QLS Classic: Snoop Dogg

The legendary Snoop Dogg joins Team Supreme to talk Doggystyle, producing with Dr. Dre, and how he became the ultimate entrepreneur.

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Episode Transcript

Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio. This classic
episode was produced by the team at Pandora.

Speaker 2 (00:09):
The legendary Snoop Dogg joins Team Supreme to talk doggy
style producing with Doctor Dre and how he became the
Ultimate Entrepreneur. Originally released in December nineteenth, twenty.

Speaker 3 (00:20):
Eighteen, Supremo s S Suprema Roll Call Suprema su su Supremo,
Roll Call Suprema so So, Supremo, Roll Call Suprema so So, Supremo.

Speaker 4 (00:45):
Roll Call. My name is.

Speaker 1 (00:47):
Questla Yeah, and I'm out of breath. Yeah snoops gym, Yeah, I'm.

Speaker 5 (00:55):
Suprema su Suprema Roll call Suprema Up Supremo.

Speaker 1 (01:01):
Roll Call.

Speaker 6 (01:02):
My name is Fante. Yeah, please hold my calls. Yeah,
because everybody got to heal.

Speaker 7 (01:07):
Yeah.

Speaker 4 (01:08):
Ship on w ball.

Speaker 5 (01:10):
Supremo Supremo, Roll Call, Supremo Supremo.

Speaker 8 (01:17):
Roll Call.

Speaker 4 (01:18):
My name is Sugar.

Speaker 9 (01:19):
Yeah.

Speaker 7 (01:20):
I'm a friend indeed Yeah, but a friend in need.

Speaker 4 (01:23):
Yeah, will steal your weed.

Speaker 5 (01:26):
Supremo Supremo, Roll Suprema Supremo, roll.

Speaker 10 (01:34):
The Teva Yeah, once joints or bong Yeah. Somebody grinding
this weed.

Speaker 8 (01:39):
Yeah.

Speaker 1 (01:40):
Before the end of this song.

Speaker 5 (01:41):
Roll call Supremo Supremo roll call Supremo Supremo roll call.

Speaker 11 (01:50):
It's like yeah and true. YEAHVA ain't real.

Speaker 12 (01:55):
Yeah, how about you?

Speaker 10 (01:57):
Roll call Suprema Sun Supremo, roll call Suprema Suck Suck
Supremo roll call.

Speaker 7 (02:06):
My name is Snoop. Yeah, I'm not no Bagle. Yeah,
I'm a Laker fan. Yeah, and I like the Eagle.

Speaker 5 (02:14):
Supreme Supremo roll call Suprema su Su Supremo.

Speaker 10 (02:21):
Roll call Suprema Sun South Supremo. Roll call Suprema Suck
Suck Supremo.

Speaker 1 (02:29):
Roll call, Ladies and gentlemen, we have reached the pinnacle.
This podcast Black life goals, Yo, I have nothing compared.
This is quest Love of course, Love Supreme. As if
I got to reintroduce the ship that we're going. This

(02:50):
is our Christmas episode. But I'll be very honest with you.
It's still August, and we are in We are in
heaven right now. Compound. Yes, we are in the compound
of all the compounds. A lot and be said about
our yesterday, but in my opinion, he's probably hands down
the most beloved, unique, charismatic, talented MC and hip hop

(03:13):
culture period and music period in life period fact, and
I mean hip hop is forty five years old and
not said period. If I ponder and gave a thorough investigation,
you actually might catch me saying that he's easily, if
not the top three, but one of the best voices
in hip hop. He is the coolest of the cool
His catalogs outstanding, His anthems are people's high lives. It's

(03:37):
the craziest live show I've ever seen.

Speaker 4 (03:40):
And I guarantee you he's your mom's favorite rapper.

Speaker 1 (03:43):
That's yo, ladies and gentlemen, your mom's favorite raps straight
up Snoop dog.

Speaker 4 (03:49):
In the building.

Speaker 9 (03:51):
Thank you.

Speaker 7 (03:53):
I appreciate that. And that roll call was off the
hook man. I'm a rapper though, so I stay ready.
I ain't got to get oh yeah.

Speaker 6 (03:59):
Key Balls all day, yeah your album like my mom
would like. She because I was talking to Dj Quick.
We had Dj Quick on the show early and h
his album. I couldn't listen to the cursaon But when
Doggie Style dropped, that was the one album, like my
mama was saying, ain't no fun with me.

Speaker 7 (04:17):
The real mothers around the world that was allowing their
kids to listen to that Snoop dogg music back then
because they knew I guess they knew that I didn't
really mean no harm.

Speaker 9 (04:24):
I just was I was the young voice.

Speaker 7 (04:26):
And at the same time, I appreciate the mothers for
allowing y'all to listen to it because we grew together.

Speaker 4 (04:31):
Oh yeah, absolutely.

Speaker 1 (04:32):
I'm literally out of breath from just being on the
basketball court. I don't know how you do it, bro,
I don't know.

Speaker 13 (04:40):
I don't leaders on.

Speaker 4 (04:43):
Where'd you grow up?

Speaker 7 (04:45):
Right?

Speaker 4 (04:46):
Where were you born? LBC?

Speaker 9 (04:47):
I grew up in Long Beach, California, on the east
side of Long Beach.

Speaker 4 (04:50):
Okay, And what was your when you were first started? Like?
What was music like in your household?

Speaker 7 (04:55):
In my household, music was like brothers. My mama loved
some Teddy Pendergrass, Oh Jay stylistics, Uh, Manhattan's the dramatic, definitely.

Speaker 1 (05:09):
Band, the daily black nutrients dipped in the sauce.

Speaker 9 (05:13):
Man Okay, Well.

Speaker 1 (05:14):
Shock is like what what Jawn like? Straight Philly? What Join?

Speaker 13 (05:20):
What all right?

Speaker 1 (05:21):
What John like? Would you would we be shocked that
you listened to that was outside of the lane of
what you're known for. Listening to your Cadillac music like what.

Speaker 7 (05:31):
I loved Rod story was hot to me when I
was young. He was dope, Like I loved his get down,
like the way he sung his he seemed like he
was singing off what he was on and and and
it seemed like he was on the wrong bar, but
he was always in the right you know what I'm saying.
Position Like I love the way his voice down.

Speaker 5 (05:52):
He had.

Speaker 9 (05:54):
Told me I loved me.

Speaker 6 (06:00):
Now, did you have any siblings growing up? It's not
two brothers, you youngest, older older brother and a younger brother.

Speaker 7 (06:09):
And then my mother adopted my cousin and we made
him my brother, so it was four boys in the house,
you know what I'm saying, raised by one single mother.
Music was key, but I probably was the only one
that like really had a knack for it, like was
singing the.

Speaker 9 (06:27):
Choir and.

Speaker 7 (06:29):
Talent shows, rapping other people raps like the Sugarhill Gang
and Jimmy Spicer when they first came out, I learned
all that they raps and shit because I was like
these niggas fly. So I learned all they raps and
went to school and was just put my name and
they raps. Like that was like my first you know
intervention with me trying to become a rapper, listening to

(06:50):
good music and seeing if I could emulate it, and
not being afraid of doing in front of people, even
though if I was whack real good.

Speaker 1 (06:56):
So when did you first start realizing that you had
a knack or a gift for them seeing or singing,
or you know, just overall talent. When did you realize.

Speaker 9 (07:08):
Eighty six eighty five I was cool.

Speaker 7 (07:10):
I was a you know, basic rapper, you know, rapping
about cars and swimming pools and shit. I didn't have
you know what I'm saying, you know, the old basic
wrap back then in the beginning, I got a big
old house and a big old card right, and they
didn't have nothing right, you know what I'm saying. Then
I gradually grew into you know, style, like what style

(07:31):
do I want to use? And watching the study and
the greats and listening to how they vocals and how
they controlled the microphone, not just what they was, but
their vocal tones. There was a lot of studying that
went in the you know what I was doing. I
wasn't just trying to be a regular rapper. I wanted
to be great. I wanted to like find ways to
perfect styles and perfect things that nobody had done. But

(07:52):
at the same time watching people who inspired me.

Speaker 4 (07:55):
Yeah, I always heard you say that slick Rick was
on your.

Speaker 7 (07:57):
Face, my man, love them to death, and that's still
one of my an to this day. Like when I
got a chance to meet him, he became my friend.
And it's like to have somebody like that that you
idolized and that you were able to finally get a
relationship with. It's beautiful because he's very you know, unique,
And I still look at him as the same slick
Rick when I was a kid, because he still dressed
fresh and honey, chains On still got the coldest conversation

(08:21):
and he remained him at all times, and that was
like helpful to me to find out who I was
and try to remain me and not try to get
caught up in the phase with rapping hard or rapping
fast or rapping loud, because when I was coming out,
most rappers was rapping like aggressive and hard and last yeah,
very aggressive. It was a couple of smooth ones, but
not the pocket I was trying to find.

Speaker 1 (08:44):
So well, what slick Rick though, I mean, your your
your bartune is also key to your your low voice,
your baratune is key to your delivery. But I mean,
how did you did you finesse that style that you
have now? Snarl? I wouldn't know how to. It's somewhere
between snaggle Puss flick Rick.

Speaker 9 (09:04):
And I think what it is.

Speaker 7 (09:08):
Bosi Conent said it was like a cartoon mine. He like,
you got a cartoon mine. So a lot of times
when you rap and the voices that you hear will
be you know, cartoon related. You know, some sort of
cartoon that I may have heard or seen as a kid,
and I emulate that and put that vocal into my
rap with the delivery. Like you said snaggle Puss like

(09:29):
because to me, because the way he talked, it's sort
of kind of like the way I swing it when
I'm rapping.

Speaker 1 (09:34):
Right, So even as a teen you had this style developed.

Speaker 7 (09:40):
Nah, hell no, I would hate for you niggas to
hear the met music, all right, That's what I'm trying
to lead to. Might know, you know some niggas be like, well,
coming up the nineteen eighty seven version when you were
Snoop rock Ski and you thought you what was your
first name, Snoop rock Ski?

Speaker 4 (10:00):
Yes, yeah, got wrong with.

Speaker 7 (10:02):
That shit for a minute.

Speaker 1 (10:03):
It's weird though, I mean because it's most most West Coast. Yeah,
most West coast cats I know won't even admit to
having any sort of East Coast in Floridenace.

Speaker 7 (10:14):
Fuck that, nigga. We loved everything about the East Coast.
If you don't knock it off, nigga, y'all niggas was
the pavement to all walking on shit.

Speaker 9 (10:21):
Nigga.

Speaker 7 (10:21):
We wanted to be like y'all with the belt buckles,
the mink coats, the bomber jackets, the motherfucker cane goals,
the gold chains, all of that shit. We wanted to
be what y'all was because y'all created that. And I
say y'all, I say the East in general, because they
from Philadelphia to New York, Nigga from Steady Bee, the
motherfucking all these niggas that had all that flavor in
that style. We watched that and then we emulated and

(10:43):
put our own flavor on it. That's how the hip
hop game was created. Somebody had to start it, somebody
had to see it and then add their pieces on
what they saw, and then that's what created hip hop.
That's why it's growing into different nations now. That's why
people in different countries do hip hop. They can even
speak English, but they do hip hop.

Speaker 1 (11:02):
What was the first show that you've ever seen? Contract wise? Music?

Speaker 13 (11:09):
Hip Hop?

Speaker 4 (11:09):
Or the Wiz?

Speaker 11 (11:11):
What?

Speaker 1 (11:12):
Wait?

Speaker 7 (11:12):
What the Whiz? In nineteen seventy nine, when Stephanie Mills
was playing.

Speaker 12 (11:16):
On I saw that one.

Speaker 6 (11:19):
Yeah, that ship was Dope Man, Dope Wow Lie, who
took you mom?

Speaker 4 (11:24):
So you see it?

Speaker 7 (11:24):
You know it was like a church thing, and that's
when I was a good boy, and you know, you know,
the church got us a couple of tickets to go
through the Wiz. You know we're gonna take brother snowby
Waters too. He's been acting good in church. You know
you're gonna water.

Speaker 4 (11:40):
Well.

Speaker 8 (11:40):
All right?

Speaker 13 (11:40):
So hip hop wise, what was the first show you saw?

Speaker 7 (11:43):
Run DMC? First Fresh Past, Yeah, eighty okay, I remember
when we shut that ship down? I was gonna ask
was it the Long Beach show that?

Speaker 9 (11:56):
Yep?

Speaker 7 (11:58):
Can you tell?

Speaker 4 (11:58):
All right?

Speaker 1 (11:59):
All the the idea of a riot breaking out at
a hip hop concert, I'll never forget, Like the coverage
and write on magazine was like they had to. I
remember Vanessa Williams was even at the show for some reason.
But now I know Russell Simmons the way I know him. Yeah,
of course Vanessa Williams was there, but they had to

(12:19):
give it like a press conference and the whole ideal
rapp being violent or whatever, like.

Speaker 9 (12:24):
They put my city on the line.

Speaker 1 (12:25):
It started with this ship. That's how I know what
Long Beach is. Well, when you do retcall what happened
at the show.

Speaker 7 (12:31):
Like it was a youngster, I probably was like thirteen fourteen.
I couldn't get in, so I ended up sneaking in
one of the homies and when I got in, they.

Speaker 13 (12:39):
Just didn't have no security.

Speaker 7 (12:40):
Like no, it was a good It was a.

Speaker 9 (12:41):
Good show, was tight. It was like LLL Houdini and
all of them.

Speaker 7 (12:44):
But what the problem was it was some La Niggas
that came down to Long Beach, and the La Niggas
was basically known for just you know when you go
to La they fucked the concerts up and you know
they run everything. They came to Long Beach and didn't
realize we was deep and we was we was all
one gang at one time, was three different gangs and
Loan Beach, but they all was together at that particular time.

(13:04):
And when they tried to come and do some shit.
It happened to be doing the intermission and I spoke
with Leora to find out exactly what the moment was.
Leora told me he was like it was a break
between acts, and when the acts would have a break,
they wouldn't have a DJ and nobody playing on music,
and it just went black on stage. And that's when
niggas seeing each other and was like, I think it
was between LLL and Houdini as LLL came out with

(13:27):
all red on and our city is all crips we
didn't have and that's when bloods and crips wasn't cool
at all. Like now it's way better, but back then
it was no dialogue, no understanding that when he came
out with that red on, niggas.

Speaker 1 (13:40):
Was like that was problematic.

Speaker 9 (13:41):
He waned them, you.

Speaker 7 (13:43):
Know what I'm saying, Like it was shit that was
going on from that perspective, And then that the La
Niggas came and tried to push up in Loan Beach,
and the Loan Beach Niggas had to defend their turf
and the it was some essays there and it was
just a bunch of mayhem that had nothing to do
with the concert, and it fucked the concert up and
they put our city on the map for all the
wrong reasons.

Speaker 9 (14:03):
But then I came and cleaned it.

Speaker 13 (14:05):
Up all right.

Speaker 1 (14:09):
So, speaking speaking of those early tapes that you made,
how did you like was two one three your first project?
What was your first development actually in doing tape sting?

Speaker 7 (14:20):
No, my first development was probably eighty three. It was
a rapper named Captain Rap a long but she had
a song called bad Times.

Speaker 13 (14:29):
Oh Captain Rap from Long Jimmy Jam.

Speaker 9 (14:32):
Yeah.

Speaker 7 (14:32):
So he lived his mama lived on Alm Street, which
was like the gang Bang Street, twenty first in Alm Street,
and I lived on twenty third Lungcus, which was like
three or four blocks away, and I heard that Captain
Rap was over there.

Speaker 9 (14:44):
So I had made a cassette.

Speaker 7 (14:46):
You know, you push record and play that old school
shit with you know what I'm saying, rapping into the cassette.

Speaker 13 (14:50):
Yeah, did that?

Speaker 7 (14:51):
Did like about five songs. They was all whack went
over the Sea the nigga and he listened to him.
He was like, Nah, you ain't ready. You need to
buy Whooping the game he game.

Speaker 4 (14:59):
He was.

Speaker 7 (15:00):
I appreciated that because now I hear him and see
him in real life right now today, and I remember
how he treated me and how he was to me
on some real shit like and he was like the
first rapper from Loan Beach to have a song out,
but at the same time, he didn't have no more
songs out. So when I listened to his song, I
was like, Okay, I want to make a hit, but
I don't want to just make one hit, you know

(15:21):
what I'm saying, Like I'm gonna learn from this, like
fuck that, I'm too greedy.

Speaker 9 (15:24):
I want more.

Speaker 1 (15:25):
So he was just pimping that one song. I got
no follow up and just nothing else.

Speaker 7 (15:30):
I don't know what happened, you know. Around that time,
West Coast Rap was limited.

Speaker 9 (15:34):
That was like fast. West Coast Rap was like bad.

Speaker 7 (15:36):
Times, that's what we was rapping like that, you know
what I'm saying.

Speaker 9 (15:40):
So that shit came and went and.

Speaker 13 (15:42):
Then an effect on you.

Speaker 7 (15:46):
Tidy T is one of the coaches in my football league. Yeah,
he me and he'd been friends for the past twenty
five years. But Tody T had a real big effect
because I was a drug dealer and the bad around
was really real, like we would really see it come
through the neighborhoods in that song was so symbolic to
West Coast music because it was like the first time

(16:08):
that we had a record that it was about us
and the ship we was going through that everybody on
the West could relate to that was selling drugs, and
most drug dealers became rappers. You know what I'm saying,
because that's what Tardy TNM was. They were drug dealers
that were rappers. It just so happened to be making
music because they were like, like we got a spare time,
that's mixing music. It was him and another rapper, Nayed

(16:30):
mixed Master Spade.

Speaker 9 (16:32):
That was the ship.

Speaker 7 (16:33):
He used to rap like he was in church, like
welcome part.

Speaker 9 (16:36):
Of people in some class year.

Speaker 7 (16:37):
Here got the ladies in the front and whole raps
sound like.

Speaker 9 (16:45):
It was cold with it.

Speaker 1 (16:47):
I gotta look at he had singles out yeahs yes, sir,
okay maybe for n w A.

Speaker 7 (16:58):
They were they were the ones before we n WA's
like they was from Compton. They was representing that gangster shit.
They was real drug dealers. Theyre the ones, not the tools.

Speaker 1 (17:09):
Did you have any experience like any Uncle Jam situations
or any of.

Speaker 7 (17:15):
Those actually Uncle Jam Roger Clayton Rest in Peace, came
to Long Beach in nineteen ninety and was working a
club called the Toe Jams. And that's what me and
Domino used to rap at. You know, Domino ye together.
We was rapping Theirs and the Twins and Warren g
and the whole little click.

Speaker 9 (17:35):
We was all rapping there.

Speaker 7 (17:36):
And he kind of like knew that me and Domino
had some special because he would always separate us and
let us like come in a little booth. He had
like a space boof in the air, like old school shit,
like up here, but it's over the ground, and he
would let us come up in there and let us wrap.
And it's like you could tell that he knew that
we were special. And I didn't even know this motherfucker

(17:57):
was Uncle Jam until after the fact, because he wasn't like,
I'm Uncle James, just like it's Roger Clayton. Then I
was telling people, yeah, I did this with right, They're like, nigga,
you know Uncle Jam? Like what was Uncle Jam?

Speaker 4 (18:09):
Like?

Speaker 1 (18:09):
When did this party start? I've heard of his parties,
but I just don't know.

Speaker 9 (18:12):
The seventies, late seventies.

Speaker 13 (18:14):
Oh he went back that far. Okay, I think.

Speaker 7 (18:16):
George Clinton blessed him. I think George Clinton was like,
you know what, you the young gut here in La
that's pushing and promoting my ship and doing that thing.
And I think he took it on and say all right,
I'm Uncle Jam.

Speaker 9 (18:27):
I understand you.

Speaker 7 (18:29):
I'm Uncle Jam's army because I'm part of you know,
what George and them is doing, and I'm just a
culmination of it. Like you know how it is. They
inspired us everything, Uncle Jam. It's funk based. Everything that
we do is funk based because those were the originators
of what we love. Damn Rick James, Yeah, being the
whole funk man.

Speaker 6 (18:47):
Can you explain to us the importance of the roodium
and like what that was heard all me?

Speaker 4 (18:52):
It was a flea market, Yeah, it was.

Speaker 7 (18:54):
A flea market, but it was the spot that NWA made.
They first like mixtapes that really broke ice, like Dope Man,
Gangster Against All. That ship was in there first, like
on mixed tapes. So they was like there making like
songs with Cube would be rapping and Dre would be
on the turntables and it was like jacking for beats
before Jack and for Beasts, you.

Speaker 9 (19:14):
Know, what I'm saying.

Speaker 7 (19:14):
But Doctor Dre was doing the mixing and taking niggas
beats and Ice Cube was rapping and sucking it up,
and they was wrapping Gangster Ship. And back then it
was it wasn't common to rap Gangster Ship.

Speaker 8 (19:24):
More.

Speaker 7 (19:25):
More rappers were, you know, rapping the right way or
you know tra correct. Yeah, like Kara rest More didn't
give a fuck.

Speaker 9 (19:33):
He was going hard. You know what I'm saying.

Speaker 7 (19:34):
He was one nigga just ice didn't give a fuck.
He was hard, you know what I'm saying. It was
certain niggas that just didn't care. Ice t didn't give
a fuck. He was hard. But some of them was
just like you know, Rock Kim was hard. But I
never heard him cuss, right, I wanted to hear.

Speaker 4 (19:48):
Him except.

Speaker 13 (19:55):
On the original of My Melody he says, pull up
a chair, and.

Speaker 7 (19:59):
I ain't ship. I want him to motherfucker give me
some good shit. Right.

Speaker 1 (20:10):
So for for those tapes, like, were you an ardent
collector of him? Like, as far as Doctor Dre's concerned,
were you was it a goal for you to like, Okay,
one day I got to get to him, or.

Speaker 7 (20:22):
One day I wanted to get to Steve Steve Yano.
He was the one that ran to Rodehuim swapped.

Speaker 13 (20:28):
Me, Oh so you just want to get your product in.

Speaker 7 (20:31):
I just want to get to him because to me,
fuck them, he was the one because he could get
you out there. I wasn't good enough for them. I
didn't want to go to them and like get him
music that wasn't dope as theirs, Like that's the kind
of rapper I was. Like, I never wanted to rap
for Drel, wanted to get down for w A because
I didn't think.

Speaker 4 (20:49):
I was ready.

Speaker 7 (20:51):
Like so I would rather make music and get ready
and then once they discover me and feel like I'm ready,
then we make that happen.

Speaker 9 (20:57):
And that's exactly what happened.

Speaker 6 (21:00):
Good say, oh so from the first explained us exactly
how when you first started, when you Warren and Nate
from two and three, When did y'all start recording together?

Speaker 7 (21:13):
Well, me and Warren g was friends from like elementary school.
I met Nate dog in high school in eighty six,
when I was in the tenth grade, he was in
the twelfth grade.

Speaker 9 (21:22):
We had a class together.

Speaker 7 (21:24):
We just used to be fucking around, you know, beating
on the table and singing and rapping. Then we had
seventh period together, which was pe and we never went
to that, so we would always be singing and shit
in the back of the gym. So but war and
G was my dog, and waring G was always wanting
to do music with me, but we never like did music.
So then I figured out a way to get all
three of us together. And once we got together and

(21:46):
got past all the argument and fighting and shit, because
them niggas used to fight all the time, Waring G
and they though them niggas can not stand echere. That's
why it fucks me up that they got all the
fucking history right. And them niggas was always fighting each
other like.

Speaker 1 (21:58):
Brother like water, just like I really go.

Speaker 7 (22:00):
Brother like way, like Nigga like you know how brothers
is like like what the fuck is y'all? And I'm
in the middle of ship like this the fuck is
y'all fighting about? This is bullshit? And this is even
own records before the know it happened a lot before
the records. When the records came out, only conflict was
like just in the studio, you know, Nate Dog like

(22:22):
doing the ship a certain way.

Speaker 9 (22:23):
He like fucked that.

Speaker 7 (22:24):
He hard aded in the studio. He like doing shit,
no fuck that, I'm doing it this way. I'm taking
the motherfucker the way I want to sing it.

Speaker 1 (22:32):
Nate was always singing. Always was he ever at any
point in his life.

Speaker 7 (22:37):
Never, never, but he could he could, you know, Like
like I said, when I met him, we was rapping
and singing in the back of the class. Like he
wasn't just coming up. Nigga was rapping with me, you know.
I was, you know, beating on the table and ship
rapping it at the same time. And he would come
in and rap and then certain points he would maybe
sing some ship and they would be.

Speaker 13 (22:56):
Like that was flying and he always had that movie.

Speaker 7 (22:58):
Always had that ship Like He's sounded like an R
and B Nigga. That to me, you always sounded like
the dude from A What's the group? Mind blowing decisions? Nigga,
He sounds just like us if Nate when he used
to sing always in Forever, he sounded exactly like damn
like niggas just singing that for the Homiesga, be like

(23:19):
he sing always in Forever, always Forevergas in the rooms.
Niggas sing high.

Speaker 6 (23:27):
Part so from the time when y'all started making records.
I've always heard you credit the DLC is actually teaching
you how to write rhymes or or structure your rhymes. Rather,
how did you go from like just freestyling, Like how
did you start developing, you know, your pen game before

(23:49):
meeting uh dre and doing.

Speaker 7 (23:50):
Deep free styling was my main thing because I was
it was easy for me to come to my head
real quick. I would always you know, I was quick
with it. And then I started writing. But my rhymes
that I wrote were like so basic, Like I would
freestyle complex shit, but I would write basic shit. And
I couldn't understand, Like why the fuck am I so
basic when I'm writing? But I ain't, you know, basically

(24:12):
when I'm freestyling, because I guess it was a more
challenge exactly. So then I started saying fucking it. When
we started making tapes, I just started going in there
just saying shit like fucking I ain't gonna write no shit,
and that shit was sounding better than the shit I wrote.
And then once I got with you know, different producers
and certain motherfuckers giving me game on.

Speaker 9 (24:34):
This is a sixteen bar? What's up?

Speaker 7 (24:36):
Sixteen bar? That's when the shit started. Here and in
here Nigga rapped forever. You know, back then we had
one hundred monthfucking bars. You know, that's what rappers did
back then. Niggas din't know how to break that shit down.
You know, we just rapped it. We couldn't rap no more.

Speaker 11 (24:48):
So.

Speaker 7 (24:49):
Then once the nigga learned how to structure, it was
like cool, I got it. But then when I got
with drinking, DC Doc showed me how to make songs
like I would bust at least they bust something us
like three minutes. He'd be like, all right, see what
you said right here, that's the hook. What you said
over here, that's the last sixteen. Over here, it's the

(25:11):
first four right here, that's the next eight. Like he
would take my restructure. This nigga was nigga like he
worked for motherfucking Microsoft.

Speaker 13 (25:20):
Nigga.

Speaker 9 (25:24):
Yeah, Nigga put put the thing together.

Speaker 7 (25:26):
Like even when it came to g thing like I
wrote it on the east side, but the last part
I was stuck.

Speaker 9 (25:34):
And he came in.

Speaker 7 (25:35):
He because it's something I had said a long time ago,
and he was like, Nigga, remember that ship. We was
like like this that and this and up because I
said that in the freestyle when I was just freestyl
on one time Nigga's doctor drink and snoop.

Speaker 9 (25:50):
And we do it like this, and he.

Speaker 7 (25:53):
Was like, yeah, do that and put that at the
end and then put my name in there.

Speaker 11 (25:57):
Like put your opinion now on younger MC's and being
able to freestyle versus not the.

Speaker 7 (26:08):
Same where it used to be, you know, like basketball
and what it used to be, football and what it
used to be. You can't expect them to be on
the level of the game that ain't the same. You
know when we came out, you had to have skills
like that. I remember I had to battle like forty
niggas in New York one night, like on some real
shitting and corrupt stepped up and served about a thousand niggas.
I'm not making this shit up. It was like a

(26:28):
karate movie.

Speaker 9 (26:29):
Nigga like.

Speaker 7 (26:31):
Niggas was running up with the same outfits on niggas.
But that's what That's what hip hop was for me.
When I came in in the eighties, I started rapping
like eighty four eighty five. I had to battle about
one hundred niggas before I even got to a microphone.
Before I even got to a microphone. Yeah, then when

(26:54):
I got to a microphone, it be like a house party,
and if you ain't saying the right shit nigga, they'
DJ put on some shit like Nick, get out of here.
I say, niggas get shut down to get house parties.
Then I start doing talent shows. So it's like I
started getting familiar with the mic in my voice, and
I started recording myself like I hear what I sound like?
All right, my voice needs to be like this, not

(27:15):
all wrapping, all loud and talking like that.

Speaker 9 (27:17):
That ain't me. I need to be in pocket.

Speaker 4 (27:20):
Damn.

Speaker 1 (27:20):
See that's how Usually with people that have low register,
they do that a lot. They practice and practice, yeah,
and then they find their zone. That's weird that you
knew to discover that even without someone you know instructing
you to practice on tape.

Speaker 9 (27:38):
Ain't that ideas for a drummer too.

Speaker 1 (27:42):
Ah, that's just different. Mindset was more like there's the
basement going in it don't come out until after five hours.

Speaker 4 (27:48):
Like it was just.

Speaker 13 (27:51):
It wasn't like let me find my style.

Speaker 1 (27:53):
It's more like, yeah, it's better be home right after school,
But how do you.

Speaker 7 (27:56):
Like For example, like if I say give me some
Al Green and then give me some James Brown drums.

Speaker 13 (28:02):
Well that see.

Speaker 7 (28:04):
The thing is is that the mic even.

Speaker 1 (28:07):
I think, even beyond drumming, I am, I mean, I'm
a record collector and I process information different. So for me,
I've discovered that it's really in the microphone, in the
mixing I mentioned in the style. Also, so if you

(28:27):
want Al Jackson and I know that, okay you want,
I'm so glad your mine or whatever, then I know, okay,
I gotta tune this down and all that stuff. But
that really just comes from listening to listening to drummers
and knowing how to tune my drums to sound like their's.
It's not even a technique. So I consider myself more
like a mirror than an actual person with the style.

Speaker 7 (28:50):
Because I noticed you can get those sounds. It's like
I listened to you. I'm like, okay, he can get
any sound. He won't like the wots y'all be playing
with all kinds of sounds. That sound I like is
when y'all did that.

Speaker 14 (29:02):
If you don't want me about that, baby, you don't
want me, you know that.

Speaker 13 (29:12):
You got me, Thank you, bro.

Speaker 1 (29:15):
Appreciate that.

Speaker 7 (29:18):
Shit.

Speaker 1 (29:18):
I almost got talked out of that. The label was
like dog y'all got to hit, don't do this fancy.
The thing was we we lived in London. We had
exiled to the UK from like ninety three to about
ninety seven, even though we was living like both in

(29:39):
Philadelphia and abroad, but we were torn more abroad, and
so that's when drum and bass was just starting to
pop off garage and two steps and all that stuff.

Speaker 13 (29:48):
So when I got back to the stats, I was like,
all right, let.

Speaker 1 (29:51):
Me add some of that London shit that I learned,
which is weird because outcasts and doing bombs over Baghdad.
That was their version of that. You know, okay, let's
do what we learned in London. But I tried to
do it in the label like try to talk me
out of it, like real nah, radio is not going
to play this, You're messing it up. So I fought
they taught me out of Jills Scott, but I kept

(30:12):
the drumming biggs.

Speaker 7 (30:14):
Who get rid of Jill Scott, But I'm keeping my drums.
That crazy labels like back then had more say so
and could really like come in there and say some
ship that you had to do well.

Speaker 1 (30:24):
At that point, we were unproving, and it was just
like this was our fourth attempt at trying to make
it happen.

Speaker 7 (30:30):
Even for the proven, they did that like they were
coming there and tell them motherfucker on some where else
did It was many times where I sat down with Jimmy,
I being on some good ship, but I liked his respective.
But then sometimes we clash because I was like, Nigga,
you can't tell me, nigga, you don't know my ship.
Nigga Like hold on this, nigga, do no nigga, this
nigga didn't work with nigga boot Springsteens.

Speaker 10 (30:51):
Can you give us an example? Can you give us
an example of something you two classed over?

Speaker 9 (30:56):
Oh man? Uh? Producers?

Speaker 4 (31:01):
Really?

Speaker 9 (31:02):
Yeah?

Speaker 1 (31:03):
Who did you want to work with that he didn't
want you to work with him?

Speaker 7 (31:07):
I don't want to say no name, but it was
a producer that I really fucking wanted to work with
that He didn't really see it, but he kind of
saw it, and then once we started doing it, he
understood it was for real.

Speaker 1 (31:24):
Wow wait wait wow, he couldn't see that. You know what, though,
I'm gonna tell you something. In the beginning, you.

Speaker 7 (31:34):
Couldn't see it.

Speaker 1 (31:35):
Pharrell was a hard sell for me. Here's here's the
stupid ship I loved. I can't make a mistake by
mc light. I love this shit because it was loud
as ship. But it's almost like there's some unconventional there's
something unconventional about the Neptune sound drew me to it

(31:56):
that took me. It took me two months to to
to really really get it and get aboard. And now
it's like, the weirder this shit is, like take like
the clip second album. The weirder that ship is, the
more I'm all for it, you know what I'm saying.

Speaker 6 (32:10):
But that's what they were hard sell because I mean
the first my first I CA remainer was on the
Mace album, like they're looking at me joint and.

Speaker 1 (32:16):
You didn't like that, Okay, I didn't know who they were.

Speaker 6 (32:18):
You feel me like I remember this, But then like
I think I got it around like super Thug like
super Thug and like I mean the stuff with Norway,
like all that shit got But I could see the So.

Speaker 1 (32:30):
Your first of the palace right at least, no, I think, uh,
the chronic's blowing.

Speaker 7 (32:37):
Uh yeah, yeah, blowing chronic to me is like a tradition.
To me, I got to pick the So sit down
and listen to me. Don't go against me food, go
with me, and we can blow it all together like
Bobby Brown and with me. Yeah, we got something to
come and nigga search your nigga, but they never finding
my bomb and I got the stashot my cash, got

(32:57):
a lot of motherfucking punk police shot. I'm not the
one nigga. You can call me the two Bob Marley.
We incordinated, pupils, dilated and maxipated.

Speaker 1 (33:09):
This almost like that I'll be sure episode again you
get hypnotizing someone's voice.

Speaker 7 (33:14):
And then the nigga just stopped. Thank you for sucking
over me fast.

Speaker 6 (33:21):
Was it true that Deep Cover y'all didn't even have
the record done before y'all signed the deal to do the.

Speaker 7 (33:27):
I like, sure, I tell this story, he'll tell it
better than me. What it was was Doctor Dre was
going to the gym right and we was in Calabasas
at his house living at the time. You know, he
gave me a beat and he was like.

Speaker 4 (33:41):
This the beat.

Speaker 7 (33:42):
I want my ship to start off like this tonights tonight,
I get add some ship deep cover on the incognito tip.

Speaker 9 (33:51):
And then he left.

Speaker 13 (33:52):
So he gave you those four lines.

Speaker 7 (33:54):
And then the nigga left. I'm not making it up,
so they sure call about an hour and a half
letter Doggie Dog, I'm gonna call you back on the
phone with the people from Sony. You got the song done?

Speaker 9 (34:07):
I said no.

Speaker 7 (34:07):
The nigga just tolked, just gave me the beat and laft,
what what the song about? I don't know what it's about,
but the movie is about the undercover police officer.

Speaker 9 (34:16):
So I'm gonna call you back.

Speaker 7 (34:18):
I want you to like freestyle a little bit, and
then I want you to get to a certain point
and I'm gonna say, all right, cut it off, and
you're gonna hit the button and cut the music off,
like everything cut off, and I'm gonna call you back.
I'm like, all right, come on, and nigga ain't making
this shit up, Nigga. The nigga called me back about
an hour later, and I had a little bit of it,

(34:38):
had like maybe like four bars of it.

Speaker 9 (34:41):
So he called back.

Speaker 7 (34:42):
He like, Doggy Dog, I got the people on from
a Sony didn't want to hear the song.

Speaker 9 (34:47):
Nigga, I put the beat.

Speaker 7 (34:48):
Old Nigga just start busting their freestyling and going and going,
and Nigga, all right, cut it off.

Speaker 9 (34:53):
I'm gonna call you back.

Speaker 7 (34:55):
Nigga called me back and said, Nigga write the song
niggas called Deep Covers about a undercover police officer going
undercover and selling drugs. I'm like, Nigga, my dope case
was about me selling dope to an undercover cop in.

Speaker 9 (35:08):
My real life.

Speaker 7 (35:10):
WHOA yeah, So I took my real life and put
it in Deep.

Speaker 12 (35:15):
Cover and it just so happened.

Speaker 7 (35:17):
It all came came. And then when we do this
song right now, this the fucked up part. When we
finish it, everybody in the room like this a hit.
Only one motherfucker don't like it? Doctor Dre What he's
the only nigga that don't like it?

Speaker 1 (35:35):
Seemed like an insatiable perfectionist, where like, do it again?

Speaker 4 (35:40):
Do it that?

Speaker 7 (35:41):
Nigga did not like it. And when the trick was
they tricked me too. They tricked him too. They were like,
we're gonna do a photo shoot, Higo, five hundred dollars
snooker get you something to wear. So I go to
the swap meet. Give me some Kaki Chicago white Sox
jacket with the long beach hat.

Speaker 9 (35:56):
You know what I'm saying. I'm like T shirt and chucks.
I'm like, I'm cool. We get to the photo shoot.

Speaker 7 (36:01):
Nigga, it's a video, so I ain't never been on
no video before, so I don't know what the fuck
is going on. So now the director like he talking
to me and Dre like all right, I try. I
need you to act on this scene right here, and like, shit,
I don't do all that. Let that nigga do it.

(36:22):
I'm like They're like, yeah, well, the you know, and
what with the beauty of it is? It was the
part I did at the beginning of the song with
the I think you hit this in front of you
with the whoop that ship. So he was like, do that,
but I'm gonna have somebody acting with you. You don't
have to do both parts. You just do your part
and whoop the wap. So he had the actor come

(36:42):
in Drake just sitting down the whole scene just just look.
I'm like, nigga, you the star, nigga. You got me
doing all these lines in this dialogue and I thought
this was a photo shoot.

Speaker 1 (36:53):
Nigga, How long did it take for you for Dreda
know that in you he had his greatest discovery.

Speaker 9 (37:09):
That would probably have to be a question he would
have to answer.

Speaker 1 (37:11):
Because I mean from the first from the time you
met him to the time where he's like come to
the studio, how many how much time was in between them?

Speaker 7 (37:19):
At least four years? But I never rapped for him?

Speaker 1 (37:21):
Wait what?

Speaker 7 (37:22):
I never rapped for him? Let me tell you how
I used to go there.

Speaker 9 (37:25):
Warn G and Dre.

Speaker 7 (37:29):
Mother and father were married, Okay, so there would be
functions at their house and Dre would show up and
warn G had like some turntables in the back, and
he would try to always get traded to come in
the back like Snoopy can rap m And you know,
back then niggas was like I don't want to hear
nigga rap. So he would never be like, let me
hear something.

Speaker 13 (37:49):
This n w A era, Dre just like.

Speaker 7 (37:52):
This is when the nigga was making he shot. I
shot because he played that for us. He was like,
I want you all to hear this shit I'm working on.
He just played that one particular part of the song
was easy he said he shot and niggas like, damn
that shit hard and one he was like, Snoopy can rap, And.

Speaker 9 (38:11):
I'm like, what the fuck did he say?

Speaker 7 (38:15):
And then luckily the nigga did say let me hear something.

Speaker 9 (38:17):
He was like, okay, all right.

Speaker 7 (38:18):
Then he walked in the living room. I was like, yes, like, nigga,
don't ever tell that nigga I can rap. Nigga we nigga.
I don't want that nigga to hear me.

Speaker 4 (38:27):
Say.

Speaker 6 (38:27):
Do you finally get to you? Being on decover, who
made that connection?

Speaker 9 (38:31):
Warren Jill Warren.

Speaker 7 (38:34):
We had a tape two one three mixtape and it
had a song on there called super Duper and a
song called Gangster's Life. And the Gangster's Life song was
like a story about me being born. You know, the
first day I get born, I go to the liquor
store and get arrested. Like it's like a cold ass
gagster story. Then at the end, my brother ends up

(38:57):
becoming a gangster and ended up getting killed. So it
was like it was a gang bang ass story, but
it had like some positivity. You could see the writing
was the next level.

Speaker 9 (39:05):
So Dre. I guess he liked that style. But how
he heard it.

Speaker 7 (39:11):
They was at a bachelor party and the music cut
off for one and G used to always go to
their parties and the music cut off. So Warren g
slide in my tape when the music go off, Okay,
now the party back rocket and Niggass like.

Speaker 8 (39:25):
Who is that?

Speaker 7 (39:27):
Oh that's uh my homeboy snoopy and woofed it woo
woo whoop. So Drake like, oh, nigga, that shit sound hard,
nigga let me And then that's how he heard it,
from watching the reaction of the people and having the
air at the same time, probably hearing my voice, hearing
the delivery the way, like I say, the song was structured.

Speaker 9 (39:45):
It was one of my best structured songs.

Speaker 4 (39:48):
Is that Yeah? It is? It is?

Speaker 9 (39:51):
Yeah, it is. Okay, I can get you that gangscious life.

Speaker 7 (39:54):
I can get you the original version and it was
a version that we did with Nate Dog on it after.

Speaker 1 (40:00):
We was on pissing everything. Okay, great, awesome.

Speaker 6 (40:05):
So from the time that y'all got into after you
do deep Cover, how did the transition go from deep
Cover to death Row?

Speaker 4 (40:13):
Oh?

Speaker 9 (40:14):
When we did deep Cover, we didn't have no money.

Speaker 7 (40:17):
We was just it was also on Solar right, yeah,
maybe that Solar records exactly.

Speaker 1 (40:22):
Did you have any interactions with Dick griff Yes.

Speaker 7 (40:25):
Sir Griffy used to give us money for chicken wings
and bout us our first apartment where we was living
next door to Calvin from two to seven. We're acting
like you and watched that show exactly what.

Speaker 12 (40:43):
I'm saying with the Calvin at the time. Was he Calvin?

Speaker 7 (40:45):
He was still that was.

Speaker 1 (40:47):
After Calvin, but he was always gonna be in.

Speaker 9 (40:51):
Your family around.

Speaker 1 (41:00):
It's like bad that mean no.

Speaker 15 (41:03):
Place, no place, I mean no place child.

Speaker 7 (41:21):
Ya'll play too much, I'll watch too much like television
when you can get into your watching. No hell yeah
a syllable.

Speaker 10 (41:29):
You should have heard us in here singing the Amen's
theme song early.

Speaker 7 (41:33):
That it was like shoutow like bump.

Speaker 8 (41:42):
Know me, know me.

Speaker 7 (41:54):
The words, anyone your words.

Speaker 12 (41:59):
That's worse than good time, that's awful like credit.

Speaker 7 (42:03):
Who was singing that the home was on the lead?

Speaker 6 (42:06):
Was I think it was?

Speaker 7 (42:10):
That was?

Speaker 13 (42:11):
Yeah, I'm almost of.

Speaker 10 (42:12):
The sisters right from Yes, I did not know she
had a deal back in the seventies.

Speaker 13 (42:19):
Y'all was next door to Calvin.

Speaker 7 (42:23):
That this Dick Griffy got his apartment with us. They
say death fro got it, but Dick Griffy got it
because they had no motherfucking money at the time. So
Dick Griffy got his apartment right. So the apartment was
in Rage name because she didn't want to had credits.
All of y'all, Rage and War and g was living
in a one barroom apartment and Rage had a dog
named Buster. We all stayed in at one bearing apartment

(42:49):
on Third in Detroit Street, and we used to walk
from Third in Detroit all the way to sixteen Kwana.

Speaker 13 (42:55):
That's a that's a long ass walk.

Speaker 7 (42:57):
Yes, every day in the studio and then we the
pop Eyes chicken if we had like five or ten
dollars to get a few wings and try to figure
it out that men.

Speaker 9 (43:06):
Let me don't split that last wing. I'm gonna take
this part.

Speaker 13 (43:11):
You know, this is the Jimmy jam story all over again.

Speaker 9 (43:14):
That's how it was.

Speaker 1 (43:16):
They came out to l A with what three hundred
bucks and a cassio machine because when they made the
Hard Times beat for Captain from Captain Ratt.

Speaker 7 (43:26):
They made that beat. Yes, wait a minute, yes, they
can't they.

Speaker 1 (43:32):
Make that beat they got they got fired from a
time and then Terry Lewis is like, yo is either
doing die Let's go back to La.

Speaker 13 (43:46):
Yeah.

Speaker 1 (43:47):
They came out there with yeah and Terry little three
hundred dollars each and some suits and they lived off
of chicken wings and milkshakes.

Speaker 13 (43:56):
And sold that beat.

Speaker 1 (43:58):
And that's you.

Speaker 4 (43:59):
Know, his history right, thirty million albums.

Speaker 7 (44:02):
But see how they moved on and he didn't. And
they were just the production and he was the face,
the voice, the whole nine.

Speaker 9 (44:11):
But they moved on. They probably had more dry.

Speaker 13 (44:15):
Well, they had something to prove, you know, they had
more dry.

Speaker 4 (44:18):
You shouldn't have fired.

Speaker 7 (44:19):
His nig Bigga gonna find me gota rap song that's
hot right now, Nigga wait till I get a hold
of Janet Nigga and funny how time fish.

Speaker 1 (44:27):
That story Prince uh Wait through Control out out the
car window, Jimmy Jam's house and through it at Jimmy
Jam's mom script Why the Control album after it was done?

Speaker 4 (44:40):
Yeah, yeah, after it was out?

Speaker 1 (44:42):
Why because he's petty like that, like when you leave him,
even if you fire him, if you leave.

Speaker 7 (44:48):
Me, yes, no disrespect, but you know you couldn't fuck
with that album. She was all grown up? Nigga one nine?
What's samping?

Speaker 8 (44:57):
Team? I did what people told.

Speaker 1 (45:08):
Whatever, it's gonna be a hard to clear episode.

Speaker 4 (45:16):
We got time.

Speaker 13 (45:16):
It's August?

Speaker 1 (45:21):
It is Christmas? Should I ask one Chris? No, it's
Christmas in August anyway? All right, So in the beginning,
I mean at the time, did you even envision that
this would happen? Like what was around the corner? Was

(45:41):
it just like, all right, we're gonna work on this
one song and then.

Speaker 7 (45:45):
You know, you know, you don't really I don't know,
I don't know how big it could be.

Speaker 13 (45:48):
When did you realize that something is about to happen?

Speaker 4 (45:51):
When I was on the box, Remember.

Speaker 7 (45:55):
The box, nigga, the box was the ship, niggah.

Speaker 12 (45:58):
You call joint?

Speaker 1 (45:59):
Right now?

Speaker 13 (45:59):
Girl, what's coming on here?

Speaker 7 (46:00):
One day, that motherfucker came on like fifty times, back
to back to back, the thing. Hey, where y'all going today? Drake?
Can I go with y'all? You know, when Dad's run
down the steps, they're showing the same shit just over
and over again, over and over again. It's just getting
requested and then they show you what's the next video coming.

Speaker 4 (46:18):
On with them?

Speaker 7 (46:19):
I'm like, damn, my poppet. And I was staying with
my cousin on the couch and I woke up on
her couch and she was like, Nigga, you a star.
I'm like, I'm a star. She's like, yeah, nigga, your
video came on like all day and night. And I
was on the couch like, damn, this is our stars.
I ain't got no money. I'm on your couch.

Speaker 1 (46:38):
You want to know something, you know? You sampled with
my parents, right what my mom and my dad? My
mom and my dad.

Speaker 6 (46:49):
Just chill to the next episode.

Speaker 13 (46:55):
It's my mom and my dad.

Speaker 7 (46:58):
And then the yeah, the shot holding back on that
ass with the hell of five. I came off.

Speaker 1 (47:10):
From Mom's and back like, Yo, this is the funny shit.
So when the ship would come on the box in
Philly and I heard that, that.

Speaker 13 (47:20):
Was like.

Speaker 1 (47:21):
Yo, me and to lost.

Speaker 7 (47:23):
It, like because y'all know you that's your mom and dad.

Speaker 1 (47:27):
Yeah, it was like we won the lottery ticket.

Speaker 7 (47:31):
It was a big record, man, A big, big record man.

Speaker 11 (47:36):
For real, man, how did y'all never have this conversation?
I don't it's the first time y'all to know each other.

Speaker 1 (47:43):
Yeah, I mean I want to introduced, like, yeah, you
said I forgot you said ge thing.

Speaker 13 (47:50):
I was like, thinking, oh, ship, I forgot my mom
and dad.

Speaker 7 (47:53):
That ain't what I wrote thing off of.

Speaker 13 (47:55):
No, I know, the bitches ain't ship.

Speaker 4 (47:58):
No.

Speaker 9 (47:58):
I wrote it off of.

Speaker 1 (48:06):
Really the south Side.

Speaker 13 (48:08):
Uh, it's called south side.

Speaker 1 (48:10):
It's that was the initial beat for g think.

Speaker 9 (48:13):
That's what That's the beat he gave me.

Speaker 7 (48:16):
And I took it on tenth and line on my
over my cousin house, and I wrote the whole g
thang songs that came back to the studio and bust
that ship off of that for him. Yeah, drinking to
the Snoop Doggy Dog and doctor Drake is after Doug,
ready to make him entrist.

Speaker 9 (48:34):
So back on up because you know about the rocks,
give me.

Speaker 7 (48:37):
The microphone, FoST walking bus like a bubble, comping the
long beach together and now you know you can trouble
with saying nothing but the cheek thanks to loath thinking
so and death wrote is the label that we done
fainted most please don't try to fade?

Speaker 9 (49:00):
Was winning?

Speaker 4 (49:02):
Man?

Speaker 6 (49:03):
Can you describe so like break down what was kind
of the division of labor in the studio between like Dazz, Dre, Nate,
uh corrupt, you know what I'm saying, Like what was
kind of each person's job? Was one person better at
hooks or so then the other? Or like how did
y'all work?

Speaker 4 (49:20):
And DLC, because DC he was for the chronic as well. Well.

Speaker 7 (49:24):
D OC was like the guy that he was like
the sen and say you had to the rap had
to pass his I fucked with it before Dre would
fuck with it. Like those the ears that Dre trusted
most was his, you know, with everything. Remember he had
just came off with the easy w A h. He

(49:45):
wrote all of that shit. He wrote a lot of
that n w A and niggas for life shit. Listen
to them styles and all that always into something and
all that. He was Dre's most trusted ear and he
was a VET. So we was trying to impress DC,
and then once we impressed DC, then he would work
with us accordingly, okay, And then I attracted to him
more because I moved in with DCA, like he became

(50:07):
like my real sense. They and everybody else was like
not under us, but they were like playing their roles accordingly,
like Corrupt was like the assassin. Raige was like the
hard female Jewels had to sing in vocals. Nate Dogg
will come in with the hook. But that's what doctor
Dre was like Phil Jackson, like a great coach that
can take everybody on the team and make him valuable,

(50:30):
Like everybody was valuable. Wasn't nobody more valuable than nobody?
He made everybody valuable. When that song came on with
Nate's voice, you loved it. When it came on with
Dad's voice, you loved it. When it came home with Corrupt,
you loved it. When it came home with me, you
loved it cause he he knew how to put everybody
in positions to make them strong. And to me that
that was the strength of the team. That doctor Dre

(50:51):
was the visionary. Like it wasn't us. We just was raw,
you know what I'm saying, Just a bunch of raw
motherfuckers that was bringing it to the table. But he
had to clean the table up and set the table,
prepare the meal, you know, And he knew what people like,
so he had the ingredients to put it all together.
He knew what the rock was that was a diamond.
We didn't know. We just was Rocks trying to, you know, click.

Speaker 1 (51:11):
Like, what's the sixteen songs that make up the Chronic?
I mean, were those the only the specific sixteen that
you worked on, or was the Chronic like a combination
of forty or fifty songs worked on and then we'll
pick the best of the lot, and this is the album.

Speaker 7 (51:32):
I say it was probably twenty five songs at the most.
It was one song that we really liked that didn't
make it was called Whole Hopper. I really wanted it
on there. It went like, you know, I like buzzy,
so you can call me your hound. So here's the
name I go by, one of them rolling around the
Whole Hopper. Tell your friends, bitch all you I give

(51:54):
it to you, smooth hoh. Can't you see then when
you need some dig bitch, call old me the Whole
hop But tell your friends all your friends bitch.

Speaker 4 (52:04):
Wow.

Speaker 9 (52:05):
And Drake was on one on that one.

Speaker 7 (52:10):
Make the cut?

Speaker 1 (52:11):
Why did that not make the I don't know. There
stuck around this.

Speaker 7 (52:17):
Doctor dre was on some real ship like he would
let us make any fucking kind of song we wanted.

Speaker 1 (52:22):
Who would write the hooks, because the thing that I
didn't appreciate until much later was just how effortless you
guys were with hooks and b parts, Like even you
can take parts that weren't the hooks.

Speaker 6 (52:39):
You could take any four balls out of g thing
and that to be a hook for another song.

Speaker 1 (52:43):
Right, So I never until we started, until like you know,
writers block catches and you realize, like how effortless that
shit sounds.

Speaker 13 (52:52):
So it's like, how, I don't know how uh.

Speaker 7 (52:58):
I think the thing was us When it came to
like that kind of ship, we just went, We just
threw it in the air. And then, like I said,
that's when it was people like Dre who knew how
to take it because bitches ain't ship but holes and tricks.
That was Corrupt's first that was the start of his verse.
His verse started like that bitches ain't shit but holesing trick.
No no no no, no, no no no no no, And

(53:21):
the makeup going to the store and doctor Dre said, nah, nigga,
that's the hook, and he made bitches ain't ship but
holes and tricks. Ain't shit but.

Speaker 9 (53:33):
Holes and tricks.

Speaker 7 (53:36):
So it was like Corrupt wrote the hook, but didn't
know it was a hook, You get what I'm saying, Like,
that's what the our ship was so good that we
we would always write the hook within the song where
it was somebody's job to find that, and we didn't
know that all the time, Like we didn't know that, damn,
this was the hook. But Nackdog and Juells is probably
the only ones that knew what the hook was because

(53:56):
they was definitely writing for the hook for everybody that's
was just right and here.

Speaker 1 (54:00):
Just come with the power verses and then they were
coming and.

Speaker 13 (54:05):
Just take it with fit.

Speaker 7 (54:06):
Certain times it would fit like certain songs, a motherfucker
just it just fit in place.

Speaker 4 (54:13):
Was it a certain time? We talked last night.

Speaker 6 (54:16):
We've had a couple of people on the show that
always talk about the night of the Source Awards. And
one thing I was always curious to hear from you,
like what was going through your mind, like when you
got on stage. My I remember watching it because at
the time I was like, this is what ninety.

Speaker 4 (54:32):
I was. I was fifteen to sixteen.

Speaker 6 (54:34):
And like I watched it, and so then the next day, everybody,
you know we in high school around lunch statement shit,
and so everybody was like, well, man, Snoop.

Speaker 4 (54:42):
I can't believe, like he was so mad, like that's
the fuck what Snoop said?

Speaker 6 (54:46):
And me, I always looked at it as I said,
I don't know if it's necessarily anger.

Speaker 4 (54:50):
I said, think it may be anger me I said,
but man, yeah, give him misrespect. I said, come on, man, I.

Speaker 6 (54:54):
Said, each and every one of us got Doggie style
and my walkman right now, like everybody's bumping and shit
like we loved the Imagine how fucked up it feel
to be a dude that is respecting the auto hip
hop making incredible fucking records and you come to the
place that you got so much reverence for and they
pissed on you. I said, man, that's like for real,
you know what I mean? So I was always curious

(55:16):
to hear, like what was going through your mind when
you know y'all got no love as New dog.

Speaker 7 (55:21):
Well, I was in the moment. The moment was more
about what Sugar said. It wasn't about nothing else but
that because New York respected us, and they respected me,
and they gave me that because I gave them that.
I came into game saying that this is the mechan
I respect and appreciate everybody before me. When I met
him a bow down, I treated him with love and respect.
So it was a feeling was mutual when I spoke,

(55:45):
because I didn't speak from a point of view of
I want to fuck y'all up. I spoke from the
perspective of we know where we at. Nobody should get
fucked up based off of the fact that we all
gangsters in here. So what we got to prove is
we know where we're at, we know where we're from.
This ain't the time and place for that. It was

(56:05):
some dialogue that was needed. It wasn't planned, it wasn't
It just was needed and my calling, you know what
I'm saying, Like to me, that was my calling, Like
this show moment Dog to step into that role of
being the leader and being a role model and being
a piece advocate for hip hop that you're going to
end up being ten years from that day, because twenty

(56:28):
years after that day, me and Doctor Dre was on
stage at that same building doing the show, and Puffy
was there too, and we all performed together, and then
we were just thinking back of how it was based
off of comments and small shit, but we always loved
each other, but we never could show it because.

Speaker 6 (56:49):
The bullshit we had steeched out on like not too
long ago. And he kind of echoed what you said.
He was like, man with Snoop got up there, he said,
you actually kind of calmed things down a little bit.

Speaker 1 (56:58):
Like if he didn't, it would have been almost.

Speaker 7 (57:04):
If I didn't say nothing niggas, some niggas would have
died that night. Nod said it perfectly on defying ones.
He said something to the fact that you know, when
Snoop got up there, he said the right ship, because
at that point, when they first got there, it was
New York versus New York, it was Borrow versus Burrow.

(57:25):
And when Shug said what he said, he made it
New York versus them niggas. Then when Snoop got up
there and said what he said, a lot of New
York niggas had love for Snoop and just couldn't see
themselves just taking off on him for something that this
nigga said. So it was like it was it was
that deep in that detrimental because these was real street niggas.

(57:46):
He wasn't like record label executives or managers or agents
or may the production guys, this was nigga. That nigga
just got out. He just got out fifteen minutes ago.
He been in twenty years. He ain't got no money.
He looking to do something so he can get on
the payroll. Like everybody had forty of them niggas with them. Like,

(58:10):
imagine that time in the early nineties, how hip hop was.
You had to have a hundred niggas of your entourage.
That just was part of how you was, like whether
you wanted it or not. Like even the roots had
a hundred niggas with them.

Speaker 1 (58:22):
We couldn't afford that. But when you have a large
encage like hotel bills front, Like, how were y'all y'all
were touring during that period, How are y'all handling just
the basic shit fights.

Speaker 7 (58:35):
My first fifteen years a torn I can say this,
and I ain't ashamed to say, I probably made like
fifteen percent of my tour money.

Speaker 1 (58:48):
Because of everything you had to cover as far as hotels.

Speaker 7 (58:51):
Yeah, fifteen percent of my tour money is what I
made my first fifteen years because I would have thirty
niggas on the road. Everybody was getting paid and this
and that, and then I wouldn't look back until the
end of it, and it'd be like, well you uh,
you grossed this amount and you netted this amount, and well,
god damn everybody on tour and enjoying life except me.

Speaker 9 (59:18):
Man, it's a business man.

Speaker 1 (59:24):
I gotta jump to the real white elf in the room,
which to mean is the dog Father. Okay, I gotta
jump to that. Do you do you feel that the
dog Father has gotten this proper just due respect, because
for some reason, I don't think the world realizes how

(59:45):
incredible that shit was when it came out, and the
fact that it's still timeless late, Like, you know, was
it twenty years later?

Speaker 4 (59:57):
Yeah? About Yeah, it was ninety six.

Speaker 1 (01:00:00):
Yeah, Like, what are your personal opinions on your follow up?

Speaker 7 (01:00:06):
When I first came out with it, I was getting
a lot of hate and a lot of like, oh,
it ain't doggy style, drain't do this, and why it
ain't and this and that, and it used to fuck
with me a little bit. And then I used to
go out and do shows and then fans would bring
me the album to sign, like you know what I'm saying, Like,
that's a cold twist when they like niggas talking about you.

(01:00:26):
But then a fan bring three copies of Doggy Style
and two copies of dog Father and say can you
sign these? And you sign these and I'm looking like
damn from signing dog Father. I mean, they bought it.
And then I started doing songs from the dog Father
on stage, Snoops, upside your Head, big fucking record. Charlie
Wilson started rolling with me. Me and Charlie became like this.

(01:00:48):
So it was blessings that came out of that that
they was making happen and didn't even know that they
was making happen. Then we went overseas to Europe, and
I toured in Europe and the record was so big
over there to where it's like it solidified me as
an artist that was gonna be here on the follow
up tip. So it's just in America where it was
a lot of not covering it the right way or

(01:01:12):
saying the right things.

Speaker 9 (01:01:12):
I remember, Biggie.

Speaker 7 (01:01:13):
Got killed, Tupaca got killed, Biggie's album came out, Tupac's
album came out, So they just drowned me out on
some Oh this nigga ain't gang banging no more. He
just beat a murder case. He's a family man. Now
he's soft. Now he'd be happy. Now look at him
rapping about happy shit doggies laying. I had a song
called Doggie land that was a song about peace, love
and nobody dying and just a beautiful record that was

(01:01:36):
about Doggie landing. Niggas didn't understand it, like, Nigga, that's soft, nigga.
I'm like, what's living? Life is soft? Like I don't
need to be with you, niggas if y'all deaf is
cool nigga, Nigga, I'm gonna die, Nigga.

Speaker 9 (01:01:47):
That shit hard nigga. How you gonna die?

Speaker 7 (01:01:49):
I'm being a blaze of bullets nigga, the hard way
nigga like a Western movie.

Speaker 9 (01:01:54):
Fuck that, Nigga. I want to die nigga sipping on
some coffee.

Speaker 8 (01:01:57):
Nigga land in.

Speaker 7 (01:01:57):
Bed, not a shelf eighty years old? You know what
I'm saying?

Speaker 4 (01:02:00):
Men? What was it like?

Speaker 14 (01:02:02):
Uh?

Speaker 6 (01:02:03):
I was always curious to know the transition from death
row to no limit and like being with being under
somebody like Shug versus somebody like Pete.

Speaker 4 (01:02:11):
What was p like as a businessman?

Speaker 7 (01:02:14):
Sug was a great businessman first and foremost. Let me
say that very strong, very shrewd, got to it like
you do. It did a lot of things that was,
you know, groundbreaking for the industry that I see a
lot of niggas doing now. But when I got with
master p he was more of a He was a finesser,
like I want to shake hands with him, pump shoulders

(01:02:35):
with him, do business with him, be executive.

Speaker 9 (01:02:38):
I want to own shit.

Speaker 7 (01:02:40):
I want to be a part of the executive branch
and not just the you know, employee side of it.
And then he passed it on. You know, he was
one of those informative guys that hey put this in
your name. Hey get you a bank account, Hey, get
you some credit cards, Hey get you some property, Hey
get you some this like get your record label, get

(01:03:01):
you some clothing, clothing line. Like All the shit I
did was by being with him. He showed me how
to do it, and.

Speaker 4 (01:03:07):
I went, that's so dope.

Speaker 7 (01:03:11):
And don't be afraid they laughed at him in the beginning.
They used to laugh at him. I used to watch
him laugh, laugh, laugh. Then when I sign him with
no limit, like I'm not saying, I made the laughs
go away. But all the laughs was gone after that,
and Niggas was like this, Nigga really is a business man.
He really sharp because my first album with them paid
the cost to be the boss two million records in America,

(01:03:34):
two million records overseas. Then we put out a movie
called The Game of Life and he sold it for
nineteen ninety five and it sold two million copies. You
do the fucking maths, and he made all the fucking money.
Wasn't no middle man, none of that.

Speaker 12 (01:03:48):
That was the thing about master P and nobody really
re emphasized.

Speaker 7 (01:03:51):
It wasn't no rap. It wasn't no money a rapper
til No Limit came. And I say that honestly. It
wasn't no rappers making no money into No Limit. Niggas
was getting crumbs and a little bit negotiating and fighting
with record labels and artists and management. Master he cut
all that shit out. He was the what Sugar should
have been, the less violent, more business.

Speaker 12 (01:04:09):
Approach and he shared information.

Speaker 7 (01:04:11):
Yes, all of the above. You know what I'm saying, Like,
come on, man.

Speaker 6 (01:04:15):
From the time that you went from because after you
did the three records on No Limit and then.

Speaker 7 (01:04:21):
Three album deal five million dollars, I can say that now,
respectful I wanted to put that contract out there so
in case you niggas want a new three albums do,
it's gonna be way more than that.

Speaker 4 (01:04:33):
Now.

Speaker 7 (01:04:34):
Last I mean, I like, did the records get better
for you as I got to know the first one?

Speaker 4 (01:04:41):
I didn't. I was like, right, but no limit to
do in last MILLI.

Speaker 9 (01:04:45):
You see it.

Speaker 7 (01:04:46):
But you know when my mind state was there, I
started grabbing my mind state the first record. You know
what I did. I said, pee, do it with me,
whatever you want to do, nigga. I'm doctor. I'm doctor Frankenstein.
Ig I'm gonna pay on the table and let you
go ahead and put me together the way you think
is y' all hot right now? And this is your label.
When you got the Snoop Dogg as your artist, Nigga,
go to work. You just paid for this, nigga, it's

(01:05:07):
gonna be your record forever. You got a Snoop Dogg record.
My third solo record is yours. So he did it.
Second record. I was like, all right, I got the
joy stick back. Yeah, and I'm going back to the west.

Speaker 6 (01:05:21):
Man, Okay, speaking the joystick the two one three albums,
why is.

Speaker 4 (01:05:24):
That not out? Like on streaming whatever.

Speaker 7 (01:05:27):
Man, we didn't get no love for the two one
three hours.

Speaker 9 (01:05:29):
Man, we Warren. She pushed that shit so hard.

Speaker 6 (01:05:32):
I don't know what I love that I love man,
the only girl. Motherfucking you gotta find a way, yeah,
find a way.

Speaker 1 (01:05:38):
You gotta find a way.

Speaker 7 (01:05:39):
Yes, fine, man, I don't know. I don't know what
goes on with And then I'm watching music nowadays like
that's a hit. He said the same thing twenty five times.

Speaker 6 (01:05:52):
Oh my god, did they when you end up doing
I'm jumping to your Uh well, first I want to
go to your snoop line record.

Speaker 4 (01:06:01):
What moved you in that direction?

Speaker 6 (01:06:03):
Like what was going on in your life at that
time that made you want to go there?

Speaker 9 (01:06:07):
Man, I just love reggae music.

Speaker 7 (01:06:12):
And I was like, you know what, every time I
go to Jamaica, I always just go to my room,
smoke weed and do the show and leave and never
get to explore Jamaica. I never get to see it.
Like fuck that. I want to see Jamaica because these
niggas love me over here and I love them. So
I said, I'm gonna set up a trip. I'm gonna
go over there for thirty days and just live over
there get with some producers called a dip Loo Major Laser.

Speaker 9 (01:06:35):
Look y'all gonna do my whole record called a Vice.

Speaker 7 (01:06:37):
Vice was a magazine company at the time that was
creating content, and I was like, look, I want you
to come shoot this shit for me, cause I like,
how y'all be doing on location shit in dangerous neighborhoods,
in dangerous areas. And this shit is dangerous because Chris
Koki just went to jail, which was dudas. So I said,
I want to go beat that nigga family.

Speaker 9 (01:06:55):
I want a nigga.

Speaker 1 (01:06:56):
I went.

Speaker 7 (01:06:56):
They took me everywhere and so by me going all
into these areas, which this is the real nigga that
I am.

Speaker 9 (01:07:01):
I love to explore.

Speaker 7 (01:07:03):
I go to the Naibinie Temple and when I go there,
the spirit is in me. I can't even fake it.
When I walk into temple, it's a lady about ninety
years old. As soon as I walk in, she like
the prodigal son has returned. I don't even know what
she's saying. Well, like the prodigal son has returned. The
prodigal son has returned. I don't even know what this means.

(01:07:24):
At the time, she grabbed me by my hands and
she started praying with me, and they like, the whole
wound just collapsed on me, like it was crazy for me.
It's crazy as the whole spirit. And we walked around
the fire. Fire was burning. Me and my wife were
holding hands. Long story short, when we leave, my wife
didn't eat no meat. From that day on, when I
was twenty ten, learned from that dawn and I took

(01:07:49):
on a new peaceful approach. I ain't been into it
with no niggas. I ain't got it, you know what
I'm saying, And that she used to always come on, man,
I'm waking it.

Speaker 6 (01:07:59):
Is that how it led to your gospel. First, let
me just say the gospel record is jamming. That ship
jamming like a motherfucker.

Speaker 4 (01:08:04):
I say that.

Speaker 8 (01:08:06):
That match.

Speaker 4 (01:08:13):
That this is hard.

Speaker 1 (01:08:15):
But the thing I liked about is it's like you
got like real, You got the real Oh Jesus.

Speaker 6 (01:08:19):
You had rams Allen on the ship, and I mean,
that's like, how did you put all that together?

Speaker 7 (01:08:24):
First of all, shout out to my homeboy, Lonnie Lonnie Brell.
He was one of the main instruments to putting this
project together. I had a dream and a wishless making
my grandmother proud of me. My grandmother was here, she
would always you know, talk to her friends and people
about me, but she can never talk about my music.

(01:08:45):
And I always wanted to make something that she could
be proud of, that she could hear, and that her friends,
her church friends could really you know, be proud of.
So and she passed away, I was like, you know,
that's my mission. I've been always talking about doing it.
I'm just gonna do it. And I just went in
there and did it and started all and all of
the people that I wanted to be on it and
expressed to them while I wanted the moment what I
was doing, and they already loved my spirit as before that.

(01:09:10):
It wasn't like, oh, we're gonna do it now. We've
been following you, brother, We've been with you. You know,
we got you what you need. I need a saying
something on their brother rams, Clark sisters. I need you
to do something on there, Kimberrell, you do something by
friend Hammon, John p Key, Jesus.

Speaker 4 (01:09:26):
Yeah.

Speaker 13 (01:09:27):
Yeah.

Speaker 8 (01:09:27):
It was incredible.

Speaker 1 (01:09:28):
And seeing it at the Essence Festival that knocked me out.

Speaker 9 (01:09:32):
That was pratty I felt like it was the right
moment for that.

Speaker 13 (01:09:36):
That was the best thing I've ever seen.

Speaker 1 (01:09:37):
That was amazing moment. Brother, we thank you, we got
ap Okay, damn, let's do all right.

Speaker 12 (01:09:44):
I was just you know, we was getting the rap rap.

Speaker 9 (01:09:51):
Y'all doing good. I like when the ship is good,
I break ruds.

Speaker 10 (01:09:54):
Thank you Jesus appreciate a central seduction.

Speaker 7 (01:10:00):
Yes, that's one of that.

Speaker 6 (01:10:01):
I want to say, you have one of the only
like rap records or records and hip hop that I
like the clean version better than I.

Speaker 1 (01:10:08):
Like, yeah brook.

Speaker 4 (01:10:16):
Brookly Zoo.

Speaker 6 (01:10:17):
But yeah, so talk about that record because the cat
that did that, Red Shorty Red. He was so talented man,
and he did like a lot of ship for Jez.

Speaker 9 (01:10:26):
He was on some gangster ship.

Speaker 7 (01:10:27):
He was like really one of the gangster producers, right,
so he's one of my little nephews. And he was like,
I got a song, but it ain't gangster, and I
think I think it's I think it's for you. And
he played it for me and he was he was
he was doing everything that I was doing. But he
wasn't like he didn't put that thing on it. He
just like just laid it and I was like, I'm

(01:10:48):
gonna put that T pain on it, but I ain't
gonna put all of that te pain. I'm gonna put
a little trip of T pain with my real voice.
Then I'm gonna put like a vote colder and twisting
this waite so that when when you're hearing, he ain't
two row body like them. Because I didn't want to
sound like everybody that sounds like auto tune. I wanted
some of my voice to overwhelm the auto tune because

(01:11:10):
I feel like I got a nice voice that could
blend with that.

Speaker 9 (01:11:13):
And that was the key.

Speaker 7 (01:11:14):
And then watch this when I do it. I take
it to the label and it's a motherfucking white boy
up there, and he like, let me mix it. I'm like,
he don't know. He's like, let me mix this, motherfucker.
I know what it needs. Give it here. But we
kind of clashed for a minute, and I end up

(01:11:36):
letting mix it. Right when he mixed it, I called him,
I'm like, man, you a bad motherfucker motherfucker named Ron Fair.

Speaker 1 (01:11:44):
Wait, oh my god, that's the last name.

Speaker 7 (01:11:49):
Look request you gotta you're dealing with Snoop Dorog. You're
dealing with ignorant ass Snoop Dogg, you ain't dealing with
the nigga right now? To hey, okay, you're sure whatever
you're dealing with the na tell me how mother fucking
mixed my song the.

Speaker 1 (01:12:01):
Way the way you built it up. It's just that
we had a few episodes where Ron's names come up
and it wasn't and it wasn't too savory. So he
was like, name Ron Fair. I was like, oh God, yes,
he's haunting us.

Speaker 7 (01:12:13):
Yes, And that nigga mixed the ship out of it,
the dog ship out of it because I could play
the mixed before he mixed it. He made it a
fucking big record like the Ship. That he did was
just making my voice and the music and the way.

Speaker 5 (01:12:27):
Right.

Speaker 1 (01:12:28):
Because it fooled everybody. When we heard it, my jaw.

Speaker 4 (01:12:31):
Dropped like, oh shot, that shit go hard.

Speaker 13 (01:12:33):
It was an instant classic.

Speaker 4 (01:12:35):
Yeah.

Speaker 7 (01:12:35):
See that was on the record that I think for real?
Was that a record for real?

Speaker 9 (01:12:39):
Producer? Was that ego tripping?

Speaker 4 (01:12:41):
That was okay?

Speaker 9 (01:12:43):
That was me Teddy Riley and Quick on that record?

Speaker 4 (01:12:48):
Was not on that record? You work like hoe.

Speaker 9 (01:12:51):
He was not the ship.

Speaker 4 (01:12:53):
How did y'all hold up? Man? Because he's Virginia.

Speaker 7 (01:12:56):
And so that's something about me and Virginia. I got
a real bond with you. With Virginia, man, I fucked
with the Virginia crowd. I don't know why how, but
it's just like we just magical when we're together. It's
been like that, from timbling the parral to not even
the nigga drum like Teddy Riley, Like I just fox
with it like and then, and I never looked for it.

(01:13:17):
It was like, I'm gonna focus and niggas from Virginia.
The ship just fall in place like that, Like it
just happens like that. And every time it happens like that,
it's like it's some magical ship. And then I find
out this nigga from Virginia too. It's something in the
water man, y'all cold man.

Speaker 6 (01:13:31):
Yeah, you also had like the only for a long time,
you had the only D'Angelo feature.

Speaker 4 (01:13:37):
Imagine that the.

Speaker 7 (01:13:39):
Imagine shut out to shut out to Angie Stone, Oh
my god, going to Guinea.

Speaker 9 (01:13:47):
So y'all don't understand how hard it was to get.

Speaker 7 (01:13:55):
Stories. I'm gonna tell mine, million all. So we call
the nigga, right, everybody scared to call him? Give me
the mother fucking phone DeAngelo. Hey, nigga is snoop yah
he nigga. I need them vocals because it's already wrote
pool Beard and wrote the ship.

Speaker 9 (01:14:16):
All you gotta do is just singing this ship.

Speaker 4 (01:14:18):
Nigga.

Speaker 7 (01:14:18):
Understand me, and you're gonna be there with you. She
take him to the studio. He listened to it.

Speaker 9 (01:14:23):
He like it. He go to the car and she
came back.

Speaker 7 (01:14:25):
He left whoa Break You Off?

Speaker 1 (01:14:28):
Part two?

Speaker 7 (01:14:30):
Next day he comes in, he sings two lines and
then he leaves what.

Speaker 1 (01:14:35):
You should be here?

Speaker 7 (01:14:39):
Fourth day, Pool Beard, go sing all of that ship
and have that nigga up under you, and we're gonna
blend your voice together because this nigga keep ripping and running.
You serious listen to it.

Speaker 6 (01:14:50):
Wow, it's him on and poo bear. He's all pool
from fifteen hundred.

Speaker 7 (01:14:55):
He used to be with Scott Stores that one, okay, gotcha?

Speaker 4 (01:14:58):
Yeah.

Speaker 7 (01:14:58):
He used to write for Justin to be Yeah, but
that was but you know I had to me and
my conversation with him, and then Angie she pulled it
all together. Like That's why I got to give her
a shout out, because she was instrumental. I'm going to
get him. I'm finna make it happen, and like she
was really a soldier, you understand me, Like going to
make shit happen.

Speaker 4 (01:15:15):
Man, what year was that?

Speaker 1 (01:15:17):
Two thousand and three and two thousand and six album
came out in two thousand. Yeah that sounds just about right, man,
Like you have to well, you know, rap your story right. Yes, Yeah,
physically got on the plane to knocked on his door.

Speaker 4 (01:15:36):
To make him come to the video. Shoot.

Speaker 12 (01:15:39):
Every generation needs one. It's fine, fine, fine.

Speaker 11 (01:15:44):
Whoever seven thousand private jet, whoever d is? Every generation
needs one. It's all I'm saying.

Speaker 7 (01:15:52):
And then I just feel goody me. Biggie Puffy, a
couple of my cousins were in New York for he
ange little concert. Supposed to get on it nine twelve thirty.
We out there still smoking one in the morning, Me
and Biggie fall asleep.

Speaker 9 (01:16:10):
Two thirty.

Speaker 7 (01:16:11):
The nigga finally hit the stage and do five songs
and leave.

Speaker 4 (01:16:14):
Wow.

Speaker 7 (01:16:14):
Wow, didn't even do them.

Speaker 9 (01:16:16):
While I liked.

Speaker 7 (01:16:20):
That this nigga didn't do double fine, nigga, you didn't
do it?

Speaker 4 (01:16:26):
Yeah, man, what's it like? You work?

Speaker 6 (01:16:28):
It's another one my homeboys. You work with a lot
Denan Porter, Oh, what's man in the studio?

Speaker 7 (01:16:33):
Twelve like Me and Detroit got a cold, Cold Cold
Twist two then nin like I discovered hear him off
of like Nigga's not taking his beats, Like he's a
nigga on the sideline and I'm listening to that nigga.

Speaker 9 (01:16:46):
Be's like, Oh, they don't want that.

Speaker 7 (01:16:48):
They don't want that. He didn't want that. Get here
and you can stay on the hook, nigga. You know
what I'm saying that I am mind the kind nigga
toll be. Oh man, it sounds awesome. If we can
get our Chris Brown or may be Jeremi had senig
something niggas stay on there, see if you can become
something nigga.

Speaker 4 (01:17:06):
Yeah, her him and the girl Tone Treasure.

Speaker 7 (01:17:10):
Nigga, what nigga? I got hits with her, he around
the world hits.

Speaker 4 (01:17:16):
She go go, go, go go.

Speaker 9 (01:17:19):
That is one of the most talented females I've ever
worked with in the studio.

Speaker 12 (01:17:23):
Yeah, So, Snoop, where are you at musically right now?

Speaker 11 (01:17:26):
Because you didn't done pretty much everything done country I
couldn't remember.

Speaker 12 (01:17:31):
I feel like you have I feel like a will record.

Speaker 4 (01:17:36):
Record that actually might be.

Speaker 12 (01:17:37):
I mean a bluegrass I can see that. I don't
like where you at.

Speaker 9 (01:17:41):
Well, I have a couple of things that.

Speaker 4 (01:17:42):
I'm working on. Bluegrass has a lot of connotations.

Speaker 9 (01:17:45):
Does I like that?

Speaker 4 (01:17:49):
Way you gotta come to North Carolina to do it?

Speaker 9 (01:17:51):
May happen.

Speaker 7 (01:17:52):
Well, right now, I just finished the EP with the
Dave East We did a nice little EP together, east
Side Stories, Ship.

Speaker 6 (01:18:01):
Dame, Well the Dame thing on two. I was thinking,
you say east Side Stores the east Siders.

Speaker 7 (01:18:06):
Yeah, oh yeah, Trady, God, Yeah, what I got? I
got a new single that I just did for them
for to Meet the Blacks to soundtrack. I may want
to play for y'all in the studio, let y'all get away,
but it's gonna be the lead single off for the
Meet the Blacks to soundtrack produced by battle Cat.

Speaker 1 (01:18:24):
Yes, okay, that's what I mean.

Speaker 7 (01:18:28):
I learned he's going, don't look at the clock, keep talking,
watch that man, look out the clock. I pushed Paul's
on it.

Speaker 9 (01:18:40):
Don't want to.

Speaker 1 (01:18:42):
You're talking the walk away because I'm scared of that.

Speaker 4 (01:18:50):
Talking about battle He is just another one of those
dudes that just so underrated.

Speaker 9 (01:18:54):
So unsung.

Speaker 7 (01:18:55):
He Battle Cat is like Doctor Dre on stereo to me,
because you know he's always been that that spot to
fill in the blank. When Dre is on hiatus for
making music, Battle Cat always feel in the blank spots
with some good music, that feel good, that got great bottom,
that got great musical arrangement, nights singing. So it's like,
you know, he feels in the blank and he does

(01:19:17):
his part because he is a part of Uncle Jam's army.
So he's been around since to get around and he
produced Domino's first album.

Speaker 4 (01:19:25):
We were talking about that earlier, that East Side is
the albums just expect.

Speaker 7 (01:19:30):
We did that at my house in Claremont, Like that's
when we used to make records in my living room,
like on some real shit like Trade and Goldie Lope
from two different neighborhoods, Goldie from my neighborhood twenty Crip
and Trade from Masane. And we all started together when
the fresh Vest was happening. We was all together. Then
an incident happened where they separated, and this was like

(01:19:52):
us bringing it back together again on the music tip
and putting the hood back together. So when we put
the east Siders together, it was a movement in the streets.
That really was the real movement on we Ain't killing
each other no more?

Speaker 6 (01:20:05):
Man, you please tell me there's an unreleased album or
something coming out?

Speaker 4 (01:20:11):
Brother, where is LaToya will? I was gonna ask about her.

Speaker 7 (01:20:14):
Bruh Wreatha Frankment just passed away, rest in piece of RYTHD.
That was like the closest thing to like I always said,
I never made a record with Aretha, but I made
a record with a wreath.

Speaker 9 (01:20:24):
Of Spirit with toy Like. I don't know, man, I
don't know what she on right now.

Speaker 7 (01:20:29):
I love her voice. I really love to see if
she'd like to get back in the studio again. So
if you're listening to it, we love for you to
come back in.

Speaker 6 (01:20:35):
And yeah, her and Knats was doing something for a
little bit and then I don't know whatever.

Speaker 7 (01:20:41):
It came the follow through. Some some people don't have
that follow through, you know what I'm saying. It takes
the team to make sure that you got the whole
follow through.

Speaker 4 (01:20:48):
Oh okay, so.

Speaker 6 (01:20:52):
The record of it was on the Snoops it was
the compilation record Doghouse Records.

Speaker 4 (01:20:58):
Compilation? Was it that one doing with Trump?

Speaker 11 (01:21:01):
Oh?

Speaker 9 (01:21:01):
Trouble Trouble guess where you're from.

Speaker 1 (01:21:04):
Where Virginia?

Speaker 7 (01:21:07):
For real nigga named Vinnie. Guess where I met him?
At Nigga seven eleven. It was snowing my night. Wait what, nigga,
It was snowing one night Nigga seven eleven. Nigga and
I get out the little van and go buy me
something out of the store right in Virginia. The nigga like,
got to CD, man, I make music, Like, let me
hear this motherfucker. I said, I it's white. Niggam gonna

(01:21:28):
slang that motherfucker on the freeway. Get in the van,
were riding. This nigga should sound good. This nigga got arrangement,
and this nigga got toned, and I'm like, nigga, I
call a nigga like, Nigga, your shit hard, nigga, Let
me let me buy that song. So I bought that
song Trouble and put it on my ship. And then
we made a couple of songs we didn't want called
a uh just Get carried Away.

Speaker 4 (01:21:52):
And my uncle Rell, Oh wow, okay, yep, that was another.

Speaker 6 (01:21:58):
It was on that album you had. It was the
Trouble record and it was somebody else. God Man who
was on that record? I used to I used to
play the hell.

Speaker 4 (01:22:06):
Out of that album. It was another cat that you've
oh tripping superfly? What's going on with him?

Speaker 7 (01:22:12):
He got a song right now on to Meet the
Black soundtrack that's called Past the Sticks.

Speaker 9 (01:22:17):
I like to play that for y'all us.

Speaker 1 (01:22:18):
When does it come out? The soundtrack went up next month,
the next month.

Speaker 9 (01:22:24):
Of to be Out.

Speaker 4 (01:22:29):
It's it's not. I don't know he was. I think
he was one D Dre's camp, but nocturnal. Is he still?

Speaker 7 (01:22:35):
I heard from him minute minute? Yeah, he was, Uh
what with the circle? You know he was in the crew,
but I ain't heard from him in a minute. You know,
this is the one wild West you got to stay
in at the winning.

Speaker 11 (01:22:45):
I just ask, at what point in your career did
you know that you could sell things to all of America?

Speaker 12 (01:22:51):
Like it was a point where you crossed over white people. Yeah,
to white people.

Speaker 1 (01:22:54):
What was like, how did you get Martha Stewart's trust?

Speaker 4 (01:22:58):
Yeah?

Speaker 11 (01:23:00):
Start, but yeah, beforet it was before all of that though.

Speaker 12 (01:23:05):
It was before Martha Stewart. It's been for a while now,
you've been in.

Speaker 13 (01:23:08):
The Charisma goes a long ass way.

Speaker 1 (01:23:13):
Most charismatic people aren't talented.

Speaker 12 (01:23:16):
But it must have been.

Speaker 11 (01:23:17):
It must have been a point though where you were like, ship,
look at this, they're paying attention, and they gonna let
me sell this to everybody.

Speaker 7 (01:23:23):
You know, whatever it was, it's like you don't never
realize until it actually happens, Like because you don't. Nobody
really watches their highlights while they playing the game, you know,
like true superstars, they don't really you know, look at that.
They're too busy trying to get more highlights. And then
at the end of the day, then I'll be able
to look back and say, Wow, I didn't realize I

(01:23:45):
was doing X, Y, and Z. Right now, I'm just
doing me and all the opportunities that that happen to
fall my direction, I try to make the most of
them and try to put things together that are gonna.

Speaker 9 (01:23:54):
Be here for the future.

Speaker 7 (01:23:55):
I had like stages of my life when I didn't
really give a fuck about the future, and I feel
like those moments are see many and they mean a
lot because they helped raise people and they helped cement
who I was and how I'm supposed to do it.
Then his stages in my life where was like I
gotta mean something. I gotta like give some information and
direction because now I'm on the on the level of

(01:24:16):
one who has that, and I shouldn't be selfish and
try to keep it to myself.

Speaker 4 (01:24:21):
How long did Jun Pharrell work on the Bush album?
I love that recormend and I don't know.

Speaker 9 (01:24:26):
What Bruno Moore's album. It sounded just like.

Speaker 7 (01:24:33):
Now that's sound like a the Spruntle nigadamous front Now
Bruno Moore shout out to Bruno for writing a young,
Wild and Free and not wanting no credit.

Speaker 4 (01:24:42):
Oh he wrote that one.

Speaker 9 (01:24:43):
Yeah, wow mm hmm.

Speaker 7 (01:24:46):
He was going through some things judicially, So we worked
it out to where I wrote it and you know
he wrote it it.

Speaker 1 (01:24:52):
Wait, I forgot we did that together. Yeah, you came
to the show. It was Bruno back when I knew
who Bruno was.

Speaker 7 (01:24:58):
Yes, know you and uh yeah, see quest I forgot
every nigga, Yeah.

Speaker 1 (01:25:05):
I forgot.

Speaker 4 (01:25:05):
It's like, what's your name?

Speaker 1 (01:25:07):
Bruno?

Speaker 13 (01:25:08):
Okay, nice to meet you.

Speaker 7 (01:25:10):
Now look at him, now, who are you? Nigga?

Speaker 4 (01:25:14):
Who is your right?

Speaker 6 (01:25:16):
On the California Road joint with Stevie watched it, Watch
this moment.

Speaker 7 (01:25:21):
I got tell you the moment first, so we're up
there with the music right. First of all, he made
the song the school Boy Q, school Boy the school
Boy Q that morning. It was for like a remix
or something. He didn't morning I heard, I was like, Nigga,
I need that nigga. That shit hard give me that.
I'm a sing and I'm gonna have my nigga, James
Fundroy write my verses.

Speaker 9 (01:25:41):
So that way I got some some melody about it.

Speaker 7 (01:25:44):
So then I'm listening to Pharaal saying, I'm like, so
now we're in the studio, I'm smoking.

Speaker 9 (01:25:49):
I'm like, we need to get Stevie one on.

Speaker 7 (01:25:50):
This mother, Like you got his number? Like, yeah, I
got the nigga number. Nigga. Hold on, Stevie, what's hadding it?

Speaker 5 (01:25:58):
Hey?

Speaker 7 (01:25:58):
Hey, I need you have to studio, nigga. What you're doing?

Speaker 1 (01:26:01):
Man?

Speaker 7 (01:26:01):
I got to hit record with me and forhar Real.
I'll be right there. Stevie comes to the studio. Now,
mind you, me and Pharreal in the studio were smoking.
He ain't smoking, but we smoking. He right next to us.

Speaker 13 (01:26:12):
He's smoking him out the fuck out.

Speaker 9 (01:26:18):
So now Stevie get there, right.

Speaker 7 (01:26:20):
So Stevie listening to the record in the in the
in the room with us. Then he going to booth.
So he in there f the sing. He got his
head fus on. He's singing, and I'm like, for real,
tell him what to do and for real, like m
I said, because Stevie, been in there for five minutes,
cause you ain't told cause nothing. He just sitting in
the booth for like five minutes. I'm like, first of all,

(01:26:43):
somebody need to go in there for that nigga fall.
So he don't say that.

Speaker 9 (01:26:49):
I'm like, cud tell the nigga what to do because
so he don't say nothing.

Speaker 7 (01:26:51):
So he pushed the little thing I said Stevie Pharrell said,
sing on this part and sing on that part.

Speaker 9 (01:26:58):
So he started singing.

Speaker 7 (01:27:00):
He doing this thing, and I'm like, for real, tell
the nigga be comes. This ain't my expertise. I don't
do all that. But niggas is saying, I just sit
back and watch nigga. You're suposed to telling him to
do the runs. And this nigga, for real, just sitting
there stuck.

Speaker 9 (01:27:13):
Some of the coaching.

Speaker 7 (01:27:14):
Stevie. I'm like, I know, I'm for the fuck this
song all right, Stephen, When you get you this part,
need you to go. And then Steven did you bring
your harmonica?

Speaker 4 (01:27:24):
Wow?

Speaker 7 (01:27:25):
Did you bring it? Pull it out? All right, Stevie,
just play anything you want. When Pharrell gets sober, we're
gonna take the best part. And that's how that motherfucker
song came about. I ain't making this ship up.

Speaker 4 (01:27:39):
Thank you over, I love it.

Speaker 13 (01:27:41):
I love it too, Thank you, thank you.

Speaker 12 (01:27:42):
Can I ask one week question? Okay, yeah, because I
got a few, so listen.

Speaker 7 (01:27:47):
First of all, that's not like a black woman. Can
I asked one week question there because I got a few.

Speaker 11 (01:27:53):
Well, I wanted to go back to my roll call
because I was serious about this question because it's been
like some documentaries and some studies and whatnot, and I
wanted to know your opinion on what people are saying
about the Indica versus s Tativa and saying that it's
it's all bullshit, Like where are you with that?

Speaker 4 (01:28:05):
Well?

Speaker 7 (01:28:05):
I think that sativa is for certain people and Indicas
for certain people. That's whatever you make it is. It's
like some people like gins, some people like uh whiskey, some.

Speaker 13 (01:28:14):
People like bring it down to like a kindergarten.

Speaker 7 (01:28:17):
To versus Indica is for the aggressive, for the ones
like myself, the ones who've been doing it for a
long time. We need like a high tolerance who looking
for the highest level of getting there. Sativa is more
of a female relaxation.

Speaker 4 (01:28:33):
You know.

Speaker 12 (01:28:33):
To me down, I never heard it described.

Speaker 9 (01:28:37):
It's real. I don't see a lot of niggas that
be like, you want to hit this sativa.

Speaker 7 (01:28:43):
Damn so fast?

Speaker 9 (01:28:46):
You got a flower with that too, nigga.

Speaker 11 (01:28:48):
But the word is that it's not real. The concept
is not real. That's what I was saying. The word
is that the concept is not real. And some bullshit
Indica and different so that that is.

Speaker 7 (01:28:57):
Very real because they're two different and strange. They're two different.
How would I explain that, Frank? What are they two different?

Speaker 4 (01:29:03):
What I want to make you want to go to sleep,
the other one will keep you up eating.

Speaker 7 (01:29:11):
Yes, it's like like a relax like Sativa is more
like connected with medical you know, because it's the yeah, exactly.
And then the Indicas like the party ship where all
the rappers and you know what I'm saying, the high
energy and you got ship to do when you're trying
to get it done.

Speaker 9 (01:29:28):
And you know what I'm saying I've.

Speaker 6 (01:29:29):
Heard what I've heard described, and I don't know if
it's in different strains within them, but like one is
like a body high and one is overhead high. So
which one would you recommend, like for pain, like for
like joints off writers out that kind of ship, which
one words better for pain?

Speaker 9 (01:29:43):
You would have to be prescribed. I would go to
a real, real ship.

Speaker 4 (01:29:46):
You could go to a real yeah.

Speaker 9 (01:29:48):
Dispecially and go see a real doctor and they'll tell
you exactly.

Speaker 4 (01:29:50):
What rub some tossing on it? Are you?

Speaker 1 (01:29:54):
Are you looking to get into the dispensary games?

Speaker 7 (01:29:57):
That's what?

Speaker 12 (01:29:58):
No, not that game you That's what I was gonna say.
How invested are you in that? In that game?

Speaker 7 (01:30:03):
Snow premium nutrients, That's what I was going to speak
about that. Just think about what a nutrient is. A
nutrient is what you need to grow the flower. So
everyone who grows flowers, I know.

Speaker 12 (01:30:22):
Some genius you was gonna drop.

Speaker 7 (01:30:24):
I don't want to.

Speaker 1 (01:30:28):
Stadium.

Speaker 7 (01:30:29):
I don't want to be the grass that they playing
on man.

Speaker 1 (01:30:34):
That every night.

Speaker 7 (01:30:35):
I can't play the game without grass.

Speaker 13 (01:30:39):
Just wow, you just give me food for thought.

Speaker 7 (01:30:42):
Yeah, go that direction. You know what I'm saying, because
I can trying to everybody because it's a race horse?

Speaker 9 (01:30:49):
Is it public to get to the pinnacle of I
got the best product. I'm doing this.

Speaker 7 (01:30:53):
I'm in this industry. But it's like alcohol. This probably
happened when alcohol was pro prohibition. When it became what
I were legal, it was probably sixteen seventeen different brands
that was competing, and then there were seagums. Then there
was you know, certain motherfuckers that just pushed out the
way like there were just four exactly like, ain't nothing
had any y'all can't fuck with this because we thinking
way further than y'all.

Speaker 9 (01:31:15):
The product is better and.

Speaker 4 (01:31:16):
We do it better.

Speaker 12 (01:31:16):
Can you advise for the middle man?

Speaker 11 (01:31:18):
Because literally, my my mother was like she really wants
to invest in the marijuana industry.

Speaker 9 (01:31:22):
And tell Mama and I'll let me give me a
few dollars. I'll give a nice look.

Speaker 12 (01:31:25):
Yoh, okay, all right, I got you.

Speaker 7 (01:31:26):
All right, then Mama double up pack to get it going.
I got to ask bones, Yeah, what was it like
shooting at when I When I got the role Ernest Dickerson,
he was like Pam gres signed on and I was like, yeah,
you know, I'm cool as a motherfucker.

Speaker 10 (01:31:47):
Yeah.

Speaker 9 (01:31:47):
So he like, I got y'all flight together.

Speaker 7 (01:31:50):
They y'all gonna fly in so that way y'all can,
you know, get acquainted because there's a lot of scenes
that y'all got together. I'm like, all right, cool, bamn,
grand nigga do this shit. Nigga flying to first go,
she flying the fresh Go. I'm sitting down. She come
behind me and tap me on the shoulder and I
look back and I'm like, damn cause it's Pam Grid.

(01:32:12):
So I'm like I look at her, give her hug,
and she like chopping it up with me for a minute.
I'm like, all right, I go to the bathroom. Nigga
just faint, just.

Speaker 9 (01:32:22):
Fall out, boom, right on the floor.

Speaker 7 (01:32:24):
I'm laid on the floor for like five minutes.

Speaker 9 (01:32:26):
My security coming in, like, nigga, get off there.

Speaker 6 (01:32:28):
Literally, nigga for real, metaphorically, Nigga, I got a heap niggas.

Speaker 7 (01:32:34):
I've seen Pam.

Speaker 13 (01:32:37):
Nigga said, It's like when I saw Janet Jackson.

Speaker 7 (01:32:41):
Nigga went limp.

Speaker 5 (01:32:41):
Nigga.

Speaker 7 (01:32:43):
Niggas come grab me off the floor. They throwing water
and shit on the niggas. So I regroup and Nigga
are a flight. We sitting side by side the whole flight, Nigga,
my heart beating like ninety go West, and she just
chopping up with me, just being so real. She makes
me comfortable, like this is one of the only motherfuckers
ever been like struck around because I'm like, I got
scenes whatever, I gotta catch her, and I gotta so

(01:33:04):
I'm getting nervous and shit like. But then she like
break me all the way down and she like, call
your wife for me when we land, and then she
how let my wife when I land. I'm like, this
is a real fucking queen devil right here, you hear me?
And it just put me in his zone where I
was like, all right, cool and I went to set
and then Ricky Harris was there rest in peace.

Speaker 4 (01:33:26):
Yeah.

Speaker 7 (01:33:26):
He made my job real easy because he had already
been on many movie sets and he was just like,
Nigga killed this shit, Nigga like we used to do. Nigga,
fuck that, nigga, you know, giving me that confidence, like Nigga,
you the league, Nigga, you to start Nigga. And it
was like I needed that, not in the cocky way,
but I needed that in a confident way.

Speaker 4 (01:33:44):
You talk about Ricky Man, because I didn't really know
much about him, but I know he was. I mean
we knew him from their comedy.

Speaker 7 (01:33:50):
Jam and like he was like on all the skits
and the voice from the w Ball.

Speaker 4 (01:33:55):
Yeah, what was Ricky like? Man working with him?

Speaker 7 (01:33:58):
Funny, real, serious, Like My whole childhood was put him
in church. His father was the preacher of our church,
Reverend Richard George has the Fund. Ricky was always athletic.
He taught me how to play quarterback in nineteen seventy
nine behind revend Vin's house.

Speaker 9 (01:34:16):
He was funny in church.

Speaker 7 (01:34:18):
He was he could sing, He was like all this,
all the things that you see me doing, it had
to be somebody you've seen doing it first. He was
probably the first person I seen doing the do you know, multitasking,
being funny, being real, being an athlete, being this, being that,
you know what I'm saying. So it was like when
he made it, we made it. Then he got on

(01:34:41):
ice Cube album.

Speaker 4 (01:34:41):
First and he was.

Speaker 1 (01:34:47):
Ice That was Ricky. I did not know that.

Speaker 7 (01:34:57):
So when I hear that, I'm like, Nigga, I need
you on my ship, Nigga for our radio station w Ball.
He just handled it from there. But like even from
just being kids to us making it, it was a
comfort zone working with him, like whenever I would have
him around, like he would be in a lot of
the writing, like when I had my show Doggie Fillers

(01:35:17):
and all that shit. He was one of the writers,
and like I would always bring him to the job,
like to be one of the niggas behind the scenes
with that pen because he knew me, like a lot
of them writers in Hollywood didn't know me.

Speaker 9 (01:35:27):
They just was writing bullshit.

Speaker 7 (01:35:29):
We think this will be funny if you say this,
and I need a nigga in a room, But like
that nigga ain't gonna say that. You know what I'm saying,
Like you need that kind of motherfuck in the room?

Speaker 6 (01:35:39):
Did you improvise the line fuck your fort little nigga
and baby boy?

Speaker 9 (01:35:44):
You know that ship wasn't.

Speaker 1 (01:35:50):
Yo.

Speaker 4 (01:35:50):
That is like you know me and my boys, we
played bad and this ship whoever got.

Speaker 1 (01:35:56):
That pot?

Speaker 4 (01:35:57):
That was.

Speaker 13 (01:36:00):
So thank you for calling that.

Speaker 1 (01:36:01):
It's so much you've given to the game, every roots argument.

Speaker 9 (01:36:12):
You know what I was talking to Max is Julian right,
and Max, this is my nigga, right, here. I love
him to death.

Speaker 4 (01:36:17):
Mac.

Speaker 9 (01:36:17):
So we're talking about the Mac, right, and he's like, yeah, man,
you know what, So Richard.

Speaker 7 (01:36:21):
Man, we get to the set the director, because the
director was a white dude named Michael Campus, You're like, yeah,
so the white boy, you know, trying to tell Richard
what to do. Richard like, white boy, you can't tell
me a motherfucking thing. I write my own mother fucking line,
he said. So Richard did all his lines. You know,
he wrote his own ship. Your nigga. I couldn't tell
him nothing.

Speaker 9 (01:36:40):
So when you watch the Mac, know that that nigga.

Speaker 7 (01:36:43):
Every line he did in there was his. Wow, he
wasn't having it.

Speaker 4 (01:36:48):
But what was it like with John Singles and man?
How how did it all go? Man?

Speaker 7 (01:36:52):
John is a dear friend. He's been with us for
a long time. He was like always supportive of the
two one three movement. He was one of the people
I really wanted to do a two one three movie
back in the days. Like he was really into what
we was doing. Remember he gave warn g that shot,
would you know with the first say yeah, put him on.
You know what I'm saying. So working with him is

(01:37:13):
like it's so easy. But he's so professional. So it's
like you're getting you're getting your comfort zone. But at
the same time, this motherfucker's professional. You know when he finished,
but you're gonna look amazing. You know, it's gonna be
a part of something that's a story. So you really
want to follow his direction. A lot of the things
that we would do, he would give me direction and
he would say, all right, I won't I want to

(01:37:35):
shoot it my way, and then I'm gonna shoot it
Joe way.

Speaker 9 (01:37:38):
Like what would Rodney do? What will Rodney say?

Speaker 4 (01:37:43):
Then?

Speaker 7 (01:37:43):
Like he'd say, well, do it this way, say it
like this, and then I do it that way. Be
like all right, I got that. Now what would Rodney say?
H shit, fuck your fort little.

Speaker 1 (01:37:56):
Any plans for your biopic of you? Because everyone is
doing their biopics now.

Speaker 7 (01:38:02):
That's what I wouldn't do. I wouldn't do everyone else.

Speaker 4 (01:38:04):
Yeah, man, what happened? Okay?

Speaker 6 (01:38:06):
The tupac I just forget the tupop Bob. Why did
they have you doing your own voice as the characters?
You think that's what it sounds just like you think
it was printed somewhere about you post that Oh.

Speaker 7 (01:38:24):
That Google?

Speaker 12 (01:38:32):
Can I can I ask the quick John Singleton questions.

Speaker 4 (01:38:35):
You want to know.

Speaker 12 (01:38:35):
Since you mentioned John, I want to see what you
thought about Snowfall.

Speaker 7 (01:38:40):
Franklin is the ship, yes, but can you else Nigga
to Snoop Dogg. Hear me, just his train of thoult.
He's just the way he This motherfucker is so Snoop Dogg.
When I watch him, I wasn't watching it in the beginning.

(01:39:01):
I'm gonna be honest with you. I wouldn't watching him
like I don't want to see another in the eighties.
I'm tired of this. But the story watching that ship
out way, I had to go back and tape season one.
Now in season two when I'm like this, Nigga, Franklin
is so motherfucking cold blooded with his spiel, his conversation,

(01:39:24):
like he's so snooked.

Speaker 11 (01:39:26):
Smart and what do you it's crazy because he's British,
Like how you feel about that?

Speaker 6 (01:39:30):
Yeah, right, No, he's British, so so in the all
eyes on me, that's not how did that happen? Because
it sounds like it was you doing the post.

Speaker 7 (01:39:49):
Yeah, you have to ask the director and h okay,
but I was saying about my fan. Okay, you're always
asking about a Snoop dogg bio pick. I'm like, I
would never do that for the simple fact that it's
been done and I wouldn't want to do what everybody
else is doing.

Speaker 9 (01:40:10):
But there could be a.

Speaker 7 (01:40:12):
Series sort of kind of like Knockos. You understand me
based on the life before there and after you know
from father in Vietnam sixty eight.

Speaker 1 (01:40:30):
Spoiler your childhood, Jimmy, that's amazing, right, Like.

Speaker 7 (01:40:35):
That makes more sense for me as supposed to try
to squeeze two hours of all of this shit that
I'm doing and done and try to make it, you know,
worthy of you understanding it and loving it and appreciating
it and not offending anyone, because I believe I would
leave some things out if I tried to buy it.

Speaker 1 (01:40:50):
You might leave some in and then people, right, you
know how to starting to tell other people's stories, and right, I.

Speaker 9 (01:40:56):
See, I think it's better that way.

Speaker 4 (01:41:02):
So Luke, can you give us some marriage hipsfore we
roll out month?

Speaker 7 (01:41:04):
Oh Man, happy wife, happy life. She's always right, You're
always wrong. Your compound name your company and your compound.
After make sure that there's constant sufficient funds in her account.
True keep the girls to a minimum at work and

(01:41:28):
after work?

Speaker 12 (01:41:30):
Can can you talk about what you learned being a
father to a daughter.

Speaker 9 (01:41:33):
That this world we live in is fast. These girls
is hot tailed and fast.

Speaker 7 (01:41:37):
Ye love showing they rumps and putting their leg out,
taking pictures and winning makeup and trying to be grown.
Like you know, I remember when it was the time
when you was a teenager. You wanted to be a
teenager for a long time. They do because you you
enjoy the moment of being a teenager. And now it's like,
I can't wait to not be a teenager so I
can be grown. And that's from not age nine, ten

(01:41:59):
eleven to go to nineteen. It ain't going from nineteen eleven,
twelve thirteen no more. It was like and to have
a girl so many influences and so many girls that's
doing at her age, younger than her, older than her.
So you just try to, you know, raise them the
right way and teach them to you know, the ins
and outs. But they have their own minds, they do
their own thing. You just try to make sure that

(01:42:19):
we did our part like me and Boss like he
did our parties for us. Like I was saying, it's
only so much you can do when your kid leaves
the house, just like you can't overparent. You just got
to do your job and pray that you did a
great job, and you know the results will be seen
in the near future.

Speaker 6 (01:42:34):
Who are some of the people that you like when
you and your wife will have problems in your marriage
or just y y'all have hard times. Who were some
of the people that you could talk to to say like, Yo,
I'm in this situation, how can you help me?

Speaker 11 (01:42:46):
Like?

Speaker 6 (01:42:46):
Who was some of the married couples or other couples
of just old gg men in the industry or whatever
that you could actually talk to about that kind of stuff.

Speaker 11 (01:42:54):
Uh?

Speaker 7 (01:42:54):
With me, it was probably Charlie Wilson was probably the
only one that I could actually talk to for the
simple fact that he he loved my wife, my kids. Uh,
he loves me, and my wife loved him and his
wife and his family. So it's like it's a mutual understanding.
When he gets involved and he ain't never gonna play
to my side. If I'm wrong, he gonna shoot me
down and tell me, niggas you're wrong. Was the motherfucker?

(01:43:15):
Get your ass home. I'm gonna call and try to
smoothhit over nigga. Hear him get in through the back door,
nigga before I hang up with him. You know, he
wanted them kind of niggas. You know what I'm saying,
One of them uncles will be like, this is a
good ass nigga.

Speaker 4 (01:43:27):
Right, was anybody else in the game yet like that
other than Charlie?

Speaker 6 (01:43:30):
Just catch that you could really you know, look up
to and that would like help you in that way
or just anyway, like career Rise, anybody that gave you
good career advice.

Speaker 7 (01:43:38):
I like ice cubes advice. Ice Cube is giving me
a lot of great advice. A lot of shit he
told me to pass on. I was hard hitded in
the beginning because I was like, Nigga, I'm hot, niggama
doing They want me to be in thirteen movies nigga, Nigga,
they want you to be in Who's the Man?

Speaker 4 (01:43:52):
Nigga?

Speaker 7 (01:43:55):
Who's the man for too? Nigga? Better sit your ass down, nigga.
You know what I'm saying, Like, it's a couple things
I did that I'm not, you know, too happy about that.
I should have took his advice. But as I got
older and started making better decisions. I could thank him
and say, well, you know, I ain't about the money, snop.
We got a whole bunch of moneyf we gelt to
be in this garbage ass movie. This shit sucks, cock,

(01:44:16):
but we're gonna pay you so much fucking money. It's
fucking horrible. That's basically what the nigga should say, you
know what I mean, That's what it boils down.

Speaker 11 (01:44:26):
I was wondering if you was like your own brain
trust in that way, because you make some pretty awesome decisions.

Speaker 9 (01:44:32):
That's what it's been for like the past ten years.

Speaker 7 (01:44:34):
And I got a lot of that from like one
of the young niggas, fifty cent, Like it was one
point in time where fifty men him was rolling together
and he was doing a lot of shit on his own.
Like it was fucking me up that I would always
have my people going there meeting. This nigga would be
in the meeting, and how this nigga in there and
I'm not in there, and and it's certain shit he
was doing. He put me up on certain things, and
I was like, you know what, this nigga's smart, he brilliant,

(01:44:56):
and he passed information on and you know when I
got that information and I ran with it and don't
mind sharing the fact that I got it from you.

Speaker 4 (01:45:04):
Yeah, what do you do with your kids now? Because
how old? How old are your your kids though?

Speaker 9 (01:45:10):
The motherfuckers in the twenties?

Speaker 7 (01:45:11):
Yea, I am. I just had a granddaughter I know, was.

Speaker 12 (01:45:15):
Gonna graduate regulations.

Speaker 8 (01:45:17):
Gorgeous.

Speaker 7 (01:45:18):
I think I saw in the bathroom her name is eleven.

Speaker 8 (01:45:22):
Eleven.

Speaker 7 (01:45:24):
That nigga's twenty eighteen knocking. You ain't for no regular names,
No more gonna say her name is Isabella, it's eleven.
But you know I'm grandpa eleven. Come in back, come
gr grandpa.

Speaker 13 (01:45:41):
What's the significance behind?

Speaker 9 (01:45:43):
I ain't even masked my son?

Speaker 11 (01:45:44):
You know?

Speaker 9 (01:45:45):
How do you ask the nigga?

Speaker 1 (01:45:46):
What?

Speaker 4 (01:45:47):
So?

Speaker 7 (01:45:47):
What was y'all thinking?

Speaker 5 (01:45:50):
You know?

Speaker 1 (01:45:51):
Ones equal?

Speaker 9 (01:45:52):
What happened was it was ten nine?

Speaker 4 (01:45:59):
What I was as a dad?

Speaker 6 (01:46:02):
Like you know what I'm saying, being that you had
so much assess in your career and you know your upbringing,
all your kids upbringing was way different than yours. How
did you, I guess, how did you navigate that? Being
that you know how you came up versus how your
kids came up? But not wanting to spoil them or
and still wanting to be able to, you know, find
their own way in life.

Speaker 7 (01:46:21):
Thank god for the Snoop you football league, because my
football league was urban and it was them playing with
kids that came from urban communities, then building relationships and
then going to school with kids like that and learning
how to live within but without, and then me and
my wife would bring them to certain situations where they
could see this is where we grew up at, this
is where we lived at, and walk around and look

(01:46:41):
aside this one bedroom and like nigga, y'all got a
room that's yours, and we lived in a house that
was the size of your room. Like to appreciate, to
understand the fact that it's a struggle and it's a hustle.
We want you to live better, but don't take it
for granted because they can all be taken away. And
this is where we come from. We know how to
adjust to it. If we have to go back to
y'all don't. So the best thing you can do is

(01:47:02):
prepare yourself and try to do some things that were
you not connected to my thing, but create your own thing.

Speaker 4 (01:47:07):
It's gonna be understood.

Speaker 7 (01:47:09):
They didn't understand it, but I think as as time
goes on, they get it. And I'm gonna do what
the real people do. I'm gonna make sure my family
tied into my business, so I'm gonna make sure they're
gonna learn this shit one way or the other.

Speaker 1 (01:47:19):
Well, Uncle Snoop, we thank you for your why savee device?
We gotta wrap up even though we got fifty nine
billion more questions.

Speaker 12 (01:47:29):
Oh can I thank you for what?

Speaker 11 (01:47:31):
For the Hall of the Sisters, for what you said
on the view, because you know, we like forwarded that
like fifty thousand times, watched it again again and again
and again and again, and put it on when he
was asked about well, he was asked about Kanye, and
he basically said that he needed a good black woman
beside him, and that's.

Speaker 12 (01:47:45):
What was wrong with him.

Speaker 13 (01:47:47):
You ain't never leaving Kanye.

Speaker 12 (01:47:49):
I was just saying I reposted to John, thank you.

Speaker 7 (01:47:54):
It was true, and it didn't mean like a lover,
which just means somebody was the ability.

Speaker 4 (01:47:58):
That he needed.

Speaker 12 (01:47:59):
It is no one around you understood what you meant,
whether it was a sister, whether it was.

Speaker 4 (01:48:03):
What happened.

Speaker 7 (01:48:06):
For flowing flying in the day, obviously she coming straight
over here. Let me know when you get here, like
you got scared when she coming in.

Speaker 13 (01:48:13):
She got.

Speaker 7 (01:48:16):
Bring your.

Speaker 11 (01:48:19):
Man.

Speaker 1 (01:48:19):
We thank you for everything.

Speaker 4 (01:48:21):
Just thank you.

Speaker 10 (01:48:22):
Come on, man, just watching your journey just for over
these years, it's been it's been a great and seeing
what you've built here at this compound and it's like
you don't want to go home.

Speaker 4 (01:48:31):
Yeah, life goals.

Speaker 13 (01:48:32):
Thank you.

Speaker 6 (01:48:33):
You're one of the people I tell my kids just
the story of like innovation and like how long is
my oldest son?

Speaker 4 (01:48:38):
He likes rhyming.

Speaker 6 (01:48:39):
You want to wrap and stuff and I'm just like, man,
but you look at a cat like snoop, it's like
killing it now to know where he came from.

Speaker 7 (01:48:47):
And let your son know I was weak once upon
a time I wasn't wasn't great. I was awake and
I had to get better. I knew I was wake.

Speaker 9 (01:48:57):
You know what I'm saying. That's the thing.

Speaker 7 (01:48:58):
When you're wake and you know you're weak, are you
gonna accept it or you're gonna get better? You know
what I'm saying, Yeah, do something about it.

Speaker 9 (01:49:04):
So let him know.

Speaker 7 (01:49:06):
You know, he ain't he ain't great right now, but
he can be great. And don't accept that ship. Keep
going till he find greatness.

Speaker 4 (01:49:12):
Why is where?

Speaker 1 (01:49:12):
It's the live by well, ladies and gentlemen. On behalf
of Team Supreme. I'm leaving the proper music in the background,
so anyway.

Speaker 7 (01:49:23):
On behalf on the rough side.

Speaker 9 (01:49:30):
He's gone.

Speaker 1 (01:49:34):
Span Holidays everyone, Yeah, happy holadays. Thank you very much, stupid.

Speaker 13 (01:49:41):
Be half of What's Up Supreme?

Speaker 7 (01:49:44):
It's the Supreme team, that's right, h.

Speaker 1 (01:49:59):
What Love Supreme is a production of iHeartRadio. This classic
episode was produced by the team at Pandora. For more
podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.