did when I was
signed to that madge la. And that's damn Shane, that's you.
You know. One of the things I wanted to ask you, Spickes.

(16:04):
You real respected in the game. You did a lot
of songs with a lot of people. Right. One of
the ones that people keep asking about is your Tupac collaborations.
Hout that you look up with him. I have to
ask you, Brody to kill well. When I met Packy,
he was already a fan and we had just he
had just did juicing and we was on a ceter
in my neighborhood video. He was already a fan of

(16:25):
I was already a fan of him just from saying
Johnson and just from he and around the town. You know,
his music with Digital Underground and all of that ship
because we was we used to we used to perform
uh late nights in Frisco at the play um uh
with me and Hammer used to be there Digital Underground.

(16:46):
I've come through, you know, spit some ship or whatever.
But I heard Abouttom around around that time. But he
just came up to the video. Was like Spice, you know,
was cracking uh and he's spending that. He was spending
the Uh. He knew the words to the fucking stutter a.
You know, he was kepting them in his frame with
then he was picky, you know what I'm saying. I
was like, oh that Shiit Niggan know the words and uh,

(17:07):
you know, from then on we that was my nick
you know what I'm saying. And then we just started
kicking it. We recorded a lot of songs, but you know,
most of the time we just driving around smoking weed,
getting high. You know how we used to do it.
Eight We just drive around. Niggas have forty ounces. You know,
it was it was the nineties. We have forties Hen
and THEE and we hollering at the females riding down
the black five six deep in the car, riding around.

(17:29):
We be riding around Lake Bearing or something. You know
what I'm saying. When they where they just named the
street after him, Uh Tupac and uh MacArthur way over
there by the lake. So that's all I was doing.
Pack and we was like, uh, I think I was
like twenty and he was like light team. We couldn't
even buy alcohol. Yeah, it was even too young even
buy buy alcohol. Hey, this thuf is kind of for

(17:52):
both of y'all. Then I'm gonna like you get yours off.
So and the nineties was like here the what's era? Yeah, yeah,
the light of these was kind of you know, because
everybody was kind of getting getting used to the to
the game or you know, niggas was you know a
lot of street niggas was just getting used to having money,
so especially legal money through the rap gag. You know

(18:15):
what I'm saying. If they if they knew how to
hold their own and and and push their own weight
and you know, uh, you know, hustling a lot of
hustle the game because it was all about you know,
how good your music was and how you could hustle it.
You know, I learned a lot of my tactics, you know,
from from selling drugs back in the day. You know,
if you got the you got the best dope. You know.
I just gave out a few few uh uh few

(18:38):
few of my my uh CDs or tapes that I
had made, and I know they were it was hot,
you know, I know it was hot, and you give
out a few of them. He could he come to
thiends he come to rap things, you know what I'm saying.
And you know it's just like Ice T did the
song Pusher. He was talking about, you know, I'm your pushing.
He was pushing uh dope ass music and dope uh

(18:59):
tape and sets and CDs back in the day. You know,
it switched up to you know because because you know,
you took that that hut happened free and you put
it into your to your to your music, you know
what I'm saying. So yeah, hell yeah, a lot of
motherfuckers was new to get money back then. You know,
that's about the go ahead of saying, I.

Speaker 6 (19:19):
Was gonna say the music, Solda self, because you had
a lot of great uh not only stories on there,
but you had great production with A.

Speaker 4 (19:26):
Banks, she had Blackjack, E. S.

Speaker 1 (19:28):
C M T. And they all were on the first album.
So what did you see and.

Speaker 6 (19:34):
What did each one of the production people you worked
would really bring to the splice on the album that
you thought was different and distinctive.

Speaker 1 (19:43):
Well, Banks and C. M T and E. A. Ski
all three of them actually played instruments. You know. They
all actually knew how to play the keyboard and the guitar,
and they knew how to actually make music.

Speaker 3 (19:59):
You know what I'm saying. That was definitely a plus.

Speaker 1 (20:04):
It brought out a lot, brought a lot out in
me when I heard real music, Uh, chords and strings
and ship you know, my my imagination and uh started
just going there, you know what I'm saying. So you know, uh,
it does matter when the when the beat, the beat
does bring out something in you as a as a
rap artist.

Speaker 3 (20:22):
You know, I don't make music.

Speaker 1 (20:23):
I can. I could have told them, I could have
told them what I wanted and they'd give me exactly
what I wanted. Even slip you know what I'm saying.
Remember Slip, Uh you know talking about he I tell
Slip you know what I wanted. You know, they played
you know, he knew how to how to get down.
You know back in the day. Uh, artists was real artists, man,
you know. Uh, then they know how to play instruments.

(20:44):
So they brought that a lot of that, they brought
that to to to me, that was that was something
new to me when I when I first started dealing
with them.

Speaker 4 (20:52):
And then Blackjack also doesn't get a lot of shine
with the money going.

Speaker 1 (20:55):
Man. Uh Blackjack gets travel on aside and money and
much he's up yell, they ain't even you know, uh, hey,
that was sleeping on black Jack then you know, you know,
uh they they got up on a banks and ski
but they that they slept on black Jack, that that
nigga was hot. He's still hot. Yeah, I fuck with

(21:18):
I fuck with Blackjack a couple of times. I think good.

Speaker 5 (21:21):
Producers just when you're a good producer and you know
who you're fucking with, then ship it's just automatic. You
don't have to sit up and be babysitting a nigga
or you know, you got to tell him motherfucker.

Speaker 6 (21:34):
You know.

Speaker 1 (21:36):
What what you what?

Speaker 5 (21:38):
You sound good on? You bid me actually come from
the producer period.

Speaker 1 (21:43):
You know.

Speaker 5 (21:43):
I get a lot of niggas who hit me up.
You want to send me tracks and ship like that,
and they'll feed me thousands and thousands of tracks you
give me, but it is trying to tell him, motherfucker,
just go back and listen to my last project, go
to project for that, or go listen to some history
of me, and you probably get the feeling.

Speaker 1 (22:06):
Of what type of shit I like to you know,
like I like to create too. It's really crazy when
you know the producers that hit you and be like, man,
you know I got the hottest ship, I got the
perfect this and perfect that, and then it'd be some
totally shit that's out of your era or your of

(22:30):
what you used to So shout out to h You know,
real producers who take their time and know the artists
that they fuck with, and that when they really trying
to produce it, when they really trying to produce a beat,
whatever it is. You know, motherfucker, study the artists and
the oh man shit I know with spice one, like listen,

(22:51):
you know, listen to this song or listen to this song. Shit,
he was busting on this and busting on that. So
usually producers come in knowing what your flavor.

Speaker 6 (22:59):
Should well, like you said, though, eight, the real producers
they know, you know, some dudes.

Speaker 1 (23:06):
Out there just turn their ship on and be like, nigga, here,
this is what I got. Niggas, and you be like
really like, yeah, I can't you know what it is?
Now out you would a because ah, you came up
before Spice, right, yeah, yeah, when did y'all niga, when

(23:28):
did your first meet Spice? Well, it was that I
met Spider.

Speaker 5 (23:38):
I met Spice when I started doing Minis and Barry
and uh, what was my other nigga name? Yes, Jeff,
Jeff and Barry. They ran Jah. I got the soundtrack

(24:02):
to Minister Society and I was a fan of Spice.
So with them h being fans of M C, A
C and W, you know, me being on the set
and then then being able to hear minutes and all

(24:26):
that shit, and then knowing Spice was on the soundtrack, Uh,
they basically hollered at us to produce a song for
Spice on his new record coming up. So we grew
up to Oakland and That's how me and Spice meant
and we've been cool ever since.

Speaker 1 (24:45):
Is that right? So y'all got the first song y'all
did with the Murder Show, right, Yeah, I'm telling you, man,
the nighties was grying his hell. Man, everything was about
kill him up, kill him up, shoot him up, bang bang.

Speaker 5 (25:00):
I think you I think the nineties was treacherous for
us because we was young niggas coming up out the streets,
man getting it was a lot going on and not
too you low down play the situation, and you low
because everybody you gangster rap and y'all fucked up niggas
heads and y'all had niggas out youngsters wanting to be whatever. Well,

(25:24):
I grew up in that life, you feel me. Uh,
It wasn't no rap records for a nigga, You feel me,
sh nigga. I was on the block cleaning trag. Now
know I thought about was how much money I'm gonna
make off of servant you getting me? Like I tell
people in a lot of interviews, Well, I tell people
in a lot of interviews.

Speaker 1 (25:46):
When you come out of.

Speaker 5 (25:47):
That adolescence and you're around the essence of fucking it's
niggas down the street pimping. It's niggas down the streets
selling dope. It's niggas, damn it, Yo, dreams of being
a fucking don't be a fireman. I'm gonna be a
policeman when I grow up. I'm gonna be a nigga.
Shit out the window, you give me. And so when

(26:10):
Rap came, we sort up.

Speaker 1 (26:14):
You get me. He was like, this is gonna be
my way out, but not really cause nigga still and
get me.

Speaker 5 (26:22):
We didn't look at it like at that time, as
this is gonna be my way out, nigga said, talk
about nigga. We from Campton and we shoot them up,
bang bang, and there's rough niggas and we're fell dope
and the police is fucked up and whatever and so.
And I think a lot of niggas was going through
that situation around that time. So a lot of niggas
from the West Coast, CMW, Spice, fucking Cube, fucking.

Speaker 1 (26:48):
Or whoever you was.

Speaker 5 (26:49):
Man, if you came up out of southern California, northern California,
fuck it, you was probably talking about some streat shit.

Speaker 1 (26:59):
I mean, yeah, ship, I mean if you wasn't, I mean, man,
if if we we used to walk to school, uh
don't know. And on the way to school, if you didn't,
if you didn't, we looked at you. If you didn't,
if you didn't sell dope, or if you didn't know, uh,
all of two short songs, you was a bitch ass naked,

(27:19):
you know what I'm saying. On the way to school,
we walking, you know, seeing singing two short raps talking
about how how much dope we was gonna sell when
we got out of school, you know, and I don't
We're not We wasn't trying to glorify that ship. You know.
We was just that's just what it was at the time,

(27:40):
you know, you you you know ship that it is.
It was joke, dope and drugs and guns all over
the motherfucking place. You couldn't help but run into that ship,
you know. And then and then to to talk about it.

Speaker 3 (27:54):
Uh, it was entertaining to people. So you know, you
make the motherfucking words wrong.

Speaker 1 (27:58):
You a natural poet, You know that ship down, man,
you're gonna you're gonna, you know, motherfucker's gonna feel you. So,
you know. But the thing was, you know, like songs
like Welcome to the ghetto.

Speaker 4 (28:07):
You know.

Speaker 1 (28:09):
It was it was, it was Uh. I had to
write something describing you know how we how how how
it was out there. And you know we ain't the
we ain't. We ain't the the motherfuckers that you think we.
We ain't just sitting out here trying to pop motherfuckers,
shoot motherfuckers, jack motherfuckers and.

Speaker 4 (28:28):
All of that.

Speaker 1 (28:29):
Ship. We are here really trying to make money because
you know that's that's you know, that was the American
gain back there. You know what I'm saying, the you know,
for for us as as as as as youngster's as
kids on the black, we're seeing that as you know
that you know, we're gonna we're gonna, uh, we're gonna
get paid like like uh like Phoenix, Mitchell and and

(28:49):
and uh Freeway, Rick mem and ship. You know what
I'm saying, We shouldn't get paid like that because you
know it wasn't no, you know, we wouldn't. We wouldn't
think about like a being no fireman or doctor see
that lawyer and nothing. You know what I'm saying, that
was so far fast from us. You know what I'm saying, like,
hell no, so I mean, you know, just getting money anyway,
we could ship and the and the and and it

(29:10):
was literally uh art imitating lights, you know, surreal for real.

Speaker 3 (29:17):
No, it wasn't no fake ship U or niggas was
making up.

Speaker 1 (29:21):
You know.

Speaker 6 (29:24):
It.

Speaker 1 (29:24):
Spice. Let me ask you this man, you have you
always had a real unique flow. That was the first
thing that taught me about you. And I'm going to
you had a lot of patrois and views in your rhymes,
you know, like the reggae ship man, and you had
a little stutter stup rhyme. Man. I'll let you develop that. Man.
I listened to a lot of reggae when I when

(29:45):
I when I was a youngster, and I've seen I
heard the styles that they was doing like they would
you know, they would uh, they would stutter uh in
their own little way. And I was trying to ca
and do my own little thing, even the flows or whatever.
I'm like, oh, that's a dope flow. Maybe I could

(30:05):
put that to a to a rap beat and ship
and the just spit my own ship and it's like, uh,
I was working on I don't know, And it's what
I'm gonna do with if I'm a do it or not,
because it's like it's a opposite of what bad boys

(30:28):
the song bad Boys, Bad Boys, What you're gonna do,
What you're gonna do when they come for you? And
it's like, uh, what you're gonna do when't a bad
boy come for you? And listene what you're gonna do
when the bad boy coming for you? Croocket, Oh, it's

(30:48):
a what you're gonna do when the boy coming for you?
You know. So I'm stuttering the ship up in there
or whatever, doing my little ship. But you know, I
always was into reggae music like that, you know what
I'm saying, And so, uh, yeah, you won't you gonna
hear reggae flow. I hit up I hit up Doc

(31:11):
a few days ago, d O c H Like, yeah,
you know I got that reggae flow listening to you
and kras One and Ship and all the other uh
reggae artists out there. So I just I just big
reggae ship. That's I listened to it a lot. You know,
I'm like to smoke weeds hooded ship. So you might
come up, come up, walk up on me. I'm reggae out,

(31:33):
you know what I'm saying, Just blowing, just listening to
Bib Marty or Ziggy Marty or some old ship you know.
So yeah, hell and you're like angel Boy Bushie Bond,
Tom Hill. Yeah, that was the homie ranking. Screw all
all of my guys. You know, my my reggae name
is is fire Thief. So you know when when you
see me, if you're the right stop because it said

(31:53):
fire thiefs, one of at least be a gang set
of fire thief you know, cause I steal all the
lighters and ship fighters all right, the fighting guys. Motherfucker, Hey,
is this the question more?

Speaker 6 (32:09):
This?

Speaker 1 (32:09):
This is a question more for you and a man.
You know. You guys kind of paved the way for
these cats to be able to do what they want
to do today, you know, and say what they want
to say. You guys were kind of like the freedom
the freedom of speech fighters back to day. Y'all had
see the Lowers Tucker out there talking to box y'all,
y'all had Reverend Calvin Butts roll them over, y'all CDs

(32:31):
and ship man did that ever fuck with y'all a
little bit? Like I kind of dog, I was digging it.
I was like that looked like my ship out there,
they're rolling over there that was about.

Speaker 5 (32:49):
It didn't really bother motherfucker. I guess because we grew
up with the with the We grew up with the
thinking of all that all publicity is good publicity, So
you can't give no shit what I'm already looked at
as bad. So how bad can that be? You got
a senator talking about a Compton's most wanted record, or

(33:13):
you know, or Sony deciding to double sticker my album.
You give me the first album that was ever double
sticker because of the content.

Speaker 1 (33:27):
I just I just looked at.

Speaker 5 (33:29):
It as all this shit that that goes on, and
it's always this free you know, did the the the
outcome of free speech what it's supposed to be. But
I guess in a whole I never was threatened by

(33:51):
this ship. Like, as long as a motherfucker gone keep
being able to press up MCA records back then, ain't
gonna scare motherfucker. Like I said, Sony didn't do shit
with double sticker my next record. After all that controversy,
Fuck it, we're gonna say the views of this artist

(34:12):
or his and his only you think they was gonna
pull them out, We come strap record or whatever and
be like, nah, we can't put this shit out.

Speaker 1 (34:19):
Hell fucking up y'all records, didn't it? I mean in
a way, And.

Speaker 5 (34:26):
Like I said, it was a lot of it was
a lot of political. Uh, it was a lot of
political shit attached to that campaign of let's go after
let's go after those guys calling women pitches and let's
go after those guys calling women wars and talking about
fuck the police said.

Speaker 1 (34:46):
You know, we're gonna, we're gonna build.

Speaker 5 (34:48):
Our political American platform off of going after those guys.
But you see that ship every year, don't you, America.
I mean times motherfucker to use the motherfucker to build
their political place.

Speaker 1 (35:00):
You give me. So, at the time, we was, we
was just the face of it. You give me.

Speaker 5 (35:05):
I'm surprised they ain't going after the the the hotty
dotty girls and you know, the half nicked women in
you know, the day to day.

Speaker 1 (35:15):
But you know everything is clear now, you feel me?

Speaker 5 (35:18):
So you should have that freedom of speech and the
ladies do what they want to do and we as
men do what we want to do. As far as
this music shit is concerned, because basically it's motherfucker's making
music and just expressing whatever the fucks and if you're
gonna be dumb as fuck to go out and do

(35:39):
or you know, try to live, motherfucker. Go slap on
the cake, nigga, jump off the roof, nigga, be superman.

Speaker 1 (35:45):
Then you know, it was basically the the therapy for me.
You know what I'm saying, Like you I'd use my
you know, aggression I might get, you know, you know
back in the day, I might have got pissed off,
you know, wanted to do this and do that, you know,
and you kind of you do you throw it into

(36:05):
your music. You know what I'm saying. It's therapy for
it for a thug nigga. You know what I'm saying.
Like I always needed my music. You know what I'm saying, Like,
you know, when I got mad or got pissed off
or something, then it gave me more energy in the booth.
Or I would use that ship, you know what I'm saying.
So a lot of the songs that you guys hear

(36:26):
on my records, you know, yeah, I was really feeling
that way. You know what I'm saying. I wasn't. It
wasn't just you know, all gotta come up. It was
I was really feeling that way about ship that went
down on the streets or or or certain or anything
that was going on. You know, I was, I was
really pissed off. You know what I'm saying, so and
I used it so I mean shit with uh. I'm

(36:51):
saying all of that to say, hell, yeah, you know
you gotta stay niggas, stay on and ship and keep
shit real. That's how your your music lased, you know
what I'm saying over there. You know, we saw ain't
getting the acting back in the day, and he got
some stuff coming out. Now we actually we actually started
to shoot movies twenty twenty four, the first quarter twenty

(37:12):
twenty four, we actually go start shooting some movies. Have
you ever thought about getting the acting and doing some shit?

Speaker 3 (37:18):
Yeah, definitely, you know, especially if you know.

Speaker 1 (37:22):
If the road, if the road fitting my character and shit,
you know, I would say I wouldn't even be after
act have to act.

Speaker 3 (37:29):
I was just you know, just say with saying what
I would naturally say.

Speaker 1 (37:34):
Well, as you know the question as y'all, no, no,
because I think all four of us on here don't
have We've mentioned something online and you look up and
see another motherfucker doing this. So I'm learning my lesson
with that. But me and they got some concepts that
we're working on, man, and we shoot movies next year,
and we really want to get you on. Bog On
the Sword is involved with it too, and we gonna

(37:55):
do some real fly, amazing shit.

Speaker 5 (37:57):
Dog.

Speaker 1 (37:57):
That's pretty much go kill the game. But I'm not
gonna make not were talking about that off the air,
because you know, you got the haters out there righting
out listening, man, and and a chance to be stealing.
Got so much money, they could take your ideal that
you planning to do and go execute that motherfucking thing
this week. And you gonna look up you like thinking
might have the same idea. How did you find it
out like that?

Speaker 2 (38:16):
Right?

Speaker 1 (38:16):
Really? That's really speak you know how they say, you
know it can it's heads out, it's rich. It's haters
out there with money too. I'll the haters they bro
this motherfucker's out there with money that's hang on you
and you gotta left than they do. Yeah, And that's
why I'll rack with it, you know what I'm saying.
That's the cold thing about it. I want to include you
on it. I want to include you at all. They
want to clude you in. Uh, they go do their

(38:39):
own white verds and some ship you don't thought off,
and you'd be like, damn, man, the motherfuckers don't stole
my ship. And they don't even make no sense to
even talk about it because everybody else will look at
you like, oh man, you ain't think of that. Yeah, exactly.
I even racket that I used to walk around before
I dropped one eighty seven prove. I used to walk
around and I be spitting into the hollies and ship

(39:00):
all the time, and some of my clothes homies was like, man,
don't don't don't say that ship no more, Like don't
wrap that song no more, don't wrap that ship to nobody.
And there was not your motherfucker out there doing it exactly.
Motherfucker would have took that whole concept concept and rock
with it. You know, it got into the radio before
I did.

Speaker 5 (39:20):
You know what I'm saying, rap, don't trip off my ship.
That's just my my smoke machine right now. That's you know,
they got that good camera effect. You like that and
steal It's all good.

Speaker 1 (39:31):
I think.

Speaker 5 (39:34):
Anything you like the camera tricks out. They getting up
with because smoked up, it started flazing up. All the
bigger covered in my bigger was sitting back like, what
the fuck going dog?

Speaker 1 (39:47):
Right there? Yeah, ain't got a farg machine over Yeah,
it's cracking right now. Got a farging machine. I got
a far machine right here. You will take it out.
So it's broke. It's broke, fall with dope. Damn. You
got a real for machine over there? Space What that's
like right there? See? He said, that's my active You

(40:10):
know I can get it in if I need ain't,
So you know what's thinking of act that? Man? Now,
I hate to come out and ask questions that motherfuckers
don't ask a million times already. Man, what was going
on in the movie set? Man? Was you out there
beating niggas up to Spice? Nah? You know? I actually
was just I didn't even see it, you know what
I'm saying. I was just I just literally told you

(40:34):
know when I when I've seen all and I said, man,
go up, go, no nigga go, And I've seen niggas
trying to chase him up the hill. And I went
down and I looked, I ain't the fuck y'all doing
like cut that ship you know what I'm saying. But
you know, by then the damage was already done, you
know what I'm saying. So so that that one you
really gift because she was there too, Hay.

Speaker 5 (40:54):
Right, I wasn't there. I wasn't shooting that day. I
was on the set every day, but that day I wasn't.
I wouldn't think I had a show while I was
out of town, so I wasn't on set that day.
I remember going down back then. Boy, I shouldn't have.

Speaker 1 (41:11):
I mean, I don't when you know, I don't know,
ay if I ever told you this, but when I
you know, came and got me from the airport that
day and I was, I was, I was. I was
drinking Jackie Coke all the way there and from so
by the time I landed, you know, back picked me
up and he showed me, you know what what the
newspaper and ship you know what I'm saying, and he's

(41:35):
and it said a newspaper.

Speaker 5 (41:37):
You know.

Speaker 1 (41:37):
Tupai comes to the set of Minister Society drunk and
high came into his lines, so that Hughes brother's firing, right,
And he was like, man, they didn't even call me
and say nothing, And I'm like, you know, I'm like,
damn for real, you know, but I was. I was twisted, man,
and you know, he was like, he was like, I'm
gonna beat thing, motherfucking ass right, and so shule you

(42:02):
know what I'm gonna start saying. I said, nigga, you
ain't gonna do nothing, nigga. Yeah. As to get it,
the ship, I didn't even know they was gonna even
be up be up there. I had no idea that
was gonna be there. And I kept, you know, talking ship,
you ain't gonna do that, nigga, you ain't gonna do
it that. I kept saying that. You know what I'm saying.

(42:23):
He was like I wanna beat that. I won't beat that.
And you know, but I didn't know that they was
gonna be up there and ship. You know what I'm saying.

Speaker 3 (42:29):
Uh, That's why when I sing him, I'm like, man,
cut that ship.

Speaker 1 (42:33):
You know what I'm saying, Like, this is this the mother,
this is making videos she founding this up here acting
crying and ship. You know, but shout out to the
Hughes brothers. None. I love the niggas, you know what
I'm saying. At least they tried to put in some ship.
You know what I'm saying, Who's gonna be your rooms?
Who was your wrong? Gonna be Spice? I was gonna
be old Dog. That's right. Showed me the last one

(42:57):
about to be Sharik. I had the script, you know
what I'm saying. But my manager at the time was
he just wasn't really helling his fucking didness. So I
had to fire that nigga, you know what I'm saying.
He had to get the fuck up out of there.
I was hot over this ship. I even after I
realized that the ship wasn't happening. I uh, I drunk
like a whole thing. Uh, Carlos ROSSI it had to end.

(43:22):
That ended up in the hospital with ship. I was
mad at it for real, man. You know what, man,
I think a lot of a lot of people, Man,
A lot of the homies suffered from having bad management
back then, because I think about like even eight, for example,
the role he played in Minutes eight was supposed to
go on to me and have the same kind of
movie career. Almost a cube when you say so sorry

(43:44):
when an extrapt yeah, I mean I was.

Speaker 4 (43:48):
I was in twelve War, so yeah, we gotta get
we got.

Speaker 1 (43:53):
That's what, like I said, it was fortunately lead you though.
I think they'll do it though, you know what, I
think you still got a long.

Speaker 5 (44:05):
Where it went to where he went for a reason,
and you know, you gotta take steps. Like I said,
I always tell the same analogy to my son. Uh,
some motherfuckers get there overnight. Some motherfuckers that take twenty
years to get there and build it up, and you
gotta take the long road. Don't mean you ain't gonna
get there. It's just for some of us, man, they

(44:28):
just take a longer walk. You feel me, I think
it might be better to day those fights.

Speaker 1 (44:33):
Just like I said, Man, the stuff we about to
do in twenty twenty four goa be crowned breaking. It
can't nobody doing but us, Brom. We gonna reap the
financial benefits off the ship without somebody else going and
throwing us peanuts. Yeah. Yeah, you would think a motherfucker
would respect the motherfucker's talent. And you know what the

(44:54):
fucking he done been through and all this hard work
of writing and coming up with songs and stories and
you know, trying to be able to hang with every
other motherfucking significant artists out there, and it's just some
motherfuckers come along and go, Now, you all deserve nothing. Here,
a nigga take this ten dollars while I take this

(45:15):
ten thousand. You feel me, it's just some niggas who
felt like that. And I say, those are the niggas
like you.

Speaker 5 (45:22):
You wish that every motherfucker would be on the up
and up, like I tell you all the time. Still
it just don't happen, you feel me, It just don't happen.
If a motherfucker feel they can fuck you, they're going
to fuck you and they don't feel no remorse about it.

Speaker 1 (45:41):
Ain't that crazy? So I think we all got them stories. Hey, Spice,
let me ask you this, ma'am. When you you was
a with JIB at the time, man, did you ever
talked to biggy Wise about the financial disparities that was
going on up there?

Speaker 6 (46:01):
Man?

Speaker 5 (46:01):
I did you even have a direct connection to Barry
and Jeff or did you go everything through your manager?

Speaker 1 (46:10):
I did for a while, and then and then they didn't.
You know, they didn't talk to nobody but my manager.
You know, at the end, you know, they wouldn't. I
couldn't get Berry on the phone or Jeff on the
phone at the end, and that that hurt my feelings
due that that that really you know, they brought me

(46:33):
up there and they used to throw me birthday parties,
you know, you you you know, give me my my
my gold, my plate in the gold plaques and pushed
my record and all of that, you know, and all
of a sudden the water cut off, and I didn't
know why, you know.

Speaker 3 (46:46):
And my manager was he started if it seemed like
he was working for them, he wasn't working for me
no more.

Speaker 6 (46:57):
You know.

Speaker 4 (46:58):
So fice, when you were going on Gold and having
all the success and and having these big records, big videos, soundtracks,
all this stuff, you literally only got your advances nobody
ever ever.

Speaker 1 (47:12):
You know, I've just now started to see it of residuals,
uh because you know, I don't know what happened with job,
but if they still out there a lot. But you know,
I still get my get my residuals, get my rugties.

(47:33):
Some of the I'm not getting some I'm working on.
But I still see it, you know what I'm saying.
But thirty years later, you know, well, you know, Spikes,
I'm gonna tell you something, man, And you got to
look into this man and you maybe me, you and
so on. But they can have a conversation once we
get off the show. All of those albums have a

(47:54):
reversion on them to where you may own a lot
of them albums right now. Yeah, right you may, only
you may some of this stuff is I know, bonus
about to get their stuff back. They're about to get
their albums back right now. And you should be in
the same position, man, because it's a lot of stuff
that It's a lot of stuff that people did that
was crooked back then. Because you got to remember the

(48:14):
time when y'all signed y'all contracts. Man, it wasn't no
digital So I think they be selling digital albums and
streaming digital albums where they don't really have the right string.
Well it, yeah, it wasn't no such thing as the
end of that, yeah exactly. So we definitely got to
have a conversation, man, And I know it's a lot
of people trying to say the advantage of that right now,
Like me and eight had a guy to hear this

(48:35):
man talking about some of them where eight may want
to go buy a car or he may want to
go buy some rims. I said, what the fuck. So
so they pretty much wanted to buy the rights to
this album for like, and I ain't even gonna talk
about the Sun, but it was embarrassed, and I said,
why would he sell y'all that when that's what he
get a year off his routes? Exactly, that's great.

Speaker 5 (48:56):
And the first it's in some people that feel like
all this on our generation or desperate right union. They
feel a lot of artists from our era are broke,
you know, because let's face it, we never did reap
the rewards from our work. Niggas was having gold and

(49:17):
platinum records and if that shit was today, you get me,
you'd be reaping. You be reaping the rewards from your
gold and platinum and double platinum records. But shit, back then,
you could have a motherfucking platinum record and you're still
living on the block, you know what I'm saying.

Speaker 1 (49:34):
Uh, it just it just was, it just was shit
that was unheard of.

Speaker 5 (49:40):
And for a motherfucker to take all this hard work
and like I said, again, trying to come up and
create but fucking shit, trying to create music that you know,
when you got competition, like niggas like Spice wanted ice
Cube and Scarface and ll cool J and you get me.

Speaker 1 (49:57):
You're trying to come up with decent material to looked up.

Speaker 5 (50:01):
And Nigga a year later, Nigga, it's like, damn, my
record when platinum, but I ain't getting not a dollar
like a nigga, ain't a nigga, ain't send me a
check for nothing.

Speaker 1 (50:12):
They didn't came knocking on my door talking about it's
time to do another album. I'm like, what the you know?
But it's unfortunate that we went through that era. You know,
now it's streaming and.

Speaker 5 (50:24):
Digital and niggas could push their own shit and you
ain't gotta go through a label and all that shit.
Nigga could pocket all this money from fucking let me
drop my shit on a sound cloud or this, or
you get me, I'm gonna get all my bread and
don't be a popular little artist who you know, city
getting behind them and fans and next thing you know, nigga,

(50:45):
he got a million streams on whatever.

Speaker 1 (50:48):
Niggas collected real money nowadays it was, but you're not
in masters or something, so you know, we just gotta
fight a little longer, man, you know, to get on.
Just say spikes let me ask you this broom. You
were a phenomenal artist. He is a phenomenal artist. Do

(51:09):
you ever feel like you get the respect from the industry?
I know you got the respect from the people, right,
but do you ever feel like you get the respect
from like the the povers that be, like the guysis
and the different people that's in position to do stuff.
Do you feel like that you get the respect you
supposed to? Well, the you know certain artists, I mean

(51:32):
certain uh, certain certain fans out there. Are they just
a fan that just regular fans of hip hop? It's hard.

Speaker 3 (51:43):
It's hard for me to to to to register it
when they start mentioning Bay Area artists and they don't
say spikes one that that that right there.

Speaker 1 (51:53):
That hurt.

Speaker 3 (51:53):
That hurt a little bit, you know what I'm saying,
knowing that you know one seventh fast nigga from the Bay,
you know what I'm saying, Like this is this is
this is me saying this ship in and in the in.

Speaker 1 (52:06):
Uh in ninety two ninety three, you could tell that
the East Bay was his home. You know, there was
no other artists representing the Bay like that back then
except I think mac dre was. You know what I'm saying.
Every artist was representing you know where they was from,
or I'm from the town from Oakland, I'm from I'm
from uh from, I'm from the Leo. Uh. I didn't say,

(52:26):
you know, I'm from Hayward uh uh, but I did it.
I put it in my song. You know what I'm saying.
I represented my town or whatever. But I just really
wanted to represent the Bay as a whole because I
felt like, you know, I was I was. I wasn't
just rapping to to uh to to one town. I
was rapping to the world. Really, you know what I'm
saying that I want to represent the Bay Area, and

(52:48):
it seemed like, you know, you know, when you don't
get your props for when you know I don't get
our props for that, you know, it kind of hurt
a little bit, you know what I'm saying. But I
know who I am, and I know uh uh the
people who respect me, and that's enough for me to
not even trip on that ship. You know what I'm saying.

(53:08):
As far as every time I feel that way, all
I do is I think you know, damn. The first
time I landed in New York City, run DMC was
sitting there waiting for me. It was waiting for me.
They was sitting there waiting to see Spice One get
out the I still had these cats on my wall
in my room and they wait for me when I

(53:28):
land so and I talked to him and they Spice.
You know, I'm like, what y'all doing here? Man? We
wait for you? What's up? You know?

Speaker 6 (53:34):
Uh uh?

Speaker 3 (53:34):
Like you know what's going on with your Spice?

Speaker 1 (53:37):
And that was that. That that alone, that memory alone
is enough for me to say, you know, he sh
you know, I don't give a fuck, you know what
I'm saying. I know who I am, and ship, I
know what I did, and and and and memories like
going to Japan and and seeing my Japanese fans and
and and seeing them wait there at the airport for me,
and the in crowds, and and me thinking, you know,

(53:58):
a man, is they waiting for me? On there? For me?
Like for real?

Speaker 3 (54:00):
You know, after all of these years, you know, they
at the airport waiting for me.

Speaker 1 (54:03):
And yeah, they was. They was at the airport wait
for Spikes one, with all my CDs and my old
albums and showing me stuff, you know. And that and
that was way in Japan, so I know who I am.
So you know you're just you're just not going to spikes.
Well no, this this was even back in h I've
been there a few times, back in when I first

(54:25):
landed there. The first time I went there was like
maybe two thousand or twenty ten.

Speaker 3 (54:29):
Or something like that.

Speaker 1 (54:31):
And uh, and that's what it was, you know what
I'm saying. And and when when you when stuff like that,
when you when you uh experience stuff like that, you know,
you say to yourself, shit, you know, well, just because
these motherfuckers don't know who I am. Ship the rest
of the world is up on they ship like shit.

(54:51):
Japan know who Spikes one is, and Germany know whose
Spikes one is and in Australia know who Spikes one is.
They come to the shows they represent. You know what
I'm saying.

Speaker 3 (55:02):
It's a few cats hate act like they don't.

Speaker 1 (55:05):
Know who I am, or don't give me my proper
respect or when it's respect to do. I don't give
a fuck because I know who I am around the world,
not just the world, really, I don't. I don't never
look for.

Speaker 5 (55:26):
You give me because I know what I've done I
know what I do as far as being you know whatever,
m C eight or whatever, but beyond that, you know,
trying to just be a good motherfucker, a good nigga today.

Speaker 1 (55:42):
You know what I'm saying, A grown ass man.

Speaker 5 (55:46):
Do I look for respect or whatever from other motherfuckers,
you know, especially a lot of industry motherfuckers. I just
put it like, you know, you don't gotta like what
MC eight has done as far as musically or whatever
is your flavor, but you're gonna respect what MC eight

(56:08):
has done as far as the hip hop is concerned
and what music is concerned. So that's just the way
I feel about it. There's a lot of people gonna
acknowledge that now, and sometimes that's cool. You know, if
a nigga want to say, under their breakfast behind closed doors, uh, nigga,
you know, nigga was significant eight?

Speaker 1 (56:30):
Had you know this?

Speaker 5 (56:31):
Or you know I used to bang eight when I
was in hard times or nigga when we used to
do this and we was hood niggas and we used
to put that tape on and roll through looking for
whatever and not just on that type of tip. Just
being able to tell stories and be a significant of

(56:51):
uh uh pillar so to speak. You know, I'm just
one brick on the motherfucking the house of hip hop,
so to speak. You're getting me, but niggas need to
know I'm I'm I'm a solid brick in that motherfucker
and you can respect that. We ain't gotta like on music.
You feel me, but you know recognized that I respect them.

(57:15):
Respect the fact that a nigga is a significant brick
in that motherfucking house, in that foundation.

Speaker 1 (57:20):
You know that's real. And you know what, I'm gonna
ask this question kind of for both of y'all, right,
And I always wanted to ask you all this, like right,
because you mentioned that you wanted the East coast, Spice,
and you know you had running and see, you know,
lessons wait for you at the airport just to shop
it up with you. We're fanning. Your music surprised you
the most. I'll let you go first, Spice, who fuck

(57:42):
with your music? That really surprised you. And it was
a few uh Jammie fox Man that that was that
was treat. I had wrapped my uh my homeboy humbered
with my album cover and we was riding to LA
and you know it was it was it was a

(58:05):
limbo pulled up behind us. Remember the remember the nico
A the hotel. Okay, we pulled up right in front
of that motherfucking man and limo pulled up behind us.
To the limo driver hop out and he like, you know,
his spikes one in this in this uh hu in
his in his in his hummery is he in? He?
Is he in there?

Speaker 3 (58:26):
And I'm like, you know, I'll said, who was that?
I said, ask him who in the limo? He said,
Jamie Fox is in the limo.

Speaker 1 (58:32):
Ship. So I'm like, man, get the fuck out of
end up. Damn Jamie Fox and the limo and and
so so I hopped out the passenger side, off the
back passenger seat, you know, and sure enough Jamie hopped
out a suit on and all playing in the motherfucking
He spiked, I'm like, oh ship, you know, like what
the fuck? Like, okay, what's up? What's up? And we

(58:52):
took him a pitch and chopped it up for a minute,
you know, and you know, he told me to listen
to my music. He knew what it was and ship
and that was that that type of ship is just
enough for me to you know, any motherfucker who act
like they don't know who a nigga is. I don't
you know, I ain't tripping nigga Jenniy Fox though who
I am? You know what I'm saying, Crazy Ship? Who else?

(59:14):
Who else fucked you up?

Speaker 6 (59:17):
Uh? Uh?

Speaker 1 (59:22):
Mike Epps? Uh you know? Uh?

Speaker 4 (59:29):
He was?

Speaker 1 (59:29):
I think, well it was on two occasions. He was
out here, uh in in Vegas, you know, and he
was with some of my guys from from North Richmond,
uh you know, and you know about the North Frischman took.
Oh definitely seemed like he beat up on Shipping though.
Yeah he was. He saw that, Mike, that's the only Yeah.

(59:50):
He was a real dude, you know what I'm saying.
He was richman niggas out here in in Vegas. And
they called me like like maybe four five in the morning, like, man,
you know, we got Mike Epps over here. He he
passed out and he told us he fu he fucked
with you, you know what I'm saying, And we told
me we knew you, and he don't believe it. He

(01:00:10):
wants you to us to hit you up, but he
passed out before you know, we can get a touch
with you. And I said, man, you know, come get
you know, so they came and copped me and Kane
swrew me up. Man, I go to the to the
uh to they had a hotel, uh and uh sure enough,
you know, Mike Epps was in there. You know what
I'm saying. He was out, and so I woke him

(01:00:32):
up like uh like uh like methan man walk a
red man on on the on Uh how high? How high?
You know? I just turned on I turned on one
a cereproof and I had one lit up, and I'm
like pulling on the corner with him. You know, he
woke up to me, you know, speaking one a cereroproof

(01:00:53):
with the blood Parado tore up here like like oh
shit me like spice bud, they got told him aout
th huh. You know you know that that's just that
was some of the coolest ship I could ever encounted,
you know what I'm saying, So shout out. I'm like
that man, real dudes, you know what I'm saying. That
sounded like a hell of a motherfucker dream right there.

(01:01:13):
He probably woke up like what the fuck is going on?
Can you made your story? You're sleeping? You wake up?
The spike's gotta blood me. I didn't give that proved
at the crack shot. Hey, who fucked you up under
Britney Spears.

Speaker 5 (01:01:30):
Who fucked me up was the regular motherfucker who hit
my d M today and told me he was banging
on my new record.

Speaker 1 (01:01:37):
That's what fucks me up. That's what I appreciate. That's
that's definitely something you can appreciate.

Speaker 5 (01:01:44):
I appreciate a regular ass motherfucker who can steal, a
regular motherfucker who's in my age bracket, who can steal, turn.

Speaker 1 (01:01:56):
On some new ship and go, man, I was just
banging this ship earlier. Or niggas who reminisce about you know,
past songs. You know, I appreciate that.

Speaker 5 (01:02:09):
You get me and then you know, you can get
on shit like Instagram now and see Lebron James in
the back of his you know way on the way
to the game bumping some straight up minutes.

Speaker 1 (01:02:21):
So you know, I mean eating all the words and ship.

Speaker 5 (01:02:25):
You know, you you Cleveland niggas, man, You know y'all
gotta get the words down, man. But I appreciate my
nigga because my nigga appreciates real uh.

Speaker 1 (01:02:38):
My nigga appreciate some real motherfucker.

Speaker 5 (01:02:40):
Hip hop you give me, and not to just be
not to just be on some commercialized shit, because you know,
when it comes to Lebron, they expect him to listen
to some drake or something, you know, some you know,
if you know those those people, you know, some Drake
or some twenty one or something. You know, they expect,
you know, Lebron to listen to them cats. But you know,

(01:03:03):
to see him uh in the back of his ride
on the way to the game and uh banging some
straight up minutes and when trying to mimic the words
man that that was pretty cool.

Speaker 1 (01:03:14):
Well yeah, well you know I got this today. Man.
I try to tell Ada on his d young but
he has a responder. But let him know that his
last album listen To is a real dope, gid pop album.
It's actually one of me and my girl favorite albums
this year. And this is dude named Brayland d some
shout out Brady, Yeah good, good shout out Gray. Look
like I said, average people, man, that's what that's what

(01:03:35):
that's what's that's what's cracking.

Speaker 5 (01:03:37):
Man.

Speaker 1 (01:03:38):
That's cool as hell. And I think that's why and
I think that's why thirty years later, man, y'all still
doing shows, still got people, man that love what it
is that y'all do because it's all about the common man.
Y'all made y'all, y'all were able to make a connection
with the common man. Nothing y'all. I see this Saturday, nigga,

(01:04:01):
Oh yeah, we're gonna turn up you already talking on
aisle right, yeah, miss the Minister society too. Yeah, only
Tira gonna be out there. You know, timing is funny
because he always called me know time and talk. He said, hey, hey,
still they put.

Speaker 5 (01:04:16):
They put one eighty seven on the bill too, so
you know it's all crying when they seven. I need
to hear cold up. I need to hear him out
to get what it's.

Speaker 1 (01:04:25):
Gonna be a gangster perny man soon it's all good man,
So shure you know what it is. This episode of
Man is gonna drop on Thanksgiving, Man, So we want
to wish everybody out there man a happy Thanksgiving. Man.

Speaker 5 (01:04:36):
Won't your cook in eight ain't cooking? Ship, nigga eat
and I ain't cooking.

Speaker 1 (01:04:41):
They gonna be over eating shiplins and smoking him a
blunt man.

Speaker 5 (01:04:44):
Well do that ship. We do not mess with porky
pig man. I don't fuck with no chiplins either. I
used to like a motherfucker.

Speaker 1 (01:04:52):
Hey, I ain't. I ain't too hot on the child.
I ain't looking for them. This year, I'll probably be
doing this. We're gonna find your say have a say
Thanksgiving man, and we see y'all on the flip man.
That's what it do. Well. That concludes another episode of
the Gainst the Chronicles podcast. Be sure to download the
iHeart app and subscribe to The Gangst Chronicles podcast for
Apple users, find a purple micae on the front of

(01:05:14):
your screen, subscribe to the show, leave a comment and rating.
Executive producers for The Gangster Chronicles podcasts of Norman Steel
Aaron M. C a. Tyler. Our visual media director is
Brian Wyatt, and the 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

(01:05:36):
to your podcasts