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Speaker 1: Quest Love Show is a production of iHeart Radio. Ladies

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Speaker 1: and gentlemen. Welcome to the Quest Love Show. I can't wait.

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Speaker 1: I kind of want to even skip the long accolades

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Speaker 1: just so I can get started with the questions. But

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Speaker 1: this interview has been a long time coming. Many of

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Speaker 1: you asked about getting him on the show. It's only

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Speaker 1: right that I check in with him for starters. You know,

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Speaker 1: one of the founding members of Cypercial, not to mention

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Speaker 1: for Cypercal seven A three, so many other associations. We

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Speaker 1: can go to Soul Sat, we can. We'll be here

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Speaker 1: all day if we're just doing the accolades. I was

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Speaker 1: about to say, you pioneered hip hop at Geffen. Yeah,

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Speaker 1: I have so many questions about that. Of course, he's

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Speaker 1: keeping the Soul Assassin's brand alive right now with the

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Speaker 1: new sci fi film and an album alongside the La

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Speaker 1: rapper TF called them called me Lucky. It's out now, man,

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Speaker 1: I've been waiting for this.

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Speaker 2: Thank you, DJ Muggs, thanks for having me. Bro mean

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Speaker 2: it's a lot.

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Speaker 1: Welcome, Welcome, welcome, welcome. All right. I will start with you,

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Speaker 1: as I start with most of my guests. What is

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Speaker 1: your first musical memory in life.

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Speaker 2: Growing up, My uncle was my mom's little brother, was

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Speaker 2: my roommate. I was about four or five six those ages,

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Speaker 2: and he had velvet posters, black lights, a tract tapes

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Speaker 2: on the wall, right, and beads incense. You know, he

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Speaker 2: was in the rocks. So listening to the Led Zeppelin,

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Speaker 2: Jimi Hendrix, you know what I mean? That was like

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Speaker 2: my intro to music right there.

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Speaker 1: This explains the first night pressil record. Absolutely. Okay, Now

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Speaker 1: I'll see where this is about to go. First of all,

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Speaker 1: where were you born? I was born in Queen's Okay, yeah,

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Speaker 1: Jamaica hospital. All right, how long were you there before?

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Speaker 1: Because of course now we associate you with you out here,

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Speaker 1: But how long were you in?

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Speaker 2: I moved out here when I was thirteen go to

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Speaker 2: high school. Yeah, the summer before high.

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Speaker 1: School, so in for the first thirteen years. Like, have

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Speaker 1: you had any hip hop experiences whatsoever? Like growing up

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Speaker 1: in New York or Yeah?

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Speaker 2: It was pretty much just the music, you know. I

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Speaker 2: think I fell in love with hip hop or rappers delight, right,

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Speaker 2: I caught the fever. I was just sitting by the

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Speaker 2: radio all day waiting for the song to come on.

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Speaker 1: Tape it yep, got you, got you well. You mentioned

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Speaker 1: the albums that were like in your household. Do you

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Speaker 1: remember the very first album that you purchased with your own.

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Speaker 2: Money, own money? I think it was War. It had

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Speaker 2: Lowrider on it. Why Can't We Be Friends Out? Yeah,

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Speaker 2: And I was when I heard low Writer. I was

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Speaker 2: I would just play Lowriter all the time. My mom

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Speaker 2: had got me into forty five and then you know

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Speaker 2: I wanted that album.

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Speaker 1: I wanted it to what else they had? Ah Man,

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Speaker 1: all right, you mentioned that, And I was four when

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Speaker 1: that came out. And if you remember the album covered

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Speaker 1: that smiley face on it, if you're four years old

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Speaker 1: looking at that smiley face, even though like it just

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Speaker 1: looked real evil to me. And I used to hide

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Speaker 1: that record in the basement. My dad cut so one

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Speaker 1: of my first punishments, He's like, where's my War record?

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Speaker 1: And like I buried it, like I couldn't. I couldn't

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Speaker 1: stand that smile man like that and shame on the

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Speaker 1: world by the main ingredient, like those two album covers,

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Speaker 1: I'd always hide in the basement. So, like, my memories

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Speaker 1: of the war were a little different. So what technically

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Speaker 1: brought you to Los Angeles.

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Speaker 2: My mother moved here about a couple of years before.

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Speaker 2: I didn't want to leave, so I stayed in New

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Speaker 2: York live with my aunt, and then you know, I

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Speaker 2: started just getting a little trouble. She was like, you

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Speaker 2: got to get out of here and go live with

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Speaker 2: your mother, the fresh Princess. So I went from you know,

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Speaker 2: one of the most culturally diverse places in the world,

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Speaker 2: to move into a neighborhood called Bell Gardens where it

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Speaker 2: was ninety nine point nine percent Mexican. Okay, so it

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Speaker 2: was a culture shock for me.

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Speaker 1: What was it like adjusting in this time period? For you?

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Speaker 2: It was hard, man, because you know, I'm used to

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Speaker 2: jump on trains and everything was right down the block,

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Speaker 2: and in Bell Gardens there was no trains. There was

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Speaker 2: nothing there. You know, you had to go to a

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Speaker 2: whole nother city to get anything. So, you know, I

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Speaker 2: didn't like it at all. I would go back to

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Speaker 2: New York, jump on a Greyhound, go back every summer,

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Speaker 2: go back for Christmas vacation. Anytime I can get out

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Speaker 2: of here, I'll just try to get out of here.

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Speaker 1: Okay. What were your aspirations as a well, I guess

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Speaker 1: we would call them tweens now like twelve thirteen fourth

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Speaker 1: What were your aspirations? What did you want to do?

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Speaker 2: I wanted to play sports, football, baseball. I played football

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Speaker 2: and baseball, okay, and I was like, I'm gonna be

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Speaker 2: I'm gonna play sports when I grow up. So I

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Speaker 2: just played summer leagues, you know, anywhere I can get

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Speaker 2: on a team. I just Pop Warner baseball. That's all

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Speaker 2: I did little league.

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Speaker 1: So did you start out as a DJ?

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Speaker 2: Like?

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Speaker 1: How does music enter your life?

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Speaker 2: And now it's like I got the fever for breakdancing,

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Speaker 2: So breakdancing came out. We started breakdancing, and then we

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Speaker 2: was in the basement one time and the homie had

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Speaker 2: a little turntable and we was all trying to copy

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Speaker 2: Rockety DST. Everybody was a little turntable with the cassette

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Speaker 2: in it, you know, with the radio in it all

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Speaker 2: I so we didn't know what the scratch pad was.

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Speaker 2: We was in there trying to cut it. The needles

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Speaker 2: was jumping, and that's when I called started catching the

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Speaker 2: fever a little bit. And then when I seen DST.

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Speaker 2: I think it was the American Music Grammy that turned

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Speaker 2: me out right there. Okay, I was like, oh shit,

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Speaker 2: what is this? It was like some futuristic ship.

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Speaker 1: So that was your that was your come to GC

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Speaker 1: moment with it. Did you have any experiences with any

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Speaker 1: cruise pre seven A three or like.

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Speaker 2: Well, Cypress. I was down with Cypress before. The crew

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Speaker 2: was called DVX Devastating Vocal Excellence and it was about

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Speaker 2: seven eight of us, Melimennace be Real, send T Bone,

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Speaker 2: who actually ended up being in the Funk Dubias.

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Speaker 1: So you were all a crew.

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Speaker 2: It was before they got to see how I met

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Speaker 2: in Yeah, and then one of my boys was went

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Speaker 2: out the Hollywood. He's like, yo, I just met these

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Speaker 2: two kids from Brooklyn. You got to meet him. Came

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Speaker 2: out to Hollywood, met them, and I was throwing a

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Speaker 2: jam in a park in Bell Gardens and seven eight

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Speaker 2: three had a record out of my Cola Records called

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Speaker 2: seven A three Were Rocky, which was a remake of

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Speaker 2: We Were Rocky, and I was like, Yo, you guys

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Speaker 2: want to come play my party. We didn't know nobody

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Speaker 2: would a record out at that time, so that was

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Speaker 2: big for us. So they came and the DJ didn't

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Speaker 2: show up, so I DJ for him and they said,

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Speaker 2: you want to be on DJ. We're doing three shows

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Speaker 2: with Ice Team next week, and one was at Osco's,

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Speaker 2: you know. A couple of them was there was a

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Speaker 2: club where the Beverly Centers now. We played there and

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Speaker 2: we did the three shows, and then about three months

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Speaker 2: later we was in the studio recording for Colors saw

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Speaker 2: Mad Mad World.

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Speaker 1: Okay, And that's how you guys become. So you're saying

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Speaker 1: you were throwing jams, like what as a promoter or

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Speaker 1: just as a DJ or DJ promoter.

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Speaker 2: We got together with a couple of little promoters around

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Speaker 2: in the neighborhood, and we knew the guy at the

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Speaker 2: park because we would always go to the park, you know,

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Speaker 2: play carms and basketball and dodgeball and you know, playing

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Speaker 2: Little League at the park and shit. And she gave

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Speaker 2: us the little hall at the park five dollars to

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Speaker 2: get in and through the jam and it was banging,

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Speaker 2: and that was the beginning of it all.

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Speaker 1: Okay. So I've always heard of the folklore of early

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Speaker 1: hip hop starting out in the parks and what not, police,

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Speaker 1: athletically whatever, back in New York, but out here like

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Speaker 1: because the only times I've heard of jams are literally

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Speaker 1: like uncle jam stories walk me just through, like what

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Speaker 1: a typical party is that's not in a non club atmosphere.

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Speaker 1: In the eighties of California.

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Speaker 2: Most of it was backyard parties. Two dollars to get

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Speaker 2: in a keg, you know what I mean. Everybody come

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Speaker 2: in and all the little local promoters would throw them.

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Speaker 2: It was a lot of freestyle music. Nobody wanted to

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Speaker 2: dance to hip hop. It was too slow, you know

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Speaker 2: what I mean. So it was that and I used

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Speaker 2: to actually go and go to Uncle Jam's. I would

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Speaker 2: go out by the airport that'd have it in a

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Speaker 2: hotel anything I can.

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Speaker 1: Please tell me what that was like.

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Speaker 2: It was just a lot of gangsters, a lot of

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Speaker 2: gangsters just pop locking, a lot of pop locking, and

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Speaker 2: then you know, and I would just sit in the

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Speaker 2: corner and just watch and listen. And then I started

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Speaker 2: going to World on Wheels, Costant Communi Rial was the

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Speaker 2: other one.

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Speaker 1: Of them, Wheels, Rodska Stating Ring.

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Speaker 2: Yeah, Greg Mac used to do that with Tony G

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Speaker 2: and then.

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Speaker 1: Walking Ice Cuban the mix started.

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Speaker 2: Yeah, there was World on Wheels, there was Skateland USA

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Speaker 2: and uh, and then I'll go to the Radio Tron

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Speaker 2: Radio Tron by MacArthur Park downtown and just absorb it

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Speaker 2: because there was nowhere to see it or here you

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Speaker 2: had to go, you know, So any anywhere I can

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Speaker 2: get there, I would just take a bus, and the

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Speaker 2: bus would take me two hours to get there, you

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Speaker 2: know what I mean. So I would just get on

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Speaker 2: the bus and go to the go to the ship.

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Speaker 1: Okay. So in developing seventy three for starters, I got

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Speaker 1: familiar with these guys because you know, once Iron Nation

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Speaker 1: to millions, then I needed anything associated with the bomb squad,

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Speaker 1: so they produced it. I brought the entire records and

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Speaker 1: study the ball. What's different about seventy three is that,

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Speaker 1: at least texture wise, it was way ahead of its time.

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Speaker 1: Like there's rock rap hybrid on there, which I'm assuming

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Speaker 1: now that I know Joe Nicholas associated with it. So

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Speaker 1: wherever joke goes, I'm pretty sure Andy Kravitz is behind him,

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Speaker 1: and Andy was there in all the Yeah, the usual

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Speaker 1: suspects in Philly. I'm from Philly, so like drums is

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Speaker 1: steal and all that stuff to me was like shit

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Speaker 1: that the goats wound up doing. And then rage against

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Speaker 1: machine and all that stuff. Were you guys like aware

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Speaker 1: of how radical that record was in terms of a

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Speaker 1: few things on that album will eventually become commonplace, like

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Speaker 1: fifteen years from then or twenty years from then. Like

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Speaker 1: I mean at the time when in doing like live

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Speaker 1: hip hop with First of all, I know that's Andy

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Speaker 1: Drummond because I know his drum texture. He was on base,

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Speaker 1: was it, Mike, Mike No, not Blonde from School Love? Yeah. Yeah,

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Speaker 1: he's on MTV and plug with LL playing. Mama said

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Speaker 1: that was him. Yeah, yeah, I was gonna say, what

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Speaker 1: is by the way, Mike Tyler? Yes, okay. How receptive

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Speaker 1: were you to those ideas when when it was presented

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Speaker 1: to you?

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Speaker 2: Well, it was interesting because I had all these ideas,

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Speaker 2: I had records like and you know, I was eighteen,

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Speaker 2: and they wasn't going to give I didn't produce nothing yet.

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Speaker 1: How much agency did you have in suggesting.

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Speaker 2: We was in Philly because Jeff Finster signed us a guffin.

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Speaker 2: Then there was big There was big fans of PSK,

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Speaker 2: so got it. They want Joe to Butcher to work

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Speaker 2: And it was the.

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Speaker 1: First school shoutout is from school e D School.

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Speaker 2: He actually programmed drums on a couple of songs.

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Speaker 1: Yeah, Okay. I heard the word schooly cash.

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Speaker 2: Wandy jazz, jazz, jazz jazz, and I think it was

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Speaker 2: Robbie Robbie. What was the rappers in Robbie g Robbie

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Speaker 2: b Okay, yeah, they all they all programmed. They all

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Speaker 2: would come in a program and I was I didn't

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Speaker 2: I didn't produce it. I didn't have a drum machine.

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Speaker 2: I just had all these ideas. So I just sat

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Speaker 2: and watched and just absorbed everything and learned. I got

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Speaker 2: a crash course and to make music in a month.

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Speaker 1: Back then, what was your weapon of choice? Based on

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Speaker 1: the sonic of it, I'm assuming that's a twelve hundred

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Speaker 1: bad twelve hundred.

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Speaker 2: I didn't have a twelve hundred yet though. So the

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Speaker 2: seven eight three album we worked on it. I had

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Speaker 2: these ideas. I got back and I didn't love the record,

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Speaker 2: to tell you the truth, because I wanted it to

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Speaker 2: be darker and harder.

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Speaker 1: You know. I was.

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Speaker 2: I was in the Yo Bum Rush, the show, I

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Speaker 2: was in the Ultramagnetic, I was Bebop was a big

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Speaker 2: inspiration on me. The Ramloz record, So this is what

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Speaker 2: I wanted. So when I got home, I was like, fuck, man,

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Speaker 2: I wanted the record to sound like this, so I

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Speaker 2: saved up my money, saved up my money and got

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Speaker 2: me an SP twelve hundred, and then I just started

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Speaker 2: kidnamed Blau that was down with Rhym Syndicate. He showed

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Speaker 2: me i'd call him up if I got stuck. And

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Speaker 2: I made wag beats for about a year, you know,

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Speaker 2: and then one day we did Real Estate and it

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Speaker 2: just sounded like it.

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Speaker 1: It sounded like a record.

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Speaker 2: And our demos we had a big ass boombox with

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Speaker 2: a double cassette, so I'd run the drum machine right

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Speaker 2: into it. We put the mic right into it, pushed

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Speaker 2: record on the cassette, and biro just one take, and

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Speaker 2: that was our demos. And that's how we That's how

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Speaker 2: we started out.

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Speaker 1: That's how y'all got a deal.

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Speaker 2: Damn okay, Well no, that was how we made That

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Speaker 2: was how we made real Estate. And I would send

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Speaker 2: the demos to Joe and Joe was like, Oh, this

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Speaker 2: shit's hot. And then then we got a publishing deal

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Speaker 2: with BMG and they gave us some money to go

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Speaker 2: in the studio. Then we recorded Funky Feel, One Light

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Speaker 2: Another and Kill a Man and a song called Caliente

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Speaker 2: which was a Spanish song that wasn't on the record,

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Speaker 2: and thought that was our demo. Okay, that got us

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Speaker 2: the deal.

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Speaker 1: So you've made all those even before. But once you

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Speaker 1: got the deal, did you remake those records again? Are

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Speaker 1: you just trying to know?

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Speaker 2: I think it was like a three year period while

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Speaker 2: we was working until we got the deal. Two years.

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Speaker 2: So if you notice all the breaks and those songs,

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Speaker 2: it was just me getting bored and just revisit them,

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Speaker 2: just keep adding and adding and adding over that period

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Speaker 2: of time.

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Speaker 1: Yeah, I was gonna say, so, what makes you guys unique?

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Speaker 1: At least in my opinion, was that, you know, ninety

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Speaker 1: one was sort of the cutoff year where a lot

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Speaker 1: of the hip hop establishment was using primarily ultimate beats

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Speaker 1: and brakes.

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Speaker 2: Like, oh, I couldn't wait for the next one to

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Speaker 2: come out.

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Speaker 1: A different combination. See I discovered an eighty nine when

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Speaker 1: like all twenty were already out. But so you were

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Speaker 1: getting them in real time, and yeah, how long would

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Speaker 1: releases be in between?

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Speaker 2: I don't remember exactly, but I go up to forty

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Speaker 2: second Street. There was a spot on forty second Street,

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Speaker 2: and I'd just go up there and you know, just pillage,

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Speaker 2: what's going what's coming out? Next One's the next one

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Speaker 2: coming out, So I would just always look forward to

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Speaker 2: the next one, because, you know, digging it was a

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Speaker 2: little bit different back then. I didn't have the money

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Speaker 2: for the record, so I'd be in the ninety nine

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Speaker 2: cent bend and just pulling out the ninety nine cent

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Speaker 2: ben and using breaks and beats. But you know, also

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Speaker 2: back then, you couldn't use anything. If it was used,

303
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Speaker 2: you was whack, you know, so if people use the

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Speaker 2: sample before you, it wasn't something you'd want to put out.

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Speaker 2: And I almost didn't put Kill a Man out because

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Speaker 2: we had the demo, and then EPMD came out with Rampage,

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Speaker 2: and I was like, man, we can't put this shit out.

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Speaker 2: I'm glad we did, though, because I remember you remember

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Speaker 2: making that record. All the homies was driving around bumping

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Speaker 2: it every day. You know, we'd give cassettes out in

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Speaker 2: the neighborhood, and I was like, man, I'm glad we

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Speaker 2: put that shit out because it would have been cold

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Speaker 2: if we didn't.

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Speaker 1: I think the day that you guys mastered. So I

315
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Speaker 1: started interning at rough House right when Black Sunday came

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Speaker 1: out or slightly before, but Han Soul had gotten a

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Speaker 1: copy of you Guys's cassette. And this is right when

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Speaker 1: Tarik and I were first just like busking on the

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Speaker 1: streets or whatever, and so you know, we saw Hans

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Speaker 1: Soul and that was like, oh God, Philadelphia celebrities checking

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Speaker 1: us out, and so he gave us a lift in

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Speaker 1: he played that entire record on the way home. We

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Speaker 1: were just like mind blowing, like we just never heard

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Speaker 1: no shit like that in our lives. You know, most

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Speaker 1: people would credit ninety one for being the kind of

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Speaker 1: the hip hop renaissance period. And a lot of your

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Speaker 1: contemporaries went jazz. Pete Rock was going, jazz, Premiere was

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Speaker 1: going jazz, key Tip, you were going aychaedelic rocking psychedelics,

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Speaker 1: so especially blues, and I assume that's because of the

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Speaker 1: influence that you grew up and listening to.

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Speaker 2: You've grown up with dad and all the you know,

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Speaker 2: all the Vietnam rock, Concrete its clear water, you know,

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Speaker 2: all that type stuff.

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Speaker 1: And also I tend to judge people not on like

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Speaker 1: the hit singles, but the filler. So just all the

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Speaker 1: crazy psychedelic shit you're doing on stone is the way

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Speaker 1: of the walk and especially at the end, like just

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Speaker 1: you talking about the process of putting that record together,

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Speaker 1: because it just sounds like nothing that was ever released

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Speaker 1: in a lot of rule breaking on it, like.

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Speaker 2: Yeah, very unorthodoxed, you know what I mean, and just

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Speaker 2: trying to find our own sound, because it was important

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Speaker 2: then to have your own sound, your own look, and

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Speaker 2: have your own slang too, you know what I mean.

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Speaker 2: And it was interesting because you have I was inspired

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Speaker 2: by New York production, so you had a New York

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Speaker 2: production with West Coast slang on it in West Coast MC,

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Speaker 2: so it was a whole new sound and style. And

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Speaker 2: we'd do the demos at the house. By that time,

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Speaker 2: I got a task Camp four track, and if it

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Speaker 2: didn't sound good on the four track, we wouldn't record

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Speaker 2: it in the studio, and you know, just piecing away,

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Speaker 2: piecing away, and we almost didn't put hand on the

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Speaker 2: pump on there. I was actually just going from couch

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Speaker 2: to couch on my Homies and we were staying at

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Speaker 2: the oak Wood with Bread from seven A three and

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Speaker 2: I played that beat and he's like, yo, I like

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Speaker 2: that beat, and I go, I don't like it because

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Speaker 2: let me write to it. I'm like, all right, let

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Speaker 2: me let you write to it. He wrote, hand on

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Speaker 2: the pump, oh word okay. He wrote the first verse

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Speaker 2: the hook, and the second he goes, and he wrote

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Speaker 2: it for be real and it sounded cool. We recorded it,

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Speaker 2: but we went into the studio. It came alive, man,

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Speaker 2: and I was high as hell in the studio, and

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Speaker 2: I didn't have patience to wait for them to hook

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Speaker 2: the media up to the drum machine. So all they

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Speaker 2: ate a weights I played live. They was on, someone

369
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Speaker 2: were a little in front, some are a little behind,

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Speaker 2: and then going into the hooks boom boom bom boom

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Speaker 2: boom boom, and all the little sounds. I play them

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Speaker 2: all live. So I didn't really care about quantizing. I

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Speaker 2: didn't care about it being a little off. I didn't

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Speaker 2: care about sound quality. It was more about a vibe

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Speaker 2: and what felt right to us.

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Speaker 1: You guys came to act to Philadelphia to actually record it.

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Speaker 1: How many weeks or months did it take to record

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Speaker 1: the album?

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Speaker 2: Most of it was recorded. I think we was probably

380
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Speaker 2: in Philly for about a month, staying at the Comfort

381
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Speaker 2: in Okay, same place we stayed with seven A three

382
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Speaker 2: Just walk over to four four four fourth Street, go

383
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Speaker 2: down to the basement, get myself some chicken soup or

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Speaker 2: something like the little stand they head right there. Yeah,

385
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Speaker 2: go downstairs and just lock in man, And most of

386
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Speaker 2: the record was done. We recorded I think Latin Lingo

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Speaker 2: in Philly, and then probably the only extra song we

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Speaker 2: recorded in Philly was that one. Then the album was

389
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Speaker 2: pretty much done. I came back to La and Joe's like,

390
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Speaker 2: we need two more songs, and then that's when we

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Speaker 2: did Holding the Head and we did Stone Is the

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Speaker 2: Way of the Walk?

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Speaker 1: Could you talk about the after effect? Did you expect

394
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Speaker 1: this album to do what it did in terms of

395
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Speaker 1: not even the numbers, but just your nariety, your.

396
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Speaker 2: Nah man, I just wanted to make a record where

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Speaker 2: all my peers gave me respect. That was the main thing.

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Speaker 1: Make a record.

399
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Speaker 2: I figured we set about a one hundred fifty thousand

400
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Speaker 2: if we did out. Everybody I loved was selling about

401
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Speaker 2: that many records, you know what I mean. So I

402
00:18:21,480 --> 00:18:24,119
Speaker 2: was like, man, if we could do that, we're good.

403
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Speaker 2: And the record came out. We shipped sixty thousand, sold

404
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Speaker 2: about two records. We came out the same time as

405
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Speaker 2: Tim Dog he was signed, So we went on a

406
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Speaker 2: promo tour with Tim Dog and he was fuck Compton

407
00:18:35,440 --> 00:18:38,280
Speaker 2: was banging. So you know, we was doing going to

408
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Speaker 2: one stops, playing in front of twenty people in the morning,

409
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Speaker 2: eating it while they're eating eggs. We did playing the

410
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Speaker 2: clubs sixteen people, you know what I mean, doing the

411
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Speaker 2: morning shows, doing the mix shows, doing the local press,

412
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Speaker 2: just doing everything, going city to city and it wasn't popping,

413
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Speaker 2: but everybody loved our record. We was like, what's going on?

414
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Speaker 2: And then we had two days off on tour. We

415
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Speaker 2: was on a Naughty by Nature tour or and we

416
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Speaker 2: was doing b E t in DC. Two days off

417
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Speaker 2: and we drove up to New York. We shot kill

418
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Speaker 2: a man and we shot hand on the Pump back

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Speaker 2: to back. That's why they're in New York.

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Speaker 1: I was gonna ask, why did y'all shoot in New York?

421
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Speaker 1: And this is another thing I always thought the top

422
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Speaker 1: of the second verse, I always thought that was send Dog.

423
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Speaker 1: But I remember watching you. I'm like, wait a minute,

424
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Speaker 1: I didn't know you rapped, but was that sind Dogs?

425
00:19:29,320 --> 00:19:31,080
Speaker 2: It was sind Dog on the thing, but send Dog

426
00:19:31,160 --> 00:19:33,720
Speaker 2: had that backup voice. So we was like, let's let's

427
00:19:33,800 --> 00:19:35,399
Speaker 2: just I'll do the video. He was like, you do

428
00:19:35,440 --> 00:19:37,080
Speaker 2: the vid? He looked like it threw it off a

429
00:19:37,119 --> 00:19:41,320
Speaker 2: little bit right, right, you know? So then MTV raps

430
00:19:41,320 --> 00:19:43,480
Speaker 2: started playing it right, but they started playing it twice

431
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Speaker 2: a week, and that was like the Bible. You couldn't

432
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Speaker 2: wait to get home and watch MTV Raps every day

433
00:19:47,119 --> 00:19:48,800
Speaker 2: because that was the only place you could issue. So

434
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Speaker 2: the combination of that stretching Barbito playing our record, and

435
00:19:53,720 --> 00:19:58,679
Speaker 2: then Juice, the Juice soundtrack, and all those things coming together,

436
00:19:58,800 --> 00:20:00,840
Speaker 2: we just we went all the way to three. We

437
00:20:00,960 --> 00:20:03,960
Speaker 2: started selling sixty seventy eighty thousand records a week, touring

438
00:20:04,040 --> 00:20:05,480
Speaker 2: like a punk rock band because we knew we had

439
00:20:05,520 --> 00:20:07,200
Speaker 2: a tour to get in front of people, because we

440
00:20:07,200 --> 00:20:08,800
Speaker 2: weren't going to get radio with how I could kill

441
00:20:08,840 --> 00:20:09,800
Speaker 2: a man, right.

442
00:20:10,080 --> 00:20:13,080
Speaker 1: Just the synergy between the three of you. At what

443
00:20:13,160 --> 00:20:19,080
Speaker 1: point did you realize that a rapper's voice becomes an instrument?

444
00:20:19,880 --> 00:20:22,959
Speaker 1: But clearly in this group, I mean especially, I mean

445
00:20:23,359 --> 00:20:26,960
Speaker 1: be real. Of course he has a natural gift with

446
00:20:27,000 --> 00:20:31,119
Speaker 1: his voice. But I know Flave has pioneered a second

447
00:20:31,240 --> 00:20:34,680
Speaker 1: general role as in hype Man or the second guy

448
00:20:34,920 --> 00:20:37,399
Speaker 1: in the back of the Captain. But in my book,

449
00:20:37,560 --> 00:20:41,560
Speaker 1: like sin Dog is one of the greatest backing voices

450
00:20:41,600 --> 00:20:45,959
Speaker 1: of all time hip hop. And you hear his confidence

451
00:20:46,640 --> 00:20:50,160
Speaker 1: each song, each you know, each step of the way,

452
00:20:50,200 --> 00:20:54,800
Speaker 1: you hear his confidence get better. Why why would you, guys?

453
00:20:54,840 --> 00:20:57,600
Speaker 1: And I understand that Juice was a high profile thing,

454
00:20:57,680 --> 00:21:00,919
Speaker 1: but for me, like shoot him Up deserved to be

455
00:21:01,080 --> 00:21:03,560
Speaker 1: on an album so that people would know what I mean.

456
00:21:03,640 --> 00:21:06,119
Speaker 1: Juice was successful, so people knew. But yeah, why I

457
00:21:06,200 --> 00:21:06,840
Speaker 1: threw that away?

458
00:21:07,000 --> 00:21:09,959
Speaker 2: Well, we made that specifically for the movie God. So

459
00:21:10,040 --> 00:21:12,360
Speaker 2: you know, we went in and we was in New York.

460
00:21:12,400 --> 00:21:15,440
Speaker 2: I think I think Chris Shaw from Public Enemy engineer

461
00:21:15,800 --> 00:21:17,560
Speaker 2: one of theirs, he was in the studio with us,

462
00:21:17,600 --> 00:21:20,240
Speaker 2: and we had to go make a song for the soundtrack.

463
00:21:20,800 --> 00:21:23,520
Speaker 2: And then you know, I think Hank did the put

464
00:21:23,560 --> 00:21:25,399
Speaker 2: all the music together and Hank picked that song for

465
00:21:25,560 --> 00:21:27,920
Speaker 2: that scene for the actual main scene in the movie

466
00:21:28,000 --> 00:21:29,960
Speaker 2: kill a Man. Yeah, but shoot him Up. He is

467
00:21:30,000 --> 00:21:31,080
Speaker 2: just made for the soundtrack.

468
00:21:31,680 --> 00:21:34,440
Speaker 1: I would say, like around the time that Black Sunday's

469
00:21:34,640 --> 00:21:37,879
Speaker 1: coming out, would you say that there is such a

470
00:21:37,920 --> 00:21:42,479
Speaker 1: thing as being too successful? Because the thing is I

471
00:21:42,520 --> 00:21:46,439
Speaker 1: acknowledge you guys more than anything, as far as the

472
00:21:46,480 --> 00:21:52,000
Speaker 1: groups that we looked to as far as touring kind

473
00:21:52,040 --> 00:21:56,879
Speaker 1: of outside of the box in terms of like, you

474
00:21:56,920 --> 00:21:58,440
Speaker 1: guys were the first group that I was like, Oh,

475
00:21:58,720 --> 00:22:01,359
Speaker 1: I didn't know that hip hop groups could only be

476
00:22:01,480 --> 00:22:04,840
Speaker 1: locked into doing hip hop shows. Can just talk about

477
00:22:04,840 --> 00:22:09,639
Speaker 1: the whole experiences in doing like all tours and with

478
00:22:10,400 --> 00:22:13,440
Speaker 1: Lolla Palus and the whole different audience embracing you gut.

479
00:22:13,600 --> 00:22:15,199
Speaker 2: Yeah, it was we had we had that rock and

480
00:22:15,240 --> 00:22:17,920
Speaker 2: roll energy. Our bandit which which you know, Public Enemy

481
00:22:17,960 --> 00:22:20,439
Speaker 2: had that rock and roll energy, Beastie Boys had it,

482
00:22:20,800 --> 00:22:22,560
Speaker 2: Run had it, you know what I mean. So we

483
00:22:22,600 --> 00:22:25,480
Speaker 2: had that energy. So the first thing was they started

484
00:22:25,480 --> 00:22:28,000
Speaker 2: putting us on these different tours to you know, open

485
00:22:28,119 --> 00:22:30,520
Speaker 2: up the fan base. And first time we did it

486
00:22:30,560 --> 00:22:33,560
Speaker 2: was Lo La Palouzsa was the second stage and we

487
00:22:33,680 --> 00:22:36,040
Speaker 2: killed it. Everybody came killed and killed it, and then

488
00:22:36,119 --> 00:22:38,760
Speaker 2: you know, just started opening up things and just started

489
00:22:38,800 --> 00:22:41,080
Speaker 2: putting some with different people. We played with Metallica one night,

490
00:22:41,359 --> 00:22:43,480
Speaker 2: next show, We're playing with York you know what I mean.

491
00:22:43,680 --> 00:22:46,879
Speaker 2: So it was like we just our music worked in festivals,

492
00:22:47,119 --> 00:22:48,639
Speaker 2: which was because it had that energy and it had

493
00:22:48,640 --> 00:22:50,720
Speaker 2: that rock and roll energy, but it was still hip hop.

494
00:22:50,760 --> 00:22:53,280
Speaker 2: But like I said, we came from the bands. I

495
00:22:53,320 --> 00:22:55,280
Speaker 2: just mentioned them. Hip hop bands all had that energy,

496
00:22:55,600 --> 00:22:57,199
Speaker 2: you know, So that was a big influence for us

497
00:22:57,200 --> 00:22:57,760
Speaker 2: at that time.

498
00:22:58,080 --> 00:23:00,439
Speaker 1: Speaking of your live show, can you talk about bringing

499
00:23:01,240 --> 00:23:03,960
Speaker 1: Eric Bobo into the fold and his energy as a

500
00:23:03,960 --> 00:23:08,159
Speaker 1: percussionist and whatnot, like definitely brought the show up even higher,

501
00:23:08,160 --> 00:23:09,000
Speaker 1: Like talk about.

502
00:23:08,800 --> 00:23:12,760
Speaker 2: Bobo was with the Beastie Boys and he became our

503
00:23:12,800 --> 00:23:15,400
Speaker 2: friend on tour. Beastie Boys didn't smoke. They was vegan

504
00:23:15,440 --> 00:23:18,040
Speaker 2: and everything, so Bobo would come on our bus smoke weed, right,

505
00:23:18,359 --> 00:23:22,800
Speaker 2: you know. And then we was doing Woodstock and be

506
00:23:22,920 --> 00:23:25,320
Speaker 2: really invited Bobo to come play Woodstock with us. So

507
00:23:25,560 --> 00:23:27,240
Speaker 2: that was the first time he was on stage with

508
00:23:27,320 --> 00:23:30,320
Speaker 2: us like that. So he came and after that show

509
00:23:31,000 --> 00:23:33,639
Speaker 2: he pretty much told the Beastie Boys, I retire, I'm

510
00:23:33,640 --> 00:23:35,560
Speaker 2: going to start rolling with Cypress. We invited him in

511
00:23:35,600 --> 00:23:37,760
Speaker 2: the band at that point. We liked the dynamics would

512
00:23:37,760 --> 00:23:40,400
Speaker 2: have brought on stage. The percussion was killing. It fit

513
00:23:40,480 --> 00:23:43,240
Speaker 2: right into what we was doing and shit. So that

514
00:23:43,400 --> 00:23:45,280
Speaker 2: was big for us to add Bobo.

515
00:23:45,400 --> 00:23:47,800
Speaker 1: Since you know, the days of Fat Fro Freddie trying

516
00:23:47,800 --> 00:23:49,880
Speaker 1: to bring the punk thing together with the hip hop thing.

517
00:23:49,920 --> 00:23:54,000
Speaker 1: In the village in downtown New York. There's always been

518
00:23:54,160 --> 00:23:57,520
Speaker 1: a connection between the two. But I'll say that when

519
00:23:57,520 --> 00:23:59,600
Speaker 1: we started entering the game and doing the same things

520
00:24:00,320 --> 00:24:03,240
Speaker 1: for the best Boys and then doing stuff with Beck

521
00:24:03,320 --> 00:24:07,600
Speaker 1: and certain rock groups raged against the Machine and whatnot, Like,

522
00:24:07,640 --> 00:24:09,760
Speaker 1: I always felt that you guys made it easier for

523
00:24:09,880 --> 00:24:12,760
Speaker 1: us to get the lay of the land. But how

524
00:24:12,880 --> 00:24:17,960
Speaker 1: jarring was it to play these venues that weren't necessarily

525
00:24:18,119 --> 00:24:21,160
Speaker 1: audiences that were there to see a hip hop show.

526
00:24:21,359 --> 00:24:24,040
Speaker 2: Like, we loved it because they were wild. They start

527
00:24:24,080 --> 00:24:26,119
Speaker 2: slam dancing, you know, the kids was just losing.

528
00:24:26,160 --> 00:24:28,000
Speaker 1: So they were open to it and wide open to it.

529
00:24:28,040 --> 00:24:30,480
Speaker 2: They loved us. Yeah, they loved it. So we just

530
00:24:30,520 --> 00:24:32,320
Speaker 2: embraced it. Man. We just rolled with it and like,

531
00:24:32,520 --> 00:24:35,439
Speaker 2: what's going on next? Let's go, you know.

532
00:24:36,359 --> 00:24:38,480
Speaker 1: So, can you talk about the pressures of the follow

533
00:24:38,520 --> 00:24:41,200
Speaker 1: up record? Now? I always feel like the sophomore record

534
00:24:41,280 --> 00:24:43,399
Speaker 1: is the album which a lot all the pressure in

535
00:24:43,440 --> 00:24:44,359
Speaker 1: the world's on you to.

536
00:24:46,119 --> 00:24:50,280
Speaker 2: We was torn when we toured like seven months that

537
00:24:50,440 --> 00:24:53,159
Speaker 2: for that record, first album, and the label hit us

538
00:24:53,320 --> 00:24:54,879
Speaker 2: was like we need this album right now for the

539
00:24:54,880 --> 00:24:58,320
Speaker 2: fourth quarter. So we was like shit, man, We went

540
00:24:58,359 --> 00:24:59,920
Speaker 2: in the studio. We worked on it for a month.

541
00:25:00,760 --> 00:25:04,080
Speaker 2: If you notice, like three songs already came out, you know,

542
00:25:04,800 --> 00:25:06,920
Speaker 2: A to the motherfucking K. To the K was out

543
00:25:07,320 --> 00:25:09,440
Speaker 2: hand on the glock was a remix on the back,

544
00:25:09,480 --> 00:25:12,280
Speaker 2: you know what I mean. And then we went in.

545
00:25:12,320 --> 00:25:16,000
Speaker 2: I think we recorded ten new songs and quick. It

546
00:25:16,080 --> 00:25:17,919
Speaker 2: was a little crazy touring that much because I was

547
00:25:17,960 --> 00:25:19,960
Speaker 2: used to taking my time on beats and just you know.

548
00:25:20,240 --> 00:25:23,080
Speaker 1: Where did you record the second album? New York? Okay?

549
00:25:23,240 --> 00:25:25,399
Speaker 2: Yeah, the second album was in New York and then uh,

550
00:25:26,480 --> 00:25:28,879
Speaker 2: you know, went down to Philly and mixed it and

551
00:25:29,280 --> 00:25:33,159
Speaker 2: recorded it. And I'd said I would never rush a

552
00:25:33,240 --> 00:25:34,880
Speaker 2: record again and the rest of my life like I'm

553
00:25:34,880 --> 00:25:37,199
Speaker 2: taking my time moving forward. But at that time, you know,

554
00:25:37,200 --> 00:25:38,399
Speaker 2: it was a new thing for us to hurry up

555
00:25:38,400 --> 00:25:39,760
Speaker 2: and make a record. We was used to take the

556
00:25:39,800 --> 00:25:42,280
Speaker 2: first albums three years. First album is pretty much our

557
00:25:42,320 --> 00:25:45,200
Speaker 2: whole lives right right, every idea we've ever had, right,

558
00:25:45,480 --> 00:25:47,240
Speaker 2: So you know, the second one was rushed, and.

559
00:25:48,080 --> 00:25:54,480
Speaker 1: History shows that rush jobs yield also the most successful. Yeah,

560
00:25:54,840 --> 00:25:57,160
Speaker 1: I can name you twenty songs that were literally made

561
00:25:57,200 --> 00:26:00,240
Speaker 1: like on the like Aisley Brothers have this story, can

562
00:26:00,280 --> 00:26:03,560
Speaker 1: shout literally in seven minutes, they had seven minutes left, like,

563
00:26:03,800 --> 00:26:06,760
Speaker 1: let's do that church on real quick, mma, freestylet it.

564
00:26:07,240 --> 00:26:09,159
Speaker 2: And I was listening to Black Sabbath a lot and

565
00:26:09,240 --> 00:26:11,800
Speaker 2: a group called Ministry, you know, listen in the Ministry.

566
00:26:11,840 --> 00:26:14,920
Speaker 2: And so that's probably a reason the record got real

567
00:26:15,000 --> 00:26:16,520
Speaker 2: dark on that second one, you know what I mean.

568
00:26:16,560 --> 00:26:18,680
Speaker 2: There wasn't a lot of experiment and trying different things.

569
00:26:18,680 --> 00:26:20,359
Speaker 2: It was pretty much I made this beatless rap on

570
00:26:20,359 --> 00:26:22,120
Speaker 2: this beat. I made this beatless rap on this beat.

571
00:26:22,200 --> 00:26:26,680
Speaker 1: What is your creative process in terms of putting things together?

572
00:26:26,720 --> 00:26:29,840
Speaker 1: Because I meant, you know, the foundation of your work

573
00:26:29,960 --> 00:26:34,120
Speaker 1: is hip hop, but also your accessory noises, all those

574
00:26:34,119 --> 00:26:39,000
Speaker 1: things are also just as important to your sonic overlay,

575
00:26:39,080 --> 00:26:41,560
Speaker 1: like the universes that you paint. Do you just listen

576
00:26:41,640 --> 00:26:45,120
Speaker 1: to the records completely and then take notes on I'll

577
00:26:45,119 --> 00:26:46,040
Speaker 1: take that, I'll take that.

578
00:26:46,160 --> 00:26:48,800
Speaker 2: Or I'll always take notes. I'd always go back listen

579
00:26:48,840 --> 00:26:51,040
Speaker 2: to things, write it down. I'd always like to bring

580
00:26:51,040 --> 00:26:54,280
Speaker 2: a sound in, like halfway through the verse, like introduce

581
00:26:54,320 --> 00:26:56,800
Speaker 2: a sound. Always introduce a sound on the chorus that

582
00:26:56,920 --> 00:26:59,879
Speaker 2: wasn't in the verses. Second verse comes in, either put

583
00:26:59,880 --> 00:27:02,240
Speaker 2: a break that you haven't heard yet, or introduced a

584
00:27:02,280 --> 00:27:05,080
Speaker 2: new sound that didn't play yet, you know what I mean.

585
00:27:05,160 --> 00:27:07,639
Speaker 2: And then just try to keep it moving. And wherever

586
00:27:07,680 --> 00:27:10,479
Speaker 2: I got bored, that's where you would hear me flip it.

587
00:27:10,520 --> 00:27:12,280
Speaker 2: And that's just for me hearing the song over and

588
00:27:12,320 --> 00:27:14,359
Speaker 2: over and over and over. We're okay, I'm bored of

589
00:27:14,400 --> 00:27:16,399
Speaker 2: this section right here. It needs some life right here,

590
00:27:16,400 --> 00:27:18,960
Speaker 2: a little flavor. So then I would just start adding

591
00:27:18,960 --> 00:27:20,840
Speaker 2: things on to it, and the songs would change. They

592
00:27:20,840 --> 00:27:23,359
Speaker 2: would change and change and change and b rooud. It

593
00:27:23,480 --> 00:27:25,400
Speaker 2: wouldn't end like it started, you know what I mean.

594
00:27:25,600 --> 00:27:28,800
Speaker 2: Some songs i'd remix and just I had time, can

595
00:27:28,840 --> 00:27:30,520
Speaker 2: I make this better? And I just go in and

596
00:27:30,560 --> 00:27:31,920
Speaker 2: flip it, put a new beat on it.

597
00:27:32,119 --> 00:27:34,000
Speaker 1: I was going to say the break and kill a man,

598
00:27:34,840 --> 00:27:37,639
Speaker 1: that eight second or eight bar break that you do

599
00:27:37,880 --> 00:27:40,920
Speaker 1: before the last verse. The way we would just reestyle

600
00:27:41,000 --> 00:27:44,680
Speaker 1: over that part. It make pause tapes over that, like.

601
00:27:44,640 --> 00:27:47,600
Speaker 2: That was a whole nother beat that that was good,

602
00:27:48,200 --> 00:27:50,159
Speaker 2: Like for that eight seconds, it's amazing, But when you

603
00:27:50,160 --> 00:27:52,280
Speaker 2: hear it for two minutes, it was like, this is boring,

604
00:27:52,320 --> 00:27:54,760
Speaker 2: you know what I mean. So I was like I

605
00:27:54,800 --> 00:27:57,040
Speaker 2: would just take these other beats that I thought were banging,

606
00:27:57,080 --> 00:27:58,520
Speaker 2: but they weren't banging for a song, and then I

607
00:27:58,560 --> 00:28:00,480
Speaker 2: would use those for the breaks. So a lot of

608
00:28:00,520 --> 00:28:01,840
Speaker 2: those breaks were actually other beats I.

609
00:28:01,880 --> 00:28:07,640
Speaker 1: Made, Like especially with the Cipher's Hill timeline. You hear

610
00:28:07,720 --> 00:28:10,639
Speaker 1: the metamorphosis of the group, like I hear stuff that

611
00:28:10,680 --> 00:28:13,240
Speaker 1: you make or in twelve hundred. I guess twelve hundred

612
00:28:13,320 --> 00:28:15,520
Speaker 1: still your your favorite weapon of choice.

613
00:28:15,520 --> 00:28:18,679
Speaker 2: But I'm in the box now pretty much. I'm all

614
00:28:18,680 --> 00:28:21,280
Speaker 2: in the box really, yeah, just for time. You know,

615
00:28:21,320 --> 00:28:22,480
Speaker 2: I got a lot of things to do, so I

616
00:28:22,520 --> 00:28:24,119
Speaker 2: go in, but I've learned. It took me a minute

617
00:28:24,119 --> 00:28:26,640
Speaker 2: to just know how to manipulate it, to get my sound,

618
00:28:27,440 --> 00:28:28,720
Speaker 2: learning to use the right plug in time.

619
00:28:28,720 --> 00:28:32,199
Speaker 1: How hard is it to let go of what you know,

620
00:28:32,280 --> 00:28:33,840
Speaker 1: like the back of your hand, muscle memories.

621
00:28:33,880 --> 00:28:35,919
Speaker 2: Oh it was hard at the beginning, Like you know,

622
00:28:36,160 --> 00:28:38,600
Speaker 2: at the beginning, it was hard. But I think on

623
00:28:38,640 --> 00:28:41,000
Speaker 2: the third album, I started using the ASR ten and

624
00:28:41,040 --> 00:28:43,080
Speaker 2: I started using more live instruments as well a lot

625
00:28:43,080 --> 00:28:44,680
Speaker 2: of live fretless basses.

626
00:28:44,880 --> 00:28:48,520
Speaker 1: What prompted you to make that change?

627
00:28:48,720 --> 00:28:51,320
Speaker 2: I needed more sample and time because at one point

628
00:28:51,360 --> 00:28:53,360
Speaker 2: I was having three or four s P twelves lined

629
00:28:53,400 --> 00:28:56,560
Speaker 2: up are using bomb squads. I only had, you know,

630
00:28:56,640 --> 00:28:58,640
Speaker 2: ten seconds of sample in time, and I wanted like

631
00:28:59,000 --> 00:29:02,640
Speaker 2: an eight second sample, like for illusions. It's a long sample.

632
00:29:03,000 --> 00:29:04,760
Speaker 2: And I was like, how do I do this? You

633
00:29:04,760 --> 00:29:06,800
Speaker 2: know what I mean? So Alchemist is the one who

634
00:29:06,880 --> 00:29:08,640
Speaker 2: had ASR ten, and he was like, yo, you could

635
00:29:08,640 --> 00:29:10,920
Speaker 2: loop it in here, so you put it in there.

636
00:29:11,240 --> 00:29:13,320
Speaker 2: And I was like, oh shit, I could do that

637
00:29:13,360 --> 00:29:16,160
Speaker 2: with this machine. So then I got that machine, set

638
00:29:16,160 --> 00:29:17,600
Speaker 2: it right by the SP twelve hundred. But all the

639
00:29:17,680 --> 00:29:20,000
Speaker 2: drums would happen in the SP twelve hundred. I don't

640
00:29:20,080 --> 00:29:22,680
Speaker 2: like how the ASR sounded for the drums, but I'd

641
00:29:22,680 --> 00:29:25,080
Speaker 2: put samples in the ASR ten, the long samples.

642
00:29:25,560 --> 00:29:28,880
Speaker 1: Okay, so your musical stuff would go into ASR two. Yeah,

643
00:29:28,920 --> 00:29:31,760
Speaker 1: you still kept your all the drums and drums all right?

644
00:29:31,840 --> 00:29:35,880
Speaker 1: So for you, what's your best kick? Your best there?

645
00:29:36,440 --> 00:29:38,720
Speaker 1: I know it's super nerdy, but trust me, we want

646
00:29:38,720 --> 00:29:40,960
Speaker 1: to know these things, like what is your go to

647
00:29:42,080 --> 00:29:45,280
Speaker 1: as far as like your best texture. I had.

648
00:29:45,400 --> 00:29:47,440
Speaker 2: I had a couple of kicks I would use on

649
00:29:47,480 --> 00:29:49,560
Speaker 2: a lot of songs. I would use tramp a lot.

650
00:29:49,760 --> 00:29:51,640
Speaker 2: That kick from Tramp, and I'd put it underneath a

651
00:29:51,680 --> 00:29:53,160
Speaker 2: lot of those first couple of records.

652
00:29:53,440 --> 00:29:55,600
Speaker 1: Is there an isolated kick in tramp that will?

653
00:29:55,640 --> 00:29:58,440
Speaker 2: You know? There's fifteen versions of tramp, right.

654
00:29:58,840 --> 00:29:59,240
Speaker 1: So.

655
00:30:01,160 --> 00:30:04,960
Speaker 2: Noticing, so I grabbed that one and I had one

656
00:30:04,960 --> 00:30:07,280
Speaker 2: eight awaight I would always use, and then a lot

657
00:30:07,320 --> 00:30:10,520
Speaker 2: of snares I would get from hip hop instrumentals, you know.

658
00:30:10,560 --> 00:30:12,120
Speaker 2: I was like, oh, that's a that's a hit song

659
00:30:12,160 --> 00:30:14,240
Speaker 2: that Snarees banged, so that means it's a hit on

660
00:30:14,280 --> 00:30:16,120
Speaker 2: that one. It's going to be a hit on this one,

661
00:30:16,560 --> 00:30:20,080
Speaker 2: you know. So I take your customer snare even for

662
00:30:20,160 --> 00:30:22,880
Speaker 2: Killer Man. For the drums, I actually took the Day

663
00:30:22,960 --> 00:30:26,480
Speaker 2: Last Soul had a little break from the Manzel record.

664
00:30:26,800 --> 00:30:28,920
Speaker 2: I didn't have the original Manzel record, so I got

665
00:30:28,920 --> 00:30:31,160
Speaker 2: it from the Day Last Soul and it still had

666
00:30:31,200 --> 00:30:33,000
Speaker 2: the eight awaits in it if you listen to it.

667
00:30:33,280 --> 00:30:36,440
Speaker 2: Plug tuning was my ship. That blew my mind when

668
00:30:36,440 --> 00:30:38,680
Speaker 2: I heard that, so Killer Man started off. I wanted

669
00:30:38,720 --> 00:30:41,840
Speaker 2: to make plug tuning words. So that was me trying

670
00:30:41,880 --> 00:30:44,080
Speaker 2: to you know, my version of plug tuning.

671
00:30:44,800 --> 00:30:45,880
Speaker 1: Even you hear the bass.

672
00:30:45,600 --> 00:30:48,320
Speaker 2: Doom doom, doom, doom, doom.

673
00:30:48,160 --> 00:30:49,440
Speaker 1: To hear it do do do?

674
00:30:49,520 --> 00:30:50,680
Speaker 2: Do you know what I'm saying?

675
00:30:51,040 --> 00:30:54,040
Speaker 1: You got to hear. I don't know if you recently

676
00:30:54,080 --> 00:30:58,760
Speaker 1: heard it, but you know, because of the anniversaries coming

677
00:30:58,840 --> 00:31:01,720
Speaker 1: up for like all the day Off stuff, they put

678
00:31:01,760 --> 00:31:08,200
Speaker 1: the original like Muddy for track demo to man Yeah

679
00:31:08,240 --> 00:31:10,400
Speaker 1: and Potholes and.

680
00:31:11,360 --> 00:31:14,000
Speaker 2: All those Prince Paul records. Man, like that Daylight Soul

681
00:31:14,120 --> 00:31:15,600
Speaker 2: changed my life when I heard it. And you knew

682
00:31:15,840 --> 00:31:18,520
Speaker 2: in the eighties, from eighty seven to like eighty nine,

683
00:31:18,720 --> 00:31:22,640
Speaker 2: every week the hip hop was reinvented, right, you know,

684
00:31:22,680 --> 00:31:23,560
Speaker 2: And I was just like.

685
00:31:23,640 --> 00:31:26,280
Speaker 1: Damn, all right, question I've been dying to ask you.

686
00:31:26,960 --> 00:31:30,440
Speaker 1: And this this is strictly from this. This is a

687
00:31:30,520 --> 00:31:34,680
Speaker 1: mirror the intern at rough House asking these questions. If

688
00:31:34,920 --> 00:31:41,160
Speaker 1: you listened to the first Criss Cross record, did anything

689
00:31:41,280 --> 00:31:43,120
Speaker 1: like sound familiar to you at all as far as

690
00:31:43,160 --> 00:31:48,240
Speaker 1: all those drums were concerned. Yes, okay, it wasn't just me.

691
00:31:50,600 --> 00:31:53,560
Speaker 2: I even there's even a little squeak in the record. Dog,

692
00:31:53,680 --> 00:31:54,280
Speaker 2: you know what I'm saying?

693
00:31:54,440 --> 00:31:57,680
Speaker 1: Literally like okay. At one point when we finally got

694
00:31:57,720 --> 00:32:01,880
Speaker 1: a record deal, I think we made I think we

695
00:32:01,960 --> 00:32:06,760
Speaker 1: mixed like five songs in Studio four and I went

696
00:32:06,800 --> 00:32:09,040
Speaker 1: to the back of like Andy's room, which like all

697
00:32:09,040 --> 00:32:12,080
Speaker 1: where all the tapes are, and literally I saw the

698
00:32:12,120 --> 00:32:15,120
Speaker 1: first entire Cypress Hill record and then I went and

699
00:32:15,160 --> 00:32:17,960
Speaker 1: grabbed my keyboard player. I was like, I bet you

700
00:32:17,960 --> 00:32:20,840
Speaker 1: any amount of money. This is where Jermaine got his

701
00:32:20,960 --> 00:32:23,920
Speaker 1: drums for it, because literally it was like four songs.

702
00:32:23,920 --> 00:32:25,920
Speaker 2: I was like wow, Like it was like, you know

703
00:32:26,000 --> 00:32:28,520
Speaker 2: Cypres Hill meets Naughty by Nature. It's like they tell

704
00:32:28,560 --> 00:32:29,920
Speaker 2: all the Naughty by Nature and it was.

705
00:32:29,920 --> 00:32:35,320
Speaker 3: Like I wanted to know how you felt about that.

706
00:32:35,280 --> 00:32:37,440
Speaker 2: Like, yeah, I'll tell you an interesting story. Though I

707
00:32:38,800 --> 00:32:41,080
Speaker 2: sent you the Butcher the Jump Around demo.

708
00:32:42,320 --> 00:32:44,400
Speaker 1: Now I want to get you that part too, And they.

709
00:32:44,320 --> 00:32:48,160
Speaker 2: Wanted to sign it. Before that, I had already heard

710
00:32:48,160 --> 00:32:49,920
Speaker 2: that I was going to Jack the rapper, and I

711
00:32:49,960 --> 00:32:51,720
Speaker 2: heard the Cris Cross demos. They played them to me

712
00:32:51,720 --> 00:32:54,680
Speaker 2: in the car and Jump wasn't on there on the demos.

713
00:32:55,160 --> 00:32:56,640
Speaker 2: One day they go, oh, we don't want to sign

714
00:32:56,800 --> 00:33:01,520
Speaker 2: House of Pain. No more cool. Then cut a few

715
00:33:01,520 --> 00:33:04,800
Speaker 2: months later, then I had to jump demo. That's why

716
00:33:04,800 --> 00:33:06,200
Speaker 2: you get this is dedicated to.

717
00:33:07,840 --> 00:33:08,040
Speaker 1: You know.

718
00:33:08,440 --> 00:33:10,840
Speaker 2: And it wasn't that I probably wasn't Joe, but somebody

719
00:33:10,880 --> 00:33:11,840
Speaker 2: heard the record you know.

720
00:33:11,920 --> 00:33:14,280
Speaker 1: And I was going to say, how awkward is that

721
00:33:14,320 --> 00:33:17,680
Speaker 1: where it's like your label head is kind of your target,

722
00:33:17,960 --> 00:33:19,960
Speaker 1: but you still have a working relationship with him.

723
00:33:20,000 --> 00:33:22,680
Speaker 2: But well that was everlast. He's like, don't take that

724
00:33:22,760 --> 00:33:25,240
Speaker 2: off the song. I'm leaving that fund say to you.

725
00:33:25,600 --> 00:33:27,720
Speaker 2: Joe was like, Muggsy, what's going on. I had nothing

726
00:33:27,720 --> 00:33:29,360
Speaker 2: to do with it, wasn't. I was like, yeah, but Joe,

727
00:33:29,400 --> 00:33:30,280
Speaker 2: it's kind of funny.

728
00:33:30,280 --> 00:33:31,160
Speaker 1: We gave me the record.

729
00:33:31,240 --> 00:33:33,240
Speaker 2: It wasn't on their demo. You played me the demo

730
00:33:33,280 --> 00:33:34,920
Speaker 2: and all of a sudden you don't want to sign us,

731
00:33:34,960 --> 00:33:36,200
Speaker 2: But now you have a song called Jump.

732
00:33:36,840 --> 00:33:39,440
Speaker 1: Have you seen this the recent commercial where they actually

733
00:33:39,520 --> 00:33:43,680
Speaker 1: kept that part in which one damn jump around just

734
00:33:43,800 --> 00:33:47,560
Speaker 1: recently got license for a commercial that I saw during

735
00:33:47,560 --> 00:33:51,280
Speaker 1: the Super Bowl, all right, for the Volkswagen Yeah, and

736
00:33:51,480 --> 00:33:54,280
Speaker 1: in the fade out they still kept it dedicated. Just

737
00:33:54,360 --> 00:33:57,440
Speaker 1: I was like, wait, shit, yeah, well, I mean they

738
00:33:57,440 --> 00:33:59,320
Speaker 1: cut it off right before they say his name. But

739
00:33:59,720 --> 00:34:03,640
Speaker 1: I always wanted to know how that went down. I

740
00:34:03,640 --> 00:34:06,520
Speaker 1: forgot about the whole Jump comparison. I just meant, like,

741
00:34:06,560 --> 00:34:09,440
Speaker 1: your drums and your text right For the longest I

742
00:34:09,480 --> 00:34:12,520
Speaker 1: would ask, like, I know the SP twelve hundred pads

743
00:34:12,520 --> 00:34:15,040
Speaker 1: are here somewhere, like they gotta be here. Let me

744
00:34:15,040 --> 00:34:29,759
Speaker 1: hear his drums, but not the case. What are the

745
00:34:29,800 --> 00:34:33,320
Speaker 1: five records that nineties era mugs would save in a

746
00:34:33,400 --> 00:34:38,000
Speaker 1: fire in terms of just your all time favorites that.

747
00:34:37,920 --> 00:34:42,759
Speaker 2: You would probably Jimmie Hendricks if you hear kill him

748
00:34:42,800 --> 00:34:44,799
Speaker 2: and I sampled him in the chorus. Of course, you

749
00:34:44,840 --> 00:34:48,120
Speaker 2: know that that record tramp for sure. At the time

750
00:34:48,920 --> 00:34:52,239
Speaker 2: it was tramp. It was anything with a jazz stand

751
00:34:52,320 --> 00:34:55,000
Speaker 2: up base, whatever that might be. At the time, I

752
00:34:55,120 --> 00:34:57,279
Speaker 2: was all about putting jazz stand up bases in there.

753
00:34:57,600 --> 00:35:02,200
Speaker 2: And then barkas Barks. I sampled a lot of barks

754
00:35:02,239 --> 00:35:04,120
Speaker 2: little pieces though, because you know, with the SP twelve

755
00:35:04,160 --> 00:35:05,440
Speaker 2: you didn't have a lot of sampling time, so it

756
00:35:05,480 --> 00:35:08,279
Speaker 2: would be a lot of little pieces all mixed up

757
00:35:08,280 --> 00:35:08,600
Speaker 2: in there.

758
00:35:08,640 --> 00:35:13,160
Speaker 1: And then did you mind the digital distortion of a

759
00:35:13,160 --> 00:35:15,680
Speaker 1: twelve hundred or did you feel that that added to it,

760
00:35:15,800 --> 00:35:19,000
Speaker 1: like if you had the machine that sort of made

761
00:35:19,040 --> 00:35:22,480
Speaker 1: it perfect and sheen, would you have embraced that more or.

762
00:35:22,719 --> 00:35:24,359
Speaker 2: I kind of dug it because you know, we didn't

763
00:35:24,400 --> 00:35:26,520
Speaker 2: have no sampling time, so I would have the beat

764
00:35:26,560 --> 00:35:30,080
Speaker 2: on and then I'd match the sample perfect and then

765
00:35:30,120 --> 00:35:32,080
Speaker 2: I put it on forty five sampling it to the

766
00:35:32,120 --> 00:35:33,600
Speaker 2: drum machine and had to pull it down. That's how

767
00:35:33,600 --> 00:35:36,239
Speaker 2: we doubled our sampling time. So that was just part

768
00:35:36,280 --> 00:35:38,320
Speaker 2: of it. I didn't care because out here we was

769
00:35:38,360 --> 00:35:41,480
Speaker 2: listening to KD and KD at night. A Spanish station

770
00:35:41,520 --> 00:35:43,480
Speaker 2: would come on around six o'clock, so you'd hear it's

771
00:35:43,600 --> 00:35:46,279
Speaker 2: AM radio first of all, right, and then you get

772
00:35:46,280 --> 00:35:48,560
Speaker 2: the Spanish station, so it's dusty. It sounds like shit,

773
00:35:48,680 --> 00:35:51,160
Speaker 2: So you were used to it. How did you say

774
00:35:51,200 --> 00:35:51,600
Speaker 2: that sounds?

775
00:35:52,080 --> 00:35:55,880
Speaker 1: Yeah? Because especially like let me think of a good example,

776
00:35:55,920 --> 00:36:00,880
Speaker 1: you know, cold feet using all the staff, like all

777
00:36:00,920 --> 00:36:05,600
Speaker 1: of your the who did cold feet? Albur king? Yeah,

778
00:36:05,680 --> 00:36:10,640
Speaker 1: like those stabs you know, once processed through the twelve hundred,

779
00:36:11,280 --> 00:36:15,160
Speaker 1: it's digitally distorted it, which I always wanted to know

780
00:36:15,280 --> 00:36:20,520
Speaker 1: if people embraced the distortion of it all or if

781
00:36:20,560 --> 00:36:24,520
Speaker 1: they were longing for a day were now you know, yeah,

782
00:36:24,520 --> 00:36:25,640
Speaker 1: sonic perfection I was.

783
00:36:25,840 --> 00:36:28,640
Speaker 2: I didn't care about being sonic perfectionist at all. I

784
00:36:28,680 --> 00:36:32,640
Speaker 2: was about vibe, just straight vibe, one hundred percent. Joe

785
00:36:32,680 --> 00:36:34,480
Speaker 2: cleaned it up a little later, you know what I mean,

786
00:36:34,480 --> 00:36:35,840
Speaker 2: he cleaned it up a little bit, but I was like,

787
00:36:35,840 --> 00:36:37,920
Speaker 2: don't clean it up too much, Like I want my

788
00:36:37,960 --> 00:36:38,520
Speaker 2: shit dirty.

789
00:36:39,120 --> 00:36:41,840
Speaker 1: All right, So you're a house opinion production. Did you

790
00:36:41,920 --> 00:36:43,960
Speaker 1: do the entire first? No?

791
00:36:44,120 --> 00:36:45,799
Speaker 2: I did about eight because we was on the road

792
00:36:45,840 --> 00:36:50,399
Speaker 2: so much. Then their DJ didn't make beat yet, but

793
00:36:50,480 --> 00:36:52,200
Speaker 2: he came. He came over my house when I was

794
00:36:52,200 --> 00:36:54,640
Speaker 2: doing the demos and he just watched and he went

795
00:36:54,680 --> 00:36:56,640
Speaker 2: home and started making beats. If you notice a lot

796
00:36:56,680 --> 00:36:57,880
Speaker 2: of that shit sounds like I did it.

797
00:36:58,800 --> 00:37:01,720
Speaker 1: So did you do come get some of this? Yeah?

798
00:37:02,239 --> 00:37:08,040
Speaker 1: Shake kickers? Yes, all right? What I care about Danny Boy? No,

799
00:37:08,640 --> 00:37:11,560
Speaker 1: I knew it. I was like, Danny Boys is a

800
00:37:11,600 --> 00:37:14,799
Speaker 1: little too clean for it. I was trying to differentiate

801
00:37:14,840 --> 00:37:17,799
Speaker 1: between the two for jump Around at least, did you

802
00:37:19,400 --> 00:37:22,160
Speaker 1: expected all that that was going to take off as

803
00:37:22,239 --> 00:37:23,399
Speaker 1: much as it did? At all?

804
00:37:23,440 --> 00:37:25,680
Speaker 2: Bro, Like it's forever I had that beat, and like

805
00:37:25,719 --> 00:37:28,239
Speaker 2: I would demo beats with different rappers and to come through.

806
00:37:28,239 --> 00:37:29,879
Speaker 2: But if you didn't kill it, you couldn't have the beat.

807
00:37:30,320 --> 00:37:31,960
Speaker 2: His son Dooby rapped on it. He used to rap

808
00:37:31,960 --> 00:37:33,319
Speaker 2: on a lot of beats because he was just he

809
00:37:33,400 --> 00:37:35,279
Speaker 2: was sixteen years old. He was the homie. He was

810
00:37:35,280 --> 00:37:37,919
Speaker 2: Shawn's homie from seven eight three, okay, so he lived

811
00:37:37,920 --> 00:37:39,600
Speaker 2: down the Blox. He'd come over and just rap on shit.

812
00:37:39,680 --> 00:37:41,760
Speaker 2: So he rapped on it. I demoed it with Daddy

813
00:37:41,760 --> 00:37:44,319
Speaker 2: Freddy okay because I did like four joints with him

814
00:37:44,360 --> 00:37:46,040
Speaker 2: because I was a big rag muffin hip hop fan.

815
00:37:46,160 --> 00:37:47,240
Speaker 1: Yeah, and then.

816
00:37:48,760 --> 00:37:51,680
Speaker 2: I actually played it for Cube, passed on it, and

817
00:37:51,719 --> 00:37:55,560
Speaker 2: then you know, recorded House of Pain and it was cool.

818
00:37:55,680 --> 00:37:58,560
Speaker 2: I liked it, you know, we shopped it around, nobody

819
00:37:58,600 --> 00:38:00,840
Speaker 2: was biting on it, and then hit me he was

820
00:38:00,840 --> 00:38:04,320
Speaker 2: working at Priority Flexing and wanted to sign it. Offered

821
00:38:04,320 --> 00:38:06,799
Speaker 2: a sixty five thousand, and then one day I got

822
00:38:06,840 --> 00:38:10,080
Speaker 2: a call from Tommy Boy, which was Monica Lynch and

823
00:38:10,800 --> 00:38:13,960
Speaker 2: she's like, mugs, this reminds me of she She's irish.

824
00:38:13,960 --> 00:38:16,120
Speaker 2: She goes this reminds me of my brothers. They go

825
00:38:16,160 --> 00:38:17,799
Speaker 2: to church, then they go to the bars and get

826
00:38:17,880 --> 00:38:21,120
Speaker 2: drunk in their fights, right, and it was the perfect place.

827
00:38:21,120 --> 00:38:23,239
Speaker 2: So I told House of Pain, you know, let's roll

828
00:38:23,280 --> 00:38:25,920
Speaker 2: with her. And then we got the same guy to

829
00:38:25,920 --> 00:38:28,520
Speaker 2: do their video, Shady Perez, the same Mike Miller to

830
00:38:28,560 --> 00:38:30,399
Speaker 2: shoot their album covered, the same guy that did us.

831
00:38:30,480 --> 00:38:34,000
Speaker 2: We got the same management, and you know she knew

832
00:38:34,000 --> 00:38:36,640
Speaker 2: what to do with the whole Irish vibe. And you

833
00:38:36,640 --> 00:38:38,440
Speaker 2: know they went to the Irish Date Parade and that

834
00:38:38,560 --> 00:38:41,640
Speaker 2: song took off and you never expect nothing like that

835
00:38:41,640 --> 00:38:42,080
Speaker 2: to happen.

836
00:38:42,680 --> 00:38:44,040
Speaker 1: You know. I liked the record.

837
00:38:44,320 --> 00:38:46,120
Speaker 2: I didn't think it was a great record, but I

838
00:38:46,239 --> 00:38:46,840
Speaker 2: liked the record.

839
00:38:47,239 --> 00:38:50,440
Speaker 1: I feel like that song is the September of hip hop. Yeah,

840
00:38:50,760 --> 00:38:53,640
Speaker 1: like earth Wind and Fire had, you know, all these

841
00:38:53,640 --> 00:38:55,680
Speaker 1: songs that identify them, but the end of the day,

842
00:38:55,719 --> 00:38:58,520
Speaker 1: it's like a filler song from the Greatest Hits album

843
00:38:58,560 --> 00:39:03,319
Speaker 1: that winds up. Same with Ronde. It's tricky like that

844
00:39:03,440 --> 00:39:06,680
Speaker 1: might wind up being their signature song once the smoke clears,

845
00:39:06,719 --> 00:39:09,480
Speaker 1: even though you know it's Peter Piper and all that shit,

846
00:39:09,600 --> 00:39:13,600
Speaker 1: and like like when the smoke is clear, like jump

847
00:39:13,640 --> 00:39:17,279
Speaker 1: around will never not be played at sports, anthems never

848
00:39:17,320 --> 00:39:19,160
Speaker 1: not be played at celebrations, Like to this.

849
00:39:19,200 --> 00:39:21,080
Speaker 2: Day, it just gets bigger and bigger and bigger.

850
00:39:21,920 --> 00:39:25,040
Speaker 1: It's crazy, all right. Question I've been dying to ask you.

851
00:39:25,680 --> 00:39:30,040
Speaker 1: Did you produce sometimes the Neighborhood for Call the Wild?

852
00:39:30,320 --> 00:39:33,120
Speaker 2: No, I didn't, And I remember you asked me one

853
00:39:33,160 --> 00:39:34,880
Speaker 2: time a fight. You know, I need that single and

854
00:39:35,000 --> 00:39:36,920
Speaker 2: I didn't have any and you was like, yeah, right,

855
00:39:37,000 --> 00:39:39,080
Speaker 2: you don't got any. I think we was on the

856
00:39:39,080 --> 00:39:42,000
Speaker 2: Smoking Grooves. Yes, I think Shawn C produced that record.

857
00:39:42,400 --> 00:39:45,400
Speaker 2: What I think Shawn C might have produced it? That

858
00:39:45,560 --> 00:39:46,680
Speaker 2: and Clouds of Smoke.

859
00:39:47,080 --> 00:39:49,120
Speaker 1: Well, I mean I want to ask about Daddy Freddy

860
00:39:49,120 --> 00:39:52,239
Speaker 1: and Funk Dubis also, But where did they come from?

861
00:39:52,760 --> 00:39:55,520
Speaker 2: The call the Wilds from the polo grounds, you know,

862
00:39:56,120 --> 00:39:59,520
Speaker 2: one hundred fifty fifth and Saint Nick and I met

863
00:39:59,520 --> 00:40:02,040
Speaker 2: them and then I just started working with him, and uh,

864
00:40:02,120 --> 00:40:03,640
Speaker 2: you know, I was busy and stuff. We was doing

865
00:40:03,640 --> 00:40:06,000
Speaker 2: demos and then they was doing records with with Shawn C.

866
00:40:06,239 --> 00:40:08,520
Speaker 2: Was up in their neighborhood. So they came with that

867
00:40:08,560 --> 00:40:11,840
Speaker 2: one day and I was like, Yo, that beat is crazzy.

868
00:40:12,200 --> 00:40:14,480
Speaker 1: To this day, that beat rules my life. Shout out

869
00:40:14,480 --> 00:40:17,759
Speaker 1: to Cosmic Kevin Philadelphia for put me onto that. He

870
00:40:18,280 --> 00:40:21,920
Speaker 1: just spun the Jesus out of it on radio one day,

871
00:40:21,920 --> 00:40:25,360
Speaker 1: and I to this day that that rolling pianos down.

872
00:40:25,280 --> 00:40:27,680
Speaker 2: Oh man, and it flips the pitch change and comes

873
00:40:27,680 --> 00:40:30,359
Speaker 2: back has ruled, yes, umps and everything. I actually got

874
00:40:30,400 --> 00:40:32,520
Speaker 2: to call the Wild album. We never put it out.

875
00:40:32,800 --> 00:40:36,240
Speaker 2: I got a whole album. It's banging too wait web

876
00:40:36,239 --> 00:40:39,560
Speaker 2: it we signed, uh, we signed to Chris. Chris Schwartz

877
00:40:39,600 --> 00:40:42,000
Speaker 2: signed us. They were going to be on rough House, Yeah,

878
00:40:42,040 --> 00:40:44,920
Speaker 2: and then they wanted a commercial record. We tried a couple,

879
00:40:45,040 --> 00:40:49,040
Speaker 2: We tried a couple, sampled some you know, uh, I

880
00:40:49,080 --> 00:40:51,600
Speaker 2: don't know, fucking some Marvin Gaye or some shit. We

881
00:40:51,800 --> 00:40:53,799
Speaker 2: try to do some of those those soul records. I

882
00:40:53,880 --> 00:40:55,480
Speaker 2: was out at the time and it wasn't working. And

883
00:40:55,520 --> 00:40:57,319
Speaker 2: then they was like, we don't want to do this.

884
00:40:57,400 --> 00:40:59,239
Speaker 2: I go, hey, man, this is the record. We don't

885
00:40:59,239 --> 00:41:02,560
Speaker 2: want to do a commercial record. And then we just

886
00:41:02,719 --> 00:41:05,120
Speaker 2: asked them if we can get dropped, and so they

887
00:41:05,200 --> 00:41:07,520
Speaker 2: let us go. Chris was cool as l let us go.

888
00:41:07,719 --> 00:41:09,960
Speaker 1: Do you still have that record? Yeah? I got to

889
00:41:09,960 --> 00:41:11,840
Speaker 1: hear that record, man, I'll shoot it over to please

890
00:41:12,120 --> 00:41:13,520
Speaker 1: absolutely God damn.

891
00:41:14,040 --> 00:41:15,640
Speaker 2: And the group broke up in the middle of all

892
00:41:15,680 --> 00:41:18,200
Speaker 2: that and everything, and Smooth actually stayed with me for

893
00:41:18,200 --> 00:41:20,160
Speaker 2: a while. He's out on the fourth Cypress album on

894
00:41:20,320 --> 00:41:21,240
Speaker 2: like about four songs.

895
00:41:21,320 --> 00:41:25,080
Speaker 1: Okay. That's a shame, man, because every day I was

896
00:41:25,120 --> 00:41:28,319
Speaker 1: going to like records, anything new, anything new, and it

897
00:41:28,400 --> 00:41:30,759
Speaker 1: never came out. What did that twelve innuch come out on?

898
00:41:30,880 --> 00:41:34,600
Speaker 2: Then I started the label's a east Side Records just

899
00:41:34,640 --> 00:41:37,920
Speaker 2: printed up ourselves, make like a few hundred copies and.

900
00:41:38,000 --> 00:41:42,160
Speaker 1: Damn all right, So I got lucky cool. I'm down. Yeah.

901
00:41:42,239 --> 00:41:47,360
Speaker 1: Talk about like as far as building the arsenal of

902
00:41:48,040 --> 00:41:51,279
Speaker 1: your sonic family, like, how did funk Dubious come into

903
00:41:51,719 --> 00:41:53,319
Speaker 1: to play? That was?

904
00:41:54,040 --> 00:41:56,239
Speaker 2: So we had Son who was trying to be big

905
00:41:56,320 --> 00:41:58,840
Speaker 2: Daddy Kane dressed like kinge rap like came you know,

906
00:41:58,880 --> 00:42:01,440
Speaker 2: he was Sean's little homie. And then we had t

907
00:42:01,640 --> 00:42:04,560
Speaker 2: Bone who was down with Cypress from the DVX crew,

908
00:42:05,040 --> 00:42:09,359
Speaker 2: and then Ralph em was Kid Frost DJ and so

909
00:42:09,400 --> 00:42:11,680
Speaker 2: we was like, let's put these guys together and make

910
00:42:11,680 --> 00:42:14,040
Speaker 2: a group. Bireu had a song called the Funk Dubius

911
00:42:14,080 --> 00:42:16,520
Speaker 2: that was actually on the A to the K beat

912
00:42:17,440 --> 00:42:20,279
Speaker 2: before we did at the k Okay, and we was like,

913
00:42:20,360 --> 00:42:23,839
Speaker 2: let's call them the funk Dubius from your song. So

914
00:42:23,880 --> 00:42:27,520
Speaker 2: we gave them the name, put them together and got

915
00:42:27,520 --> 00:42:30,279
Speaker 2: them their deal. There wasn't a lot of rappers around us.

916
00:42:30,280 --> 00:42:32,080
Speaker 2: Most of our homies didn't rap, so we was like,

917
00:42:32,280 --> 00:42:34,320
Speaker 2: they rapped, let's make a group of them.

918
00:42:34,600 --> 00:42:38,919
Speaker 1: I got the unveiling or the unleashing of the mug

919
00:42:39,040 --> 00:42:43,959
Speaker 1: sound in hip hop? Was your collaborative work with ice Cube, right,

920
00:42:44,000 --> 00:42:48,520
Speaker 1: which you know, I'm dying for the day for someone

921
00:42:48,719 --> 00:42:52,480
Speaker 1: to start playing Tear this motherfucker up, which is definitely

922
00:42:52,480 --> 00:42:55,920
Speaker 1: made for where we are now and these times. But

923
00:42:55,960 --> 00:42:58,319
Speaker 1: I always wanted to know, And I don't know if

924
00:42:58,360 --> 00:43:01,440
Speaker 1: they were added as an afterthought or whatnot. But do

925
00:43:01,480 --> 00:43:04,520
Speaker 1: you know why dos never actually dropped a verse on

926
00:43:04,760 --> 00:43:07,960
Speaker 1: check yourself? Like you just had them for the course

927
00:43:08,080 --> 00:43:08,600
Speaker 1: or that.

928
00:43:08,640 --> 00:43:11,799
Speaker 2: Was all Cube is? Yeah, Cube was after he had

929
00:43:11,960 --> 00:43:13,279
Speaker 2: sent him to be He's like, I'm gonna get dis

930
00:43:13,320 --> 00:43:13,960
Speaker 2: effects on this.

931
00:43:14,440 --> 00:43:16,400
Speaker 1: Okay, So you would just send the beat, send the

932
00:43:16,400 --> 00:43:18,040
Speaker 1: tapes out, and then let them do it.

933
00:43:18,040 --> 00:43:19,640
Speaker 2: They had none to do it. I mixed it, but

934
00:43:19,920 --> 00:43:20,279
Speaker 2: that was.

935
00:43:20,239 --> 00:43:26,000
Speaker 1: It, okay, Okay. Normally, when a DJ from a crew

936
00:43:26,360 --> 00:43:30,000
Speaker 1: gets prominent as a producer, nine times out of ten,

937
00:43:30,239 --> 00:43:32,759
Speaker 1: like I'll see a situation in which they'll get a

938
00:43:32,800 --> 00:43:36,160
Speaker 1: replacement touring DJ the tour of the group, especially a

939
00:43:36,160 --> 00:43:38,560
Speaker 1: group like Cypress Hill, which is always touring, so that

940
00:43:39,680 --> 00:43:42,480
Speaker 1: said DJ producer can go home and make stuff Like

941
00:43:42,560 --> 00:43:45,520
Speaker 1: at any point did you consider just permanently leaving the

942
00:43:45,520 --> 00:43:46,879
Speaker 1: group and just being.

943
00:43:46,920 --> 00:43:49,680
Speaker 2: Yeah, I have about probably about the last twelve years

944
00:43:49,680 --> 00:43:53,839
Speaker 2: I stopped torn. So you're not I don't tour on function, okay, Na.

945
00:43:53,880 --> 00:43:55,200
Speaker 2: I just wanted to make sure. You know, I used

946
00:43:55,239 --> 00:43:57,040
Speaker 2: to watch behind the music and everything, and I've seen

947
00:43:57,080 --> 00:43:59,320
Speaker 2: every rock star's biggest regret was not being able to

948
00:43:59,400 --> 00:44:01,160
Speaker 2: raise their children, you know what I mean. So I

949
00:44:01,200 --> 00:44:02,759
Speaker 2: was like, now I'm going to make sure I raise

950
00:44:02,840 --> 00:44:06,000
Speaker 2: my kids. And I just like being in the studio

951
00:44:06,040 --> 00:44:08,279
Speaker 2: and being creative, you know, because sometimes doing the same

952
00:44:08,280 --> 00:44:10,160
Speaker 2: set list night after night and being on the road,

953
00:44:10,160 --> 00:44:12,280
Speaker 2: it just felt like a robot. I want to switch

954
00:44:12,320 --> 00:44:15,080
Speaker 2: the set list up and you know, do crazy things

955
00:44:15,080 --> 00:44:18,320
Speaker 2: on tour. But I was just like, man, getting boring

956
00:44:18,400 --> 00:44:19,000
Speaker 2: and it was hard.

957
00:44:19,040 --> 00:44:19,719
Speaker 1: It was hard.

958
00:44:19,840 --> 00:44:22,399
Speaker 2: Was that it's hard to make beats back then. Now

959
00:44:22,400 --> 00:44:24,520
Speaker 2: it's easy with the computers, but trying to compete with,

960
00:44:24,600 --> 00:44:28,239
Speaker 2: you know, the biggest producers and be on tour for

961
00:44:28,239 --> 00:44:30,319
Speaker 2: seven months a year was hard. And you know, I

962
00:44:30,360 --> 00:44:31,719
Speaker 2: wasn't making beats fast. I make beats.

963
00:44:31,800 --> 00:44:34,120
Speaker 1: Did you feel competitive, especially in that era of like

964
00:44:34,200 --> 00:44:35,600
Speaker 1: who's going to get this break first?

965
00:44:35,600 --> 00:44:39,160
Speaker 2: And yo, I'd be on tour and come home and

966
00:44:39,160 --> 00:44:41,520
Speaker 2: be writing the studio, go back on tour, come home

967
00:44:41,520 --> 00:44:43,080
Speaker 2: and be writing a studio. Doing that, there was never

968
00:44:43,080 --> 00:44:45,879
Speaker 2: a break, so you know, I wasn't used to moving

969
00:44:45,960 --> 00:44:48,720
Speaker 2: like that. So six years of that shit, it's driving

970
00:44:48,719 --> 00:44:50,319
Speaker 2: you crazy. I didn't know it was driving me crazy

971
00:44:50,400 --> 00:44:52,680
Speaker 2: until I look back at the time. There was no breaks,

972
00:44:53,080 --> 00:44:55,200
Speaker 2: and it was hard. It was hard to like make beats.

973
00:44:55,239 --> 00:44:57,000
Speaker 2: You know, probably when.

974
00:44:56,880 --> 00:44:59,399
Speaker 1: Do you have a little operation on your tour bus.

975
00:44:59,400 --> 00:45:01,160
Speaker 2: I tried, but you're trying to play a record in

976
00:45:01,160 --> 00:45:03,080
Speaker 2: the bus is bounce and you're trying to record everybody's

977
00:45:03,080 --> 00:45:05,120
Speaker 2: on the bus. We had twelve people on the bus,

978
00:45:05,160 --> 00:45:07,799
Speaker 2: so it wasn't and you're tired on tour and shit.

979
00:45:07,920 --> 00:45:10,799
Speaker 2: So it was hard. And you know, I was making

980
00:45:10,840 --> 00:45:14,680
Speaker 2: about a beat a week back then, so I'd have

981
00:45:14,719 --> 00:45:16,440
Speaker 2: to come home and I got to turn this album

982
00:45:16,440 --> 00:45:18,239
Speaker 2: and you know, a month, so I just have to

983
00:45:18,239 --> 00:45:20,440
Speaker 2: make trying to make I learned to make beats faster,

984
00:45:20,960 --> 00:45:23,160
Speaker 2: but at that time it was a little bit difficult.

985
00:45:23,160 --> 00:45:27,480
Speaker 1: Man, every producer I know has a one that got

986
00:45:27,520 --> 00:45:30,799
Speaker 1: away in terms of like, well, you mentioned that you

987
00:45:30,800 --> 00:45:33,880
Speaker 1: were almost not going to release kill Man Been Criminal,

988
00:45:34,400 --> 00:45:38,359
Speaker 1: But has there ever been like a particularly sample that

989
00:45:38,480 --> 00:45:41,759
Speaker 1: you had something for that you held back of the

990
00:45:41,840 --> 00:45:43,799
Speaker 1: last minute because it's already out there.

991
00:45:43,920 --> 00:45:48,520
Speaker 2: And so after Black Sunday, after the record got so

992
00:45:48,600 --> 00:45:52,000
Speaker 2: big and you know, and saying it to bring Blue

993
00:45:52,040 --> 00:45:54,759
Speaker 2: the fuck up, then we started getting the backlash. Oh,

994
00:45:54,880 --> 00:45:57,759
Speaker 2: they sold out, they did this, they went rock. So

995
00:45:57,840 --> 00:46:00,000
Speaker 2: I was like, you was doing what you were doing exactly.

996
00:46:00,880 --> 00:46:02,440
Speaker 1: The brain could have been on the first record.

997
00:46:02,800 --> 00:46:04,279
Speaker 2: We never went out of our way to make it hit.

998
00:46:04,320 --> 00:46:06,520
Speaker 2: It's the same records we made. And what I knew

999
00:46:06,520 --> 00:46:08,439
Speaker 2: was insane in the brain. I was like, they didn't

1000
00:46:08,440 --> 00:46:10,520
Speaker 2: get enough for that sound yet, so let me make

1001
00:46:10,880 --> 00:46:12,960
Speaker 2: another version. To kill a Man is what insane in

1002
00:46:13,000 --> 00:46:15,319
Speaker 2: the brain was. Let me make let me if you

1003
00:46:15,640 --> 00:46:18,400
Speaker 2: listen to the bassline, Okay, so they put the brakes

1004
00:46:18,400 --> 00:46:19,799
Speaker 2: in it and shit. So I was like, they didn't

1005
00:46:19,800 --> 00:46:21,520
Speaker 2: get enough of this sound, so let me feed them

1006
00:46:21,520 --> 00:46:23,040
Speaker 2: a little bit more of this sounds, you know what

1007
00:46:23,040 --> 00:46:26,600
Speaker 2: I mean. So when it was time for the third album,

1008
00:46:26,800 --> 00:46:28,600
Speaker 2: I was like, I'm gonna make the darkest record I

1009
00:46:28,640 --> 00:46:31,200
Speaker 2: can make, you know, And so I just sat. But

1010
00:46:31,280 --> 00:46:33,799
Speaker 2: we did a song that's a banger, and I hear

1011
00:46:33,840 --> 00:46:35,120
Speaker 2: it now and I was like that was a hit

1012
00:46:35,200 --> 00:46:37,240
Speaker 2: single that should have been the first single on Temple

1013
00:46:37,239 --> 00:46:42,640
Speaker 2: of Boom, which one us to go with. And it's

1014
00:46:42,640 --> 00:46:45,600
Speaker 2: called in the City of Angels. Okay, in the City

1015
00:46:45,640 --> 00:46:47,840
Speaker 2: of Angels, where the hustlers play and the ballers be

1016
00:46:47,920 --> 00:46:50,640
Speaker 2: dropping a vapid all day. It's a banger.

1017
00:46:50,760 --> 00:46:54,080
Speaker 1: You mentioned something about texture. You gotta you gotta sell

1018
00:46:54,120 --> 00:46:58,680
Speaker 1: this once and for all. Jump around, h what is

1019
00:46:58,719 --> 00:47:03,760
Speaker 1: the shrill noise for? There's there's there's this battle.

1020
00:47:03,880 --> 00:47:06,480
Speaker 2: I never cleared the sample though, so you want to

1021
00:47:06,520 --> 00:47:07,000
Speaker 2: beep it out.

1022
00:47:09,239 --> 00:47:12,640
Speaker 1: Look, if it's who I think it is, that person's

1023
00:47:12,880 --> 00:47:14,760
Speaker 1: has been long gone for ten years.

1024
00:47:15,280 --> 00:47:17,319
Speaker 2: It's not Prince Dog.

1025
00:47:18,160 --> 00:47:23,480
Speaker 1: Okay, so it is indeed, but you hear what we hear.

1026
00:47:24,120 --> 00:47:25,319
Speaker 2: Prince thought it was Prince too.

1027
00:47:26,360 --> 00:47:27,000
Speaker 1: He came to you.

1028
00:47:27,400 --> 00:47:29,200
Speaker 2: Yeah, when we was in Minnesota one time they go.

1029
00:47:29,480 --> 00:47:31,799
Speaker 2: We was playing in the club. He was upstairs. We talked,

1030
00:47:31,800 --> 00:47:33,600
Speaker 2: We had a little conversation for a minute, but it

1031
00:47:33,640 --> 00:47:35,560
Speaker 2: wasn't Prince and I told him who it was and

1032
00:47:35,600 --> 00:47:36,080
Speaker 2: he got it.

1033
00:47:39,520 --> 00:47:41,880
Speaker 1: Wait, what so how did he approach you about it?

1034
00:47:41,880 --> 00:47:44,120
Speaker 2: But he was downstairs, and I guess he was upstairs

1035
00:47:44,120 --> 00:47:46,960
Speaker 2: and somebody had you know, Boom and I went upstairs

1036
00:47:47,000 --> 00:47:49,399
Speaker 2: and just talked to him for a second and let

1037
00:47:49,440 --> 00:47:52,560
Speaker 2: him know, and he just looked at me, like, Okay,

1038
00:47:54,360 --> 00:47:56,600
Speaker 2: I think once he heard. I think once he heard

1039
00:47:56,640 --> 00:47:57,960
Speaker 2: what it was, it made say.

1040
00:47:57,840 --> 00:48:00,400
Speaker 1: You know what. Okay, So I went back and heard it.

1041
00:48:00,480 --> 00:48:02,560
Speaker 2: But I couldn't mistake it. I couldn't mistake it for that.

1042
00:48:02,680 --> 00:48:06,320
Speaker 1: I still love the lure of we We all thought

1043
00:48:06,400 --> 00:48:10,359
Speaker 1: that the get off yell was a distorted whatever the

1044
00:48:10,400 --> 00:48:15,560
Speaker 1: distorted shrill is in jump Around, when, of course it

1045
00:48:15,640 --> 00:48:16,759
Speaker 1: was just and.

1046
00:48:17,080 --> 00:48:19,040
Speaker 2: We just got popped for that sample I think about

1047
00:48:19,040 --> 00:48:23,040
Speaker 2: five years ago. Wait, so it's still just We just

1048
00:48:23,080 --> 00:48:25,399
Speaker 2: had to pay for it obviously. But you know, thank

1049
00:48:25,400 --> 00:48:27,319
Speaker 2: god the laws got changed. They only was able to

1050
00:48:27,320 --> 00:48:30,360
Speaker 2: go back three years and get royalties. If they was

1051
00:48:30,400 --> 00:48:32,000
Speaker 2: able to go back twenty years, it would have been

1052
00:48:32,239 --> 00:48:34,880
Speaker 2: cold as cold as ice for us. But yeah, it

1053
00:48:34,920 --> 00:48:38,080
Speaker 2: was Chubby Checker for what song. I can't remember this,

1054
00:48:40,040 --> 00:48:42,600
Speaker 2: that's Chubby Checker. Yeah, it's that. And then it just

1055
00:48:42,640 --> 00:48:44,799
Speaker 2: goes into a hole. It goes into some hole of

1056
00:48:44,800 --> 00:48:45,120
Speaker 2: the ship.

1057
00:48:45,880 --> 00:48:48,600
Speaker 1: Okay, wow, I didn't know that.

1058
00:48:49,120 --> 00:48:51,040
Speaker 2: And it's the same drums from hand on the pump,

1059
00:48:51,520 --> 00:48:54,120
Speaker 2: same tramp. It is tramp drums and the same the

1060
00:48:54,160 --> 00:48:56,799
Speaker 2: same high hats at the whole the same kit.

1061
00:48:57,560 --> 00:49:00,560
Speaker 1: Like how exhausting was that period of hip hop? I mean,

1062
00:49:00,719 --> 00:49:03,600
Speaker 1: that's the period I missed the most where it was

1063
00:49:03,760 --> 00:49:07,880
Speaker 1: just the goal rush wild West of sample clearing and

1064
00:49:08,719 --> 00:49:10,279
Speaker 1: not sample clearing.

1065
00:49:10,040 --> 00:49:12,960
Speaker 2: Just putting records out, this barrage.

1066
00:49:12,760 --> 00:49:14,919
Speaker 1: Of samples on top of each other, which I miss

1067
00:49:14,960 --> 00:49:19,400
Speaker 1: it so money too, But how Nightmaries was it just

1068
00:49:19,560 --> 00:49:24,239
Speaker 1: to make a record and say nineteen ninety five or

1069
00:49:24,320 --> 00:49:27,239
Speaker 1: ninety six, where your hands are sort of tied behind

1070
00:49:27,280 --> 00:49:31,680
Speaker 1: your back because what you're known for sonically you can't.

1071
00:49:31,760 --> 00:49:34,320
Speaker 2: Well the first album when it was done, Chris Schwartz

1072
00:49:34,360 --> 00:49:35,640
Speaker 2: told me like this, he is, we ain't going to

1073
00:49:35,680 --> 00:49:38,920
Speaker 2: clear these samples. This record will never come out. We're

1074
00:49:38,960 --> 00:49:40,680
Speaker 2: just gonna put this record out and deal with it later.

1075
00:49:41,520 --> 00:49:44,280
Speaker 2: And we got hit for samples for the next fifteen years,

1076
00:49:44,600 --> 00:49:45,120
Speaker 2: you know what I mean.

1077
00:49:45,160 --> 00:49:46,520
Speaker 1: Oh, so you did have to pay a proble.

1078
00:49:46,600 --> 00:49:49,319
Speaker 2: We played fifty grand for Duke of earl Ah. You know,

1079
00:49:49,520 --> 00:49:52,400
Speaker 2: we paid, We paid, We paid for everything. And I

1080
00:49:52,400 --> 00:49:54,160
Speaker 2: told ice Cube that one day he goes fifty grand

1081
00:49:54,160 --> 00:49:56,920
Speaker 2: for a hit, I'll do that any day. And then

1082
00:49:56,960 --> 00:49:58,600
Speaker 2: it made me go, oh, that should make sense to me.

1083
00:49:58,640 --> 00:50:00,640
Speaker 2: I never thought about it like that. But by the

1084
00:50:00,680 --> 00:50:03,440
Speaker 2: time I got the Temple of Boom, I started implementing

1085
00:50:03,440 --> 00:50:05,120
Speaker 2: a lot of more live instruments. So there's a lot

1086
00:50:05,160 --> 00:50:07,879
Speaker 2: of live baselines on there with just you know, live

1087
00:50:08,040 --> 00:50:10,000
Speaker 2: organ sounds and stuff. All ran through the SP twelve

1088
00:50:10,080 --> 00:50:12,480
Speaker 2: hundred to give them that dust. But at that time

1089
00:50:12,520 --> 00:50:14,160
Speaker 2: I just was like, then I had to start turning

1090
00:50:14,200 --> 00:50:16,960
Speaker 2: samples in the be and Sam was looking at me like,

1091
00:50:17,080 --> 00:50:19,560
Speaker 2: better clear these fucking samples. Man, this is costing us

1092
00:50:19,560 --> 00:50:21,600
Speaker 2: a lot of money. When we get another you know,

1093
00:50:22,280 --> 00:50:26,320
Speaker 2: fifty hundred thousand dollars lawsuit, then we got hit forum

1094
00:50:26,600 --> 00:50:33,279
Speaker 2: sil Johnson in Alude on Black Sunday because I'm Black. Yeah,

1095
00:50:33,360 --> 00:50:37,920
Speaker 2: twenty million dollar lawsuit. Wait what twenty million dollars froze

1096
00:50:37,960 --> 00:50:41,200
Speaker 2: everybody's publishing, froze everybody's royalties for a couple of years.

1097
00:50:41,320 --> 00:50:43,280
Speaker 1: Where'd they get twenty million from.

1098
00:50:43,280 --> 00:50:48,239
Speaker 2: Some ambulance chasing lawyer from Chicago and trying to say

1099
00:50:48,280 --> 00:50:50,279
Speaker 2: that the reason this album's a hit is because of

1100
00:50:50,320 --> 00:50:52,719
Speaker 2: that interlude. And I was like, no, it don't work

1101
00:50:52,760 --> 00:50:55,200
Speaker 2: like that. The hit songs, the single and drove it.

1102
00:50:55,280 --> 00:50:59,360
Speaker 2: I go, that's a thirty one second record.

1103
00:51:00,239 --> 00:51:02,120
Speaker 1: For a fact that I first heard is it becomes

1104
00:51:02,200 --> 00:51:05,480
Speaker 1: I'm black on that record, right, and I'm one of

1105
00:51:05,480 --> 00:51:08,000
Speaker 1: the dueves and nerds that will read the sample credit

1106
00:51:08,080 --> 00:51:12,080
Speaker 1: or whatever or no, and then by Cel Johnson and

1107
00:51:12,120 --> 00:51:16,200
Speaker 1: then by more Cel Johnson, me too, and absolutely they

1108
00:51:16,360 --> 00:51:19,839
Speaker 1: logically can't see that that's benefiting them.

1109
00:51:20,160 --> 00:51:21,719
Speaker 2: I don't think he's seen it like that. I think

1110
00:51:21,719 --> 00:51:23,239
Speaker 2: he was just trying to get as much as he can.

1111
00:51:23,320 --> 00:51:25,520
Speaker 2: So thank god I've recorded. I got it from the

1112
00:51:25,560 --> 00:51:27,640
Speaker 2: forty five, which I think the laws changed by the

1113
00:51:27,680 --> 00:51:29,360
Speaker 2: time they started, by the time it was on the

1114
00:51:29,400 --> 00:51:33,400
Speaker 2: album for the songwriters, right, they ended up getting three

1115
00:51:33,480 --> 00:51:38,120
Speaker 2: hundred thousand, and then they appealed it and then the

1116
00:51:38,200 --> 00:51:40,799
Speaker 2: judge got mad. He goes, you know what, now you

1117
00:51:41,560 --> 00:51:44,280
Speaker 2: don't get ship. Now you got to pay their law fees.

1118
00:51:45,480 --> 00:51:48,279
Speaker 2: So it ended up working out. It ended up working

1119
00:51:48,280 --> 00:51:51,520
Speaker 2: out good for us man the guy that he got

1120
00:51:51,520 --> 00:51:54,000
Speaker 2: real greedy and they was aggressive in the in the

1121
00:51:54,960 --> 00:51:56,880
Speaker 2: I had to sit down and get testimonies and all

1122
00:51:56,920 --> 00:51:58,840
Speaker 2: this shit. Lawyers were yelling at us. It was like

1123
00:51:58,880 --> 00:52:02,600
Speaker 2: three days of sitting down, depositions and shit like that.

1124
00:52:02,640 --> 00:52:05,759
Speaker 2: What you had to go through before an interlude. I

1125
00:52:05,800 --> 00:52:07,839
Speaker 2: was like, God, damn, well, this shit I gotta go through.

1126
00:52:07,880 --> 00:52:10,480
Speaker 2: And then, you know, and that's the to answer your question,

1127
00:52:10,560 --> 00:52:13,279
Speaker 2: that's when it's like, I can't sample shit no more.

1128
00:52:13,640 --> 00:52:15,600
Speaker 2: And then they was hitting you hard for samples at

1129
00:52:15,600 --> 00:52:17,080
Speaker 2: that time because they knew what they can get, you

1130
00:52:17,160 --> 00:52:19,120
Speaker 2: know what I mean. So, you know, then we just

1131
00:52:19,120 --> 00:52:21,239
Speaker 2: started having to figure other things out. I think it

1132
00:52:21,280 --> 00:52:23,080
Speaker 2: took away from the vibe, you know, moving forward to

1133
00:52:23,160 --> 00:52:25,600
Speaker 2: like the fourth fifth album, you know, not being able

1134
00:52:25,600 --> 00:52:27,600
Speaker 2: to just be free and sample anything you wanted at

1135
00:52:27,640 --> 00:52:29,600
Speaker 2: any time. You know, you had to be very cautious,

1136
00:52:29,800 --> 00:52:32,200
Speaker 2: especially once you get success. If he was putting underground

1137
00:52:32,200 --> 00:52:34,839
Speaker 2: records out, it's a different thing. But now at that point,

1138
00:52:34,840 --> 00:52:36,640
Speaker 2: as soon as that record comes out, they're playing that

1139
00:52:36,600 --> 00:52:39,200
Speaker 2: they're looking for shit, right, and the label don't want

1140
00:52:39,200 --> 00:52:41,120
Speaker 2: to give up their masters, you know, so the labels

1141
00:52:41,160 --> 00:52:42,920
Speaker 2: extra too, you know, they're writing that ship in the

1142
00:52:42,920 --> 00:52:45,240
Speaker 2: context you are liable for all the samples now.

1143
00:52:56,960 --> 00:53:02,600
Speaker 1: In prime cypercial touring. Lord, how hard was it being

1144
00:53:02,680 --> 00:53:07,640
Speaker 1: advocates of cannabis use and we use in kind of

1145
00:53:07,640 --> 00:53:10,560
Speaker 1: an outlaw form like you know, yeah, yeah, where there's

1146
00:53:10,560 --> 00:53:12,799
Speaker 1: some towns in which you guys knew you had to

1147
00:53:12,840 --> 00:53:13,640
Speaker 1: go dry.

1148
00:53:13,480 --> 00:53:16,520
Speaker 2: And the cops stay, don't light up, You're going to jail.

1149
00:53:16,600 --> 00:53:18,759
Speaker 2: Cops waiting on the side of the stage, like a

1150
00:53:18,760 --> 00:53:21,680
Speaker 2: lot of that, you know what I mean. That's when

1151
00:53:21,719 --> 00:53:24,120
Speaker 2: it was actually fun. Though when it was the outlaws shit,

1152
00:53:24,160 --> 00:53:26,680
Speaker 2: you know what I mean, That's when I actually dug it.

1153
00:53:26,719 --> 00:53:30,759
Speaker 2: But yeah, there was times, you know, especially Texas, Arizona,

1154
00:53:30,920 --> 00:53:33,279
Speaker 2: Theavid cops waiting for us, waiting for us, don't light up.

1155
00:53:33,480 --> 00:53:35,120
Speaker 2: They were set. They're standing there waiting for you to

1156
00:53:35,160 --> 00:53:37,240
Speaker 2: light up. So we got a lot of that, especially

1157
00:53:37,280 --> 00:53:40,480
Speaker 2: like in the Bible belt and how would you handle it,

1158
00:53:40,600 --> 00:53:42,360
Speaker 2: which wouldn't smoke on stage that night?

1159
00:53:42,520 --> 00:53:47,160
Speaker 1: Really? Yeah? Okay, So I directed the Saturday Night Live

1160
00:53:47,280 --> 00:53:52,239
Speaker 1: documentary about music acts on the show, and I had

1161
00:53:52,280 --> 00:53:54,440
Speaker 1: it been a multi series, I would have definitely gotten

1162
00:53:54,440 --> 00:53:58,640
Speaker 1: to you guys, because you guys are part of a

1163
00:53:58,800 --> 00:54:02,920
Speaker 1: very small club of people who got in trouble for

1164
00:54:04,080 --> 00:54:07,040
Speaker 1: certain acts on sn L. Can you talk about the

1165
00:54:07,080 --> 00:54:09,600
Speaker 1: whole sn L incident because you actually came from behind

1166
00:54:09,600 --> 00:54:13,160
Speaker 1: the turntables and set it off and said.

1167
00:54:13,840 --> 00:54:17,000
Speaker 2: I said in New York, can I light my joint?

1168
00:54:17,360 --> 00:54:21,680
Speaker 2: You know. So we're in the green room doing rehearsals

1169
00:54:22,080 --> 00:54:24,640
Speaker 2: and I'm just rolling some weed and don't light up

1170
00:54:24,640 --> 00:54:29,319
Speaker 2: on stage, and I'm like, of course, okay, don't light

1171
00:54:29,440 --> 00:54:34,759
Speaker 2: up on stage. Fifteen times I had no problem. Then

1172
00:54:35,040 --> 00:54:37,000
Speaker 2: I was just like, you know what, I was planning

1173
00:54:37,000 --> 00:54:38,400
Speaker 2: on it. But after they was telling me, I started

1174
00:54:38,400 --> 00:54:40,880
Speaker 2: second guestsing myself and I was like, man, fuck damn,

1175
00:54:40,960 --> 00:54:42,880
Speaker 2: I'm gonna light up on stage, but don't do it

1176
00:54:42,920 --> 00:54:44,239
Speaker 2: on the first song because they're not going to let

1177
00:54:44,280 --> 00:54:46,479
Speaker 2: us come back out. So I waited to the second song.

1178
00:54:47,400 --> 00:54:49,120
Speaker 2: That's when I go, Yo, can I light my joint?

1179
00:54:49,640 --> 00:54:52,600
Speaker 2: They told me. The phone line started going crazy, the

1180
00:54:52,640 --> 00:54:55,960
Speaker 2: crowd started looking around. Everybody's calling in what the fuck

1181
00:54:56,000 --> 00:54:59,359
Speaker 2: they're doing? What the fuck they're doing, and you know,

1182
00:55:00,360 --> 00:55:02,800
Speaker 2: start smashing the turntables because we would. We would smash

1183
00:55:02,840 --> 00:55:05,959
Speaker 2: all our turntables like the Who. So you know, on tour,

1184
00:55:06,120 --> 00:55:09,640
Speaker 2: smashing smashing everything like insane in the brain, so you know,

1185
00:55:09,800 --> 00:55:12,440
Speaker 2: doing all that. And after after the show, well they

1186
00:55:12,520 --> 00:55:15,919
Speaker 2: let me have it. The label the executives up there

1187
00:55:16,520 --> 00:55:19,520
Speaker 2: being Sam was mad at me, and I was just like, man,

1188
00:55:19,600 --> 00:55:21,680
Speaker 2: fuck this ship, you know what I mean, that's what

1189
00:55:21,719 --> 00:55:24,479
Speaker 2: it is, so you know, I never knew it would

1190
00:55:24,480 --> 00:55:26,480
Speaker 2: go this far and still be alive like this. You know,

1191
00:55:26,520 --> 00:55:27,480
Speaker 2: it was just something we did.

1192
00:55:27,640 --> 00:55:31,320
Speaker 1: It was it's legal, and like.

1193
00:55:32,719 --> 00:55:38,920
Speaker 2: Now now it's now. Now it's corny. Everybody's it's boring.

1194
00:55:39,000 --> 00:55:42,360
Speaker 2: Now I'm saying it was good when you was the

1195
00:55:42,400 --> 00:55:43,960
Speaker 2: bad guy and you ain't supposed to do this, you

1196
00:55:44,000 --> 00:55:45,560
Speaker 2: know what I mean. And you know, we we just

1197
00:55:45,600 --> 00:55:47,920
Speaker 2: took the torch from a Bob Marley, from you know,

1198
00:55:47,960 --> 00:55:49,799
Speaker 2: the Rolling Stones, all the rock and roll guys that

1199
00:55:49,880 --> 00:55:51,560
Speaker 2: was smoking. That's what that's what. That's what we came.

1200
00:55:51,840 --> 00:55:54,040
Speaker 1: Have you guys over the dispensary at least? Yeah, Bibro

1201
00:55:54,200 --> 00:55:56,600
Speaker 1: has I was about to say, if there's not a

1202
00:55:56,680 --> 00:55:59,279
Speaker 1: cypress really a dispensary, then this is off or not.

1203
00:55:59,560 --> 00:56:02,239
Speaker 2: It's called the green thumb, okay, And you know, it's

1204
00:56:02,320 --> 00:56:04,480
Speaker 2: just we just took the torch from Bob Marley, you

1205
00:56:04,520 --> 00:56:06,880
Speaker 2: know what I mean, and all the acts of the sixties,

1206
00:56:06,880 --> 00:56:09,239
Speaker 2: and it was like, let's just bring this this thing

1207
00:56:09,280 --> 00:56:11,920
Speaker 2: and just's try to make this legal. So we was

1208
00:56:11,920 --> 00:56:15,800
Speaker 2: doing fundraisers for Normal, the National Organization for Former Marijuana Laws,

1209
00:56:16,120 --> 00:56:19,120
Speaker 2: doing fundraisers trying to get money so they can go

1210
00:56:19,160 --> 00:56:21,919
Speaker 2: to Congress with their lobbyist groups and you know, get

1211
00:56:21,920 --> 00:56:23,839
Speaker 2: this shit legal, you know what I mean. So for

1212
00:56:23,960 --> 00:56:27,279
Speaker 2: years we did that and we pushed, we pushed for that,

1213
00:56:27,360 --> 00:56:29,279
Speaker 2: and then once it got legal, I was like, I

1214
00:56:29,440 --> 00:56:30,080
Speaker 2: just boring now.

1215
00:56:30,400 --> 00:56:33,440
Speaker 1: I figured as much at the height of just the

1216
00:56:34,080 --> 00:56:37,560
Speaker 1: fringy that was Cypersal. I always wanted to know, has

1217
00:56:38,080 --> 00:56:40,759
Speaker 1: Hollywood ever come calling to you guys at all, like

1218
00:56:41,280 --> 00:56:44,640
Speaker 1: especially in terms of like what Cheach and Chong films

1219
00:56:44,680 --> 00:56:47,440
Speaker 1: meant in the seventies or whatever that at any point.

1220
00:56:49,000 --> 00:56:51,799
Speaker 2: They haven't. They haven't, really. No. The only thing we

1221
00:56:51,840 --> 00:56:53,799
Speaker 2: did close enough was we did I think we have

1222
00:56:53,800 --> 00:56:56,759
Speaker 2: a scene in how High, Yeah, and just doing the

1223
00:56:56,840 --> 00:57:00,200
Speaker 2: music for Fridays, But we never they never approached us

1224
00:57:00,200 --> 00:57:02,719
Speaker 2: to do a film, which in hindsight, if I would

1225
00:57:02,719 --> 00:57:04,759
Speaker 2: have known what I know now, we would have done

1226
00:57:04,760 --> 00:57:07,439
Speaker 2: a film back then, probably been on volume five by now.

1227
00:57:07,960 --> 00:57:11,200
Speaker 1: Were you involved at all with the okay As a

1228
00:57:11,280 --> 00:57:15,880
Speaker 1: long time since Simpsons fan of course Simpson's heads know

1229
00:57:16,040 --> 00:57:18,640
Speaker 1: that there was a Cypress Hill joke, maybe with the

1230
00:57:18,640 --> 00:57:22,520
Speaker 1: London vill Harmonic whatever, And then I think recently or

1231
00:57:22,640 --> 00:57:26,480
Speaker 1: maybe a year ago or two years ago, it finally

1232
00:57:26,520 --> 00:57:27,520
Speaker 1: that joke finally came.

1233
00:57:27,440 --> 00:57:31,080
Speaker 2: To life with yeaitis there was I wasn't there. DJ

1234
00:57:31,200 --> 00:57:33,479
Speaker 2: Lord tours with him now from public and okay, okay,

1235
00:57:33,560 --> 00:57:36,880
Speaker 2: yeah he's dope. Okay, damn See you didn't have to

1236
00:57:36,920 --> 00:57:37,360
Speaker 2: deal with that.

1237
00:57:37,600 --> 00:57:40,520
Speaker 1: I want to talk about your your collaboration al Preeze

1238
00:57:40,520 --> 00:57:43,440
Speaker 1: that you've done. Soul Assassins was your your very first

1239
00:57:43,840 --> 00:57:46,080
Speaker 1: outing outside of the group as far as.

1240
00:57:46,080 --> 00:57:49,280
Speaker 2: Soul Assassins is a crew like, so once we start

1241
00:57:49,360 --> 00:57:51,960
Speaker 2: putting out albums we had I mid the combination. Oh yeah,

1242
00:57:52,000 --> 00:57:55,080
Speaker 2: that was my first thing outside the group. And you know,

1243
00:57:55,120 --> 00:57:57,480
Speaker 2: I was never I went to I didn't like selling

1244
00:57:57,480 --> 00:57:58,960
Speaker 2: beats to people because I went to a couple of

1245
00:57:59,000 --> 00:58:02,000
Speaker 2: little studio sessions and there's ten producers waiting for their

1246
00:58:02,000 --> 00:58:04,080
Speaker 2: turn to go play beat battle call. And I walked

1247
00:58:04,120 --> 00:58:05,920
Speaker 2: into one of those and I looked around and I

1248
00:58:05,960 --> 00:58:07,360
Speaker 2: was like, I'll be right back. I'm gonna go to

1249
00:58:07,360 --> 00:58:11,040
Speaker 2: the store. And I never went back, you know. And

1250
00:58:11,680 --> 00:58:14,360
Speaker 2: I was talking to a famous producer one day. I go, man,

1251
00:58:14,400 --> 00:58:16,320
Speaker 2: I love your shit. He goes, nah, Man, he goes,

1252
00:58:16,360 --> 00:58:17,760
Speaker 2: you're doing it right. He goes, I'm waiting for the

1253
00:58:17,760 --> 00:58:19,720
Speaker 2: next phone call to sell a beat. He goes, you

1254
00:58:19,760 --> 00:58:22,360
Speaker 2: build your own world, and then I was at that point,

1255
00:58:22,400 --> 00:58:23,520
Speaker 2: I was like, you know what, I just want to

1256
00:58:23,520 --> 00:58:25,440
Speaker 2: build my own worlds and be in full control of

1257
00:58:25,480 --> 00:58:27,680
Speaker 2: my worlds. So that's the reason I didn't do a

1258
00:58:27,720 --> 00:58:31,040
Speaker 2: lot of production outside. I've done records, but I just said,

1259
00:58:31,080 --> 00:58:32,440
Speaker 2: you know what, I'm going to build my own worlds

1260
00:58:32,440 --> 00:58:34,160
Speaker 2: for now on and work with artists and produce the

1261
00:58:34,200 --> 00:58:37,240
Speaker 2: whole record and do the Sol Assassin's records now.

1262
00:58:37,680 --> 00:58:40,880
Speaker 1: In the cattle called era of you know, make me beat,

1263
00:58:40,920 --> 00:58:42,840
Speaker 1: made me beat? Like who? Well, I know you got

1264
00:58:42,880 --> 00:58:44,400
Speaker 1: someone Goodie Mob?

1265
00:58:44,640 --> 00:58:45,479
Speaker 2: Well there was my friends.

1266
00:58:45,600 --> 00:58:46,240
Speaker 1: That was what to say.

1267
00:58:46,240 --> 00:58:47,880
Speaker 2: That was a very random I used to go to

1268
00:58:47,920 --> 00:58:49,920
Speaker 2: Atlanta and just ran a studio for a week and record,

1269
00:58:50,000 --> 00:58:52,400
Speaker 2: like I was probably got five or six Morecodie Mob songs,

1270
00:58:52,720 --> 00:58:52,920
Speaker 2: you know.

1271
00:58:53,040 --> 00:58:55,840
Speaker 1: So what was it about Atlanta that called you there?

1272
00:58:56,120 --> 00:58:58,240
Speaker 2: I just connected with them. When I met Goodie Mob,

1273
00:58:58,440 --> 00:59:01,160
Speaker 2: we just became friends. So I would go down there

1274
00:59:01,240 --> 00:59:03,240
Speaker 2: just just to go fuck with them. Okay, I'm right

1275
00:59:03,280 --> 00:59:04,920
Speaker 2: in the studio, y'all in town. Just go down there

1276
00:59:04,960 --> 00:59:06,880
Speaker 2: to make beats and then they pull up when they

1277
00:59:06,880 --> 00:59:09,120
Speaker 2: could pull up and just record. When we ended up

1278
00:59:09,120 --> 00:59:11,000
Speaker 2: doing one record we did was just a song. It

1279
00:59:11,040 --> 00:59:14,160
Speaker 2: was on Still Standing, the second album. No, that was

1280
00:59:14,200 --> 00:59:17,479
Speaker 2: in Shalah, Yes, No, but we did just a song

1281
00:59:17,520 --> 00:59:19,920
Speaker 2: for a Spike Lee movie Bamboozled.

1282
00:59:20,120 --> 00:59:20,560
Speaker 1: Yeah.

1283
00:59:20,800 --> 00:59:23,240
Speaker 2: Yeah, oh shit, yeah, I gotta I gotta play the

1284
00:59:23,280 --> 00:59:26,160
Speaker 2: original It's fucking fire, Okay.

1285
00:59:26,280 --> 00:59:31,960
Speaker 1: If anything, I always felt that you were the next

1286
00:59:32,080 --> 00:59:36,520
Speaker 1: logical step. Your your sound is like between especially between

1287
00:59:36,600 --> 00:59:41,800
Speaker 1: ninety one and ninety four, your sonic texture would have

1288
00:59:41,920 --> 00:59:48,680
Speaker 1: been the actual place where Pe should have landed in

1289
00:59:48,800 --> 00:59:51,760
Speaker 1: terms of what to do next after Apocalypse ninety one?

1290
00:59:52,120 --> 00:59:55,200
Speaker 1: Like what are some of the news that you didn't do?

1291
00:59:55,280 --> 00:59:57,920
Speaker 1: As far as like collaborations.

1292
00:59:57,560 --> 01:00:00,360
Speaker 2: Wasn't a lot? Like what wasn't a lot? Because I

1293
01:00:00,440 --> 01:00:02,400
Speaker 2: just wouldn't even put myself out there like that.

1294
01:00:02,840 --> 01:00:03,600
Speaker 1: Oh you know what I mean?

1295
01:00:03,880 --> 01:00:05,520
Speaker 2: I just made sure I stayed in. I did what

1296
01:00:05,640 --> 01:00:06,320
Speaker 2: krs wan.

1297
01:00:07,040 --> 01:00:09,560
Speaker 1: You know what, while we're talking about this, you did

1298
01:00:09,560 --> 01:00:13,240
Speaker 1: a remix for you two once and Numb.

1299
01:00:13,360 --> 01:00:15,880
Speaker 2: It was numb first song Edge ever Edge rapped on it.

1300
01:00:15,960 --> 01:00:18,680
Speaker 3: Yeah, dude, I was going to say that I always

1301
01:00:18,720 --> 01:00:24,560
Speaker 3: knew the album version chat on Yeah. Fact, I was

1302
01:00:24,600 --> 01:00:27,600
Speaker 3: going to say that when I got that twelve inch

1303
01:00:28,480 --> 01:00:32,040
Speaker 3: I was like, yo, like now this sounds this sounds official.

1304
01:00:32,200 --> 01:00:35,320
Speaker 1: Like their version was more like at Rock or whatever.

1305
01:00:35,360 --> 01:00:38,520
Speaker 1: They were like switching their style up for that particular album.

1306
01:00:38,920 --> 01:00:41,280
Speaker 1: But uh yeah, I was going to say that that

1307
01:00:41,440 --> 01:00:44,360
Speaker 1: was an incredible remix that I felt that should have gotten.

1308
01:00:44,640 --> 01:00:46,960
Speaker 2: Yeah, that one was banging. I was a banger. I

1309
01:00:47,040 --> 01:00:49,400
Speaker 2: like that one got further into it and he kind

1310
01:00:49,400 --> 01:00:50,040
Speaker 2: of rapped on it.

1311
01:00:50,480 --> 01:00:50,640
Speaker 1: You know.

1312
01:00:50,760 --> 01:00:53,200
Speaker 2: So I made that, man, you definitely made it.

1313
01:00:53,840 --> 01:00:57,120
Speaker 1: You brought out more, at least as far as your

1314
01:00:57,400 --> 01:01:00,000
Speaker 1: collaborative projects that you've done. I mean, You've done stuff

1315
01:01:00,080 --> 01:01:05,000
Speaker 1: with the Jizza dude. The rock Marciano album is like

1316
01:01:05,200 --> 01:01:07,040
Speaker 1: definitely one of my favorites. You work with Old Bill,

1317
01:01:07,160 --> 01:01:10,520
Speaker 1: like all these acts, Planet Asia, six Jacket, all these

1318
01:01:10,640 --> 01:01:14,560
Speaker 1: like of all the collaborative projects you've done, like would

1319
01:01:14,560 --> 01:01:17,440
Speaker 1: have been like your favorites as far as your highlights.

1320
01:01:17,400 --> 01:01:21,360
Speaker 2: The rock record, the Makami records, I did, Rome Streets.

1321
01:01:21,560 --> 01:01:24,520
Speaker 1: Yeah, for where hip hop is now, like the post

1322
01:01:24,600 --> 01:01:31,160
Speaker 1: rock Marciano Griselda. We could put Action Bronson's last three

1323
01:01:31,320 --> 01:01:34,880
Speaker 1: or four records into there. I love where it's going,

1324
01:01:34,960 --> 01:01:37,560
Speaker 1: which is weird because I'm a drummer and kind of

1325
01:01:37,600 --> 01:01:41,000
Speaker 1: the one thing, thanks Alchemist, the one the one element

1326
01:01:41,080 --> 01:01:46,400
Speaker 1: that's missing is it's drumless. But somehow I feel like

1327
01:01:47,600 --> 01:01:50,280
Speaker 1: it fits into your world perfectly, Like how do you

1328
01:01:50,320 --> 01:01:53,840
Speaker 1: feel now about And I know every.

1329
01:01:54,440 --> 01:01:57,280
Speaker 2: You know this sounds morphine And even even with when

1330
01:01:57,320 --> 01:02:00,000
Speaker 2: there are drums, they're mixed lower now and it's funny

1331
01:02:00,040 --> 01:02:02,000
Speaker 2: when you mix them higher, it just sounds like boom

1332
01:02:02,040 --> 01:02:04,560
Speaker 2: back from the nineties, right, But when you bring the

1333
01:02:04,640 --> 01:02:06,600
Speaker 2: drums down a little bit more let the music shine.

1334
01:02:06,680 --> 01:02:08,880
Speaker 2: It's with the sound of Now you know what I mean,

1335
01:02:09,160 --> 01:02:11,360
Speaker 2: I've been drumless. I've done I'm born to get busy.

1336
01:02:11,400 --> 01:02:14,600
Speaker 2: On the first Cypressouth, I didn't have no drums the

1337
01:02:14,680 --> 01:02:17,320
Speaker 2: song with under Soul Assassins will call the Wild Yeah,

1338
01:02:17,360 --> 01:02:20,480
Speaker 2: no drums, you know Scooby Doo with Cypress Hill, no drums.

1339
01:02:20,520 --> 01:02:22,760
Speaker 2: So we tapped into that now. But now it wasn't

1340
01:02:22,760 --> 01:02:24,160
Speaker 2: a thing then, but now it's a thing.

1341
01:02:24,920 --> 01:02:28,640
Speaker 1: Is it odd for it not to have that? Because

1342
01:02:28,720 --> 01:02:32,960
Speaker 1: even what I'm trying to make now, I'm like Jesus

1343
01:02:33,000 --> 01:02:35,600
Speaker 1: like the latter, I turn my drums up. I'm like

1344
01:02:35,680 --> 01:02:38,880
Speaker 1: sneaking back to my ninety six ninety seven thing, and

1345
01:02:38,920 --> 01:02:42,720
Speaker 1: I'm trying to figure out like how to recontextualize the music.

1346
01:02:42,840 --> 01:02:47,240
Speaker 1: But for you now that we're in loop based right

1347
01:02:47,520 --> 01:02:51,480
Speaker 1: era hip hop, Like, how do you feel this is

1348
01:02:51,680 --> 01:02:52,320
Speaker 1: right up your alley?

1349
01:02:52,400 --> 01:02:55,440
Speaker 2: Yeah? Yeah, it's right up my alley. Sometimes you got

1350
01:02:55,440 --> 01:02:57,200
Speaker 2: a loop and you try to put drums on them,

1351
01:02:57,200 --> 01:02:59,400
Speaker 2: it just fucks it up. It don't sound good, you know.

1352
01:02:59,680 --> 01:03:01,600
Speaker 2: So a lot of times I would just put drums

1353
01:03:01,640 --> 01:03:03,960
Speaker 2: in there, even with Cyprus, and put the drums low

1354
01:03:04,040 --> 01:03:05,880
Speaker 2: so it doesn't mess up the loop, you know, especially

1355
01:03:05,880 --> 01:03:07,280
Speaker 2: if you're trying to put a snare on the snare

1356
01:03:07,320 --> 01:03:10,560
Speaker 2: and it just takes the vibes. So if it works,

1357
01:03:10,600 --> 01:03:13,840
Speaker 2: it works. And I make sure half the records usually

1358
01:03:13,840 --> 01:03:17,800
Speaker 2: have drums, and then you know, parts of the records

1359
01:03:17,840 --> 01:03:20,000
Speaker 2: don't have drums. And what I'm working on these days,

1360
01:03:20,160 --> 01:03:22,400
Speaker 2: you know what I'm saying. And I don't pick the

1361
01:03:22,440 --> 01:03:24,520
Speaker 2: beats for the rappers. I give them a folder, like

1362
01:03:24,680 --> 01:03:27,000
Speaker 2: here's the thirty beats. I like, you know, pick what

1363
01:03:27,080 --> 01:03:29,520
Speaker 2: you like. Sometimes they was like, man, I didn't like

1364
01:03:29,560 --> 01:03:31,040
Speaker 2: those beats. I didn't pick them.

1365
01:03:32,680 --> 01:03:35,680
Speaker 1: Nice Alchemist right now is like killing the game. Can

1366
01:03:35,680 --> 01:03:39,080
Speaker 1: you just talk about like just mentoring him and from

1367
01:03:39,120 --> 01:03:41,600
Speaker 1: the days of the hooligans to where he is now

1368
01:03:41,800 --> 01:03:45,560
Speaker 1: as a producer and developing him. How would you first

1369
01:03:45,560 --> 01:03:45,960
Speaker 1: meet him?

1370
01:03:46,160 --> 01:03:50,600
Speaker 2: I met him because actually are for our manager back

1371
01:03:50,640 --> 01:03:52,360
Speaker 2: then called me one day he goes, Mugs, you want

1372
01:03:52,360 --> 01:03:54,760
Speaker 2: to make a lot of money, and I'm like, why not?

1373
01:03:56,200 --> 01:03:59,000
Speaker 2: I got this rap group, two little white kids from

1374
01:03:59,000 --> 01:04:01,400
Speaker 2: Beverly Hills. I said, get the fuck out of here.

1375
01:04:02,160 --> 01:04:03,840
Speaker 2: I don't want to talk show, get out of here

1376
01:04:03,840 --> 01:04:06,720
Speaker 2: with this shit. And so they called be Real next.

1377
01:04:06,960 --> 01:04:08,840
Speaker 2: You know, they want affiliated with Cypress. So b Real

1378
01:04:08,920 --> 01:04:11,360
Speaker 2: ended up working with him and he executive produced the

1379
01:04:11,400 --> 01:04:16,200
Speaker 2: first album and got some producers that were down with

1380
01:04:16,240 --> 01:04:20,320
Speaker 2: the management team to produce their first record. So during

1381
01:04:20,320 --> 01:04:23,680
Speaker 2: that I met Al and then Al realized during that

1382
01:04:23,720 --> 01:04:26,280
Speaker 2: record like, oh, Muggs is the sound beside Cypress Hill.

1383
01:04:26,880 --> 01:04:29,520
Speaker 2: So I seen him he was about fourteen, and I

1384
01:04:29,680 --> 01:04:32,040
Speaker 2: seen in him what I've seen in me at that age,

1385
01:04:32,160 --> 01:04:35,400
Speaker 2: like mans, just his hunger and his dedication. And I

1386
01:04:35,480 --> 01:04:37,520
Speaker 2: was but you know I was. I didn't have nobody

1387
01:04:37,600 --> 01:04:41,680
Speaker 2: to show me like how this shit works. I remember

1388
01:04:41,720 --> 01:04:44,320
Speaker 2: walking in the studio the first time when we was kids.

1389
01:04:44,600 --> 01:04:47,200
Speaker 2: I walked into the studio in Hollywood Boulevard and we

1390
01:04:47,200 --> 01:04:49,520
Speaker 2: want to make a record. I thought the music was

1391
01:04:49,520 --> 01:04:51,240
Speaker 2: already in the studio for you. I don't know how

1392
01:04:51,280 --> 01:04:53,960
Speaker 2: to make the music and bring it there. So I

1393
01:04:54,080 --> 01:04:57,040
Speaker 2: was like, all, this kid needs to be exposed and

1394
01:04:57,120 --> 01:04:59,960
Speaker 2: be around it. So him being him being in the studio,

1395
01:05:00,560 --> 01:05:02,480
Speaker 2: I take him on tour with us every place we

1396
01:05:02,560 --> 01:05:04,840
Speaker 2: can go. He went to Atlanta with me, you know,

1397
01:05:04,880 --> 01:05:06,919
Speaker 2: and I'd just take him around and anything I did,

1398
01:05:06,920 --> 01:05:09,040
Speaker 2: I just brought him with me and just exposed him.

1399
01:05:09,400 --> 01:05:11,320
Speaker 2: And he's a sponge and he's a little genius, you

1400
01:05:11,360 --> 01:05:12,560
Speaker 2: know what I mean. And I just knew he just

1401
01:05:12,600 --> 01:05:14,600
Speaker 2: needed to be around it to soak it up, because

1402
01:05:14,640 --> 01:05:16,600
Speaker 2: that's how I learned with Joe the Butcher, just being

1403
01:05:16,640 --> 01:05:19,680
Speaker 2: in the studio. Oh that's how you do it. That's

1404
01:05:19,680 --> 01:05:22,920
Speaker 2: how this is. And you know, it's just it's just

1405
01:05:23,040 --> 01:05:26,760
Speaker 2: a fucking quantum leap, you know, into into the future.

1406
01:05:26,800 --> 01:05:28,760
Speaker 2: So all these all the shit you might have had

1407
01:05:28,760 --> 01:05:31,640
Speaker 2: to deal with, you can just kind of like just

1408
01:05:31,800 --> 01:05:33,200
Speaker 2: learn from being around the shit.

1409
01:05:34,440 --> 01:05:42,000
Speaker 1: Now that you're almost four decades into making music, where

1410
01:05:42,160 --> 01:05:45,800
Speaker 1: does the passion still lie? Like what is your process

1411
01:05:45,840 --> 01:05:50,360
Speaker 1: today like tomorrow? When do you normally make beats? Are

1412
01:05:50,360 --> 01:05:52,120
Speaker 1: you a morning person. Are you a night person?

1413
01:05:52,200 --> 01:05:54,480
Speaker 2: I'll flip it up because if sometimes I get up

1414
01:05:54,480 --> 01:05:56,800
Speaker 2: at six and just go to the studio, but then

1415
01:05:56,840 --> 01:05:59,040
Speaker 2: after three or four days, I'm bored of that, you know,

1416
01:05:59,080 --> 01:06:00,840
Speaker 2: so I might do that. Now I'll just try to

1417
01:06:00,840 --> 01:06:02,480
Speaker 2: make I'll go in for six hours and make a

1418
01:06:02,480 --> 01:06:05,000
Speaker 2: beat every half an hour. But I don't finish beats

1419
01:06:05,000 --> 01:06:08,360
Speaker 2: no more, because I remember sitting down and listening to

1420
01:06:08,400 --> 01:06:10,760
Speaker 2: about fifty beats I never used, and I spend fucking

1421
01:06:10,880 --> 01:06:12,480
Speaker 2: days on them, and I go, how much time did

1422
01:06:12,480 --> 01:06:14,560
Speaker 2: I just waste on these beats that never came out?

1423
01:06:14,800 --> 01:06:17,439
Speaker 2: So now I just ideas. I don't finish the beats.

1424
01:06:17,440 --> 01:06:18,840
Speaker 2: I come up with ideas. So I'll go in three

1425
01:06:18,880 --> 01:06:22,439
Speaker 2: days a week, make twelve beats a day, and then

1426
01:06:22,640 --> 01:06:24,640
Speaker 2: when somebody wants to use it, then I finish it,

1427
01:06:25,240 --> 01:06:27,040
Speaker 2: you know. So I just I get to scratch idea.

1428
01:06:27,680 --> 01:06:31,040
Speaker 1: Where is the sort of the pile up? How many

1429
01:06:31,560 --> 01:06:35,080
Speaker 1: would you reckon? Are in your cannon right now? As

1430
01:06:35,120 --> 01:06:38,360
Speaker 1: far as like, do you have an entire collection of

1431
01:06:38,560 --> 01:06:40,240
Speaker 1: every beat that you've ever made.

1432
01:06:40,440 --> 01:06:41,959
Speaker 2: From the last ten years?

1433
01:06:42,040 --> 01:06:42,320
Speaker 1: Yeah?

1434
01:06:42,440 --> 01:06:45,400
Speaker 2: I got hundreds and hundreds and hundreds of beats.

1435
01:06:45,440 --> 01:06:48,800
Speaker 1: Have you kept the original s B twelve hundred discs

1436
01:06:49,080 --> 01:06:49,520
Speaker 1: from the.

1437
01:06:49,800 --> 01:06:52,120
Speaker 2: Got all those discs still okay, you know, and they

1438
01:06:52,160 --> 01:06:54,320
Speaker 2: work all right, No, that's important.

1439
01:06:54,400 --> 01:07:00,720
Speaker 1: That's important creatively. Now what still, what's still motivates you?

1440
01:07:01,480 --> 01:07:05,640
Speaker 2: I think now it's like working with younger artists and

1441
01:07:05,680 --> 01:07:08,880
Speaker 2: being able to just inspire and maybe help, like, you know,

1442
01:07:09,040 --> 01:07:11,520
Speaker 2: oh I like this motherfucker. Oh but if he did this,

1443
01:07:11,680 --> 01:07:13,360
Speaker 2: I could take him to the next level, you know,

1444
01:07:13,560 --> 01:07:15,400
Speaker 2: and then you got to put the work in, obviously,

1445
01:07:15,480 --> 01:07:18,360
Speaker 2: but just just the kind of music we love. I

1446
01:07:18,440 --> 01:07:21,320
Speaker 2: just want to keep inspiring the next generation of kids

1447
01:07:21,320 --> 01:07:23,560
Speaker 2: to keep doing what we love. And I think they

1448
01:07:23,640 --> 01:07:26,600
Speaker 2: got to, you know, go and do this style or

1449
01:07:26,680 --> 01:07:29,560
Speaker 2: I got to do trap records or nothing like this style. Right,

1450
01:07:29,560 --> 01:07:32,320
Speaker 2: here's this shit. So you know, I see me now

1451
01:07:32,360 --> 01:07:34,480
Speaker 2: as just being an inspiration to the next generation.

1452
01:07:35,000 --> 01:07:38,280
Speaker 1: Has there ever been a time period where you thought

1453
01:07:38,400 --> 01:07:43,400
Speaker 1: you might have to be a suit an executive? Never

1454
01:07:43,600 --> 01:07:46,680
Speaker 1: working at a I always wandered, all right, So this

1455
01:07:46,760 --> 01:07:50,360
Speaker 1: is the thing. Artists often complain about suits and just

1456
01:07:50,400 --> 01:07:53,720
Speaker 1: the politics of the industry. But I always said that

1457
01:07:54,640 --> 01:07:57,120
Speaker 1: I can't wait for the day in which like music

1458
01:07:57,160 --> 01:08:00,680
Speaker 1: cats actually run the music business. It would be so

1459
01:08:00,760 --> 01:08:04,080
Speaker 1: much different, Like your version of what you think is

1460
01:08:04,120 --> 01:08:07,320
Speaker 1: dope right right, could mean the world of difference for

1461
01:08:07,560 --> 01:08:10,560
Speaker 1: least like five or six quality records to come out,

1462
01:08:10,560 --> 01:08:13,560
Speaker 1: because I know that you least have immersed yourself and

1463
01:08:13,600 --> 01:08:16,600
Speaker 1: dipped the toe inside of actual music, whereas you know

1464
01:08:16,640 --> 01:08:17,519
Speaker 1: your average A and R.

1465
01:08:17,840 --> 01:08:21,160
Speaker 2: Well, Andrew Shack a Priority actually brought me in to

1466
01:08:21,560 --> 01:08:24,040
Speaker 2: run the A and R department, but then Priority went

1467
01:08:24,040 --> 01:08:25,679
Speaker 2: out of business like two months later.

1468
01:08:25,920 --> 01:08:26,559
Speaker 1: Hey they sold.

1469
01:08:27,000 --> 01:08:32,080
Speaker 2: But that's I feel the same way about press and

1470
01:08:33,800 --> 01:08:36,040
Speaker 2: what you guys are doing is great because it's actually musicians.

1471
01:08:36,040 --> 01:08:38,240
Speaker 2: What Nori's doing is great, What Cam is doing great.

1472
01:08:38,240 --> 01:08:39,960
Speaker 2: You know. I'm glad that's happening because there was a

1473
01:08:39,960 --> 01:08:42,680
Speaker 2: lot of people over here judging your music that never

1474
01:08:42,720 --> 01:08:44,439
Speaker 2: went on tour, that didn't know how hard it is

1475
01:08:44,439 --> 01:08:47,400
Speaker 2: to have a relations journalists, Yeah, to go on tour

1476
01:08:47,880 --> 01:08:49,680
Speaker 2: and then be on tour for seven months and then

1477
01:08:49,760 --> 01:08:52,600
Speaker 2: you know, fighting with your wife and then having the

1478
01:08:52,640 --> 01:08:55,240
Speaker 2: pressure to go make a hit song. Like they're just

1479
01:08:55,240 --> 01:08:57,080
Speaker 2: going to sit back and talk about your records, and

1480
01:08:57,120 --> 01:08:59,599
Speaker 2: it's like, you know, so when I did the Bullworth record,

1481
01:08:59,640 --> 01:09:01,280
Speaker 2: methemat and had a line they talk about it while

1482
01:09:01,280 --> 01:09:03,400
Speaker 2: we live it, you know, and it's like to be

1483
01:09:03,400 --> 01:09:05,559
Speaker 2: able to sit down and talk to journalists who actually

1484
01:09:05,600 --> 01:09:08,000
Speaker 2: do this with us, it's like, oh fuck, it's refreshing.

1485
01:09:08,200 --> 01:09:10,639
Speaker 2: Just when even when I watch sports and there's sports

1486
01:09:10,640 --> 01:09:13,080
Speaker 2: guys that are the journalists. Now it's like, oh, this

1487
01:09:13,120 --> 01:09:15,400
Speaker 2: is the shit, you know what I'm saying. But you know,

1488
01:09:15,439 --> 01:09:17,240
Speaker 2: I've been I've been blessed to be able to save

1489
01:09:17,280 --> 01:09:19,120
Speaker 2: my money make a lot of really good investments. So

1490
01:09:19,200 --> 01:09:21,080
Speaker 2: I don't make music for money no more. It's just

1491
01:09:21,120 --> 01:09:24,800
Speaker 2: strictly being creative. And you know, there's a few times

1492
01:09:24,840 --> 01:09:26,040
Speaker 2: a year I go, I never want to do this

1493
01:09:26,080 --> 01:09:28,240
Speaker 2: shit again, you know. But then I just go on vacation.

1494
01:09:29,720 --> 01:09:32,080
Speaker 2: And then as funny, soon as I get out of

1495
01:09:32,120 --> 01:09:35,160
Speaker 2: my comfort zone and I get somewhere, I'm like, oh,

1496
01:09:35,160 --> 01:09:37,720
Speaker 2: the ideas start coming and they just start piling and right,

1497
01:09:37,840 --> 01:09:39,479
Speaker 2: you know what I mean. And I just get home

1498
01:09:39,520 --> 01:09:41,679
Speaker 2: and I got the fire again. But I know myself,

1499
01:09:41,720 --> 01:09:43,559
Speaker 2: well enough I go out here, I'm here again. I

1500
01:09:43,600 --> 01:09:44,800
Speaker 2: need to let me get out of town for me,

1501
01:09:44,960 --> 01:09:45,800
Speaker 2: let me go do something else.

1502
01:09:45,800 --> 01:09:48,240
Speaker 1: Do you have a self care routine where people believe

1503
01:09:48,280 --> 01:09:49,960
Speaker 1: in vacations and time out.

1504
01:09:49,840 --> 01:09:52,439
Speaker 2: And definitely it's necessary, you know, And I end up

1505
01:09:52,840 --> 01:09:54,680
Speaker 2: making beats in the morning. If I'm in Hawaii, I'll

1506
01:09:54,680 --> 01:09:56,000
Speaker 2: get up for an hour and just bang out a

1507
01:09:56,040 --> 01:09:57,840
Speaker 2: couple of ideas and then just go swim all day,

1508
01:09:57,880 --> 01:10:00,840
Speaker 2: you know what I'm saying. So I'm as myself as

1509
01:10:00,840 --> 01:10:04,280
Speaker 2: a man to understand like my ebbs and flows. But

1510
01:10:04,400 --> 01:10:06,760
Speaker 2: now I'm not a producer, you know. I'm more of

1511
01:10:06,760 --> 01:10:09,240
Speaker 2: an artist where I'm going to sit down and make

1512
01:10:09,280 --> 01:10:13,040
Speaker 2: full projects and try to teach these dudes find out

1513
01:10:13,080 --> 01:10:14,639
Speaker 2: what the best thing is for them. Some people don't

1514
01:10:14,680 --> 01:10:17,519
Speaker 2: want to listen. I'm like, I give them some advice.

1515
01:10:17,520 --> 01:10:19,839
Speaker 2: I don't want to listen. I'm like, cool, all your ideas,

1516
01:10:19,840 --> 01:10:22,000
Speaker 2: all your thinking got to you exactly where you are today.

1517
01:10:22,280 --> 01:10:24,320
Speaker 2: If you want to stay where you are, keep going.

1518
01:10:24,400 --> 01:10:26,439
Speaker 2: But if you want to listen, I could help you

1519
01:10:26,520 --> 01:10:28,400
Speaker 2: get to that next place where you want to get,

1520
01:10:28,439 --> 01:10:31,000
Speaker 2: you know what I mean, and level up a little bit.

1521
01:10:31,040 --> 01:10:33,519
Speaker 2: So the motherfuckers who want to listen. And then after

1522
01:10:33,600 --> 01:10:35,120
Speaker 2: they've done work with me and I actually put the

1523
01:10:35,160 --> 01:10:37,880
Speaker 2: work in, I see the jump and they come. I mean,

1524
01:10:37,920 --> 01:10:40,480
Speaker 2: I appreciated my life changed after I work with you,

1525
01:10:40,479 --> 01:10:41,960
Speaker 2: you know, And other dudes who are just like, Nah,

1526
01:10:41,960 --> 01:10:43,439
Speaker 2: this is how I do my shit, and this is

1527
01:10:43,439 --> 01:10:45,920
Speaker 2: who I am. Oh I cool down, homie. Yeah, there's

1528
01:10:45,960 --> 01:10:46,920
Speaker 2: the record. We're done.

1529
01:10:47,120 --> 01:10:50,840
Speaker 1: God bless you anything left on your bucket list as

1530
01:10:50,880 --> 01:10:54,200
Speaker 1: far as things that you want to achieve creatively.

1531
01:10:54,640 --> 01:10:57,320
Speaker 2: I'm doing films now. So this is my second short film. Okay,

1532
01:10:57,880 --> 01:10:59,479
Speaker 2: So I think next year I'm going to get into

1533
01:10:59,520 --> 01:11:02,320
Speaker 2: some features. That's the next move. And that actually made

1534
01:11:02,360 --> 01:11:05,040
Speaker 2: the third Soul Assassin album. We made fun because I

1535
01:11:05,080 --> 01:11:06,960
Speaker 2: was like, man, I've done one hundred and fifty music videos.

1536
01:11:06,960 --> 01:11:09,840
Speaker 2: I'm tired of doing videos, you know, I'm tired of this.

1537
01:11:09,920 --> 01:11:11,760
Speaker 2: I was like, what else can I do? Man? And

1538
01:11:12,720 --> 01:11:15,000
Speaker 2: so Death Valley. I got with Jason Goldwatch and did

1539
01:11:15,040 --> 01:11:18,599
Speaker 2: Death Valley, which actually started inspiring a couple of different

1540
01:11:18,600 --> 01:11:19,519
Speaker 2: people to make films.

1541
01:11:19,560 --> 01:11:19,720
Speaker 1: You know.

1542
01:11:19,760 --> 01:11:22,439
Speaker 2: Al told me he's like, man, you inspired me to

1543
01:11:22,439 --> 01:11:25,879
Speaker 2: make the film he made last year with them, was it, Gibbs.

1544
01:11:26,400 --> 01:11:29,519
Speaker 2: It's just being able to just something that just keeps

1545
01:11:29,520 --> 01:11:32,160
Speaker 2: my brain ticking and stuff, you know. So sometimes I'll

1546
01:11:32,160 --> 01:11:33,600
Speaker 2: go in and bring my musicians in and be like,

1547
01:11:33,640 --> 01:11:35,559
Speaker 2: all right, let's play some shit like this. I'll play

1548
01:11:35,600 --> 01:11:37,720
Speaker 2: records and we'll just flip them in and I'll just

1549
01:11:37,800 --> 01:11:39,679
Speaker 2: He'll play me shit and I'll just flip the samples.

1550
01:11:39,720 --> 01:11:43,400
Speaker 2: And other days I just go in and sample and yeah, man,

1551
01:11:43,439 --> 01:11:46,320
Speaker 2: it's just shit's got to come out. I just enjoy

1552
01:11:46,400 --> 01:11:48,240
Speaker 2: going in the lab and just making music.

1553
01:11:48,240 --> 01:11:51,080
Speaker 1: Still, what was the advice that you're glad that you

1554
01:11:51,120 --> 01:11:51,880
Speaker 1: didn't take it?

1555
01:11:52,040 --> 01:11:54,439
Speaker 2: Make your shit on the metronome. Your shit's dusty, you

1556
01:11:54,479 --> 01:11:55,320
Speaker 2: need to clean it up.

1557
01:11:55,720 --> 01:11:59,760
Speaker 1: You don't quantize sometimes, no Ah, nice, you need.

1558
01:11:59,680 --> 01:12:03,200
Speaker 2: Your shit soft beat. It's it's dusty, it's not quantized,

1559
01:12:03,360 --> 01:12:06,600
Speaker 2: and uh, you know, and I was like, fuck it.

1560
01:12:06,640 --> 01:12:09,759
Speaker 2: I like it. I like unorthodox shit that doesn't make sense,

1561
01:12:09,960 --> 01:12:13,680
Speaker 2: you know what I mean? And that's been I live

1562
01:12:13,720 --> 01:12:14,880
Speaker 2: by that and die by that shit.

1563
01:12:15,439 --> 01:12:19,479
Speaker 1: Who is your longest friendship in this industry and as

1564
01:12:19,479 --> 01:12:22,120
Speaker 1: far as your journey as DJ months.

1565
01:12:21,520 --> 01:12:25,439
Speaker 2: Oh shit, probably my Cypress boys, you know, Me and

1566
01:12:25,479 --> 01:12:29,120
Speaker 2: B still tight, you know what I mean. And just

1567
01:12:29,120 --> 01:12:31,400
Speaker 2: my regular homies, you know what I mean. I met

1568
01:12:31,400 --> 01:12:33,040
Speaker 2: a lot of good people along the journey, you know

1569
01:12:33,080 --> 01:12:35,320
Speaker 2: what I'm saying. But yeah, just the fact we still

1570
01:12:35,320 --> 01:12:37,080
Speaker 2: got a good brotherhood. Anybody's cool.

1571
01:12:37,240 --> 01:12:39,760
Speaker 1: Who's the one person in your life that keeps you

1572
01:12:39,800 --> 01:12:42,320
Speaker 1: in check in check. I mean a lot of times

1573
01:12:42,439 --> 01:12:44,280
Speaker 1: I think when you get status, you go into it.

1574
01:12:44,360 --> 01:12:45,120
Speaker 1: Can't tell me nothing.

1575
01:12:46,160 --> 01:12:48,479
Speaker 2: It's just my regular friends. Just my regular friends. Work,

1576
01:12:48,520 --> 01:12:50,400
Speaker 2: we clown you know. If I walk in with some

1577
01:12:50,439 --> 01:12:55,040
Speaker 2: funny ass socks on, you know, they let you have it,

1578
01:12:55,120 --> 01:12:56,960
Speaker 2: you know what I mean. So you know, just my

1579
01:12:57,520 --> 01:12:59,800
Speaker 2: homies are just some regular motherfuckers. They don't they don't

1580
01:12:59,800 --> 01:13:02,400
Speaker 2: make me music and nothing. So it's just keeping your

1581
01:13:02,479 --> 01:13:04,200
Speaker 2: core group of homies around all the time.

1582
01:13:04,400 --> 01:13:07,960
Speaker 1: All right, I'll close with this, why do you still

1583
01:13:08,000 --> 01:13:12,200
Speaker 1: do it? Why do you still want to make music?

1584
01:13:12,720 --> 01:13:15,120
Speaker 1: What keeps you going? You know?

1585
01:13:15,200 --> 01:13:17,240
Speaker 2: I think my biggest fear is waking up one day

1586
01:13:17,280 --> 01:13:20,920
Speaker 2: and just not having an inspiration, like not having that

1587
01:13:21,000 --> 01:13:23,120
Speaker 2: no more, you know what I mean. And so I

1588
01:13:23,240 --> 01:13:27,640
Speaker 2: just appreciate the blessing I was given, you know what

1589
01:13:27,680 --> 01:13:29,960
Speaker 2: I mean. And I will never disrespect this blessing, so

1590
01:13:30,720 --> 01:13:33,880
Speaker 2: I actually enjoy it, you know what I mean. And

1591
01:13:35,240 --> 01:13:37,040
Speaker 2: early in my career is about the ego and about

1592
01:13:37,040 --> 01:13:38,680
Speaker 2: me and being successful, you know what I mean, and

1593
01:13:38,720 --> 01:13:40,160
Speaker 2: getting out there and you know, trying to be one

1594
01:13:40,200 --> 01:13:42,799
Speaker 2: of the best producers and then you know, you achieve

1595
01:13:42,880 --> 01:13:46,600
Speaker 2: that and now It's about finding the next generation and

1596
01:13:47,080 --> 01:13:50,439
Speaker 2: finding little diamonds in the rough and shining them up

1597
01:13:50,439 --> 01:13:52,680
Speaker 2: a little bit and getting in the lab with them,

1598
01:13:52,680 --> 01:13:55,720
Speaker 2: you know. Like like the kittf I'm working with now,

1599
01:13:55,760 --> 01:13:58,680
Speaker 2: I thought he was one of the best dudes that

1600
01:13:58,720 --> 01:14:00,280
Speaker 2: I like in La So I was like, I could

1601
01:14:00,280 --> 01:14:03,000
Speaker 2: take watch when this album's done, You're going to start

1602
01:14:03,000 --> 01:14:05,200
Speaker 2: torn in Europe. You're going to start seeing a lot

1603
01:14:05,200 --> 01:14:06,880
Speaker 2: of doors open for it that didn't open, you know.

1604
01:14:07,520 --> 01:14:10,919
Speaker 2: Hence you know Rome Streets, same situation. Where as Freshco

1605
01:14:11,360 --> 01:14:13,120
Speaker 2: from Canada. You know what I mean, Just working with

1606
01:14:13,160 --> 01:14:15,320
Speaker 2: these kids that are open and they're excited, and they're

1607
01:14:15,360 --> 01:14:17,400
Speaker 2: just they're hungry, and I'm like, oh, that's how I

1608
01:14:17,439 --> 01:14:19,559
Speaker 2: felt in nineteen eighty eight, you know what I mean.

1609
01:14:19,600 --> 01:14:22,320
Speaker 2: And being able to help them achieve their dreams and

1610
01:14:22,360 --> 01:14:24,320
Speaker 2: all their goals and their ambitions, you know, and when

1611
01:14:24,320 --> 01:14:26,160
Speaker 2: you see the light on in them that they really

1612
01:14:26,680 --> 01:14:28,880
Speaker 2: want to work and do this and put the put

1613
01:14:28,920 --> 01:14:33,120
Speaker 2: more energy into the project, then you'll put I'm like, yeah, Okay,

1614
01:14:33,520 --> 01:14:35,120
Speaker 2: that's what I feed off of now.

1615
01:14:35,960 --> 01:14:38,320
Speaker 1: I know. You know, people will come up to you say, oh,

1616
01:14:38,439 --> 01:14:39,839
Speaker 1: this is a classic, this is a classic.

1617
01:14:39,960 --> 01:14:44,360
Speaker 2: Oh it was the movie with hit Boy Goldfish. Yeah,

1618
01:14:44,760 --> 01:14:46,759
Speaker 2: when I was at the screen and Owl gave me props,

1619
01:14:46,760 --> 01:14:48,559
Speaker 2: he was like, man, we did this because of Mugs.

1620
01:14:48,600 --> 01:14:50,000
Speaker 2: I got inspired by Death Valley.

1621
01:14:50,200 --> 01:14:50,599
Speaker 1: Oh okay.

1622
01:14:50,760 --> 01:14:52,880
Speaker 2: So you know those are the things, those are the

1623
01:14:52,880 --> 01:14:54,920
Speaker 2: things that keep me doing and I think, you know,

1624
01:14:55,200 --> 01:14:57,519
Speaker 2: I'm still trying to push the limits in the underground

1625
01:14:57,600 --> 01:14:59,280
Speaker 2: music and try to push things. So like I'll get

1626
01:14:59,280 --> 01:15:02,000
Speaker 2: into features and just do different things and hopefully I

1627
01:15:02,040 --> 01:15:04,960
Speaker 2: could inspire, like I said, just keep inspiring motherfuckers to

1628
01:15:05,080 --> 01:15:07,120
Speaker 2: keep doing what we like. Because there was a minute

1629
01:15:07,120 --> 01:15:08,680
Speaker 2: there with this kind of hip hop was kind of

1630
01:15:09,200 --> 01:15:10,840
Speaker 2: it was getting less and less, you know what I mean.

1631
01:15:10,920 --> 01:15:12,960
Speaker 2: It's like it was it was hanging by a string,

1632
01:15:13,000 --> 01:15:15,200
Speaker 2: you know what I mean. But you know, and just

1633
01:15:15,320 --> 01:15:17,360
Speaker 2: you know, seeing ship like Na's coming back and doing

1634
01:15:17,400 --> 01:15:19,320
Speaker 2: his ship and everything he's doing with MASSI appeal like

1635
01:15:19,360 --> 01:15:21,439
Speaker 2: that's inspiring, you know, coming back and bringing all the

1636
01:15:21,479 --> 01:15:24,360
Speaker 2: OG's back and everything. So that's what we got to do.

1637
01:15:24,400 --> 01:15:26,080
Speaker 2: This game gave me a lot, man, you know what

1638
01:15:26,080 --> 01:15:29,240
Speaker 2: I mean, People I met, places, I've been, things I

1639
01:15:29,280 --> 01:15:31,800
Speaker 2: got to do, and so I just want to keep

1640
01:15:31,800 --> 01:15:32,680
Speaker 2: giving back to it.

1641
01:15:32,760 --> 01:15:35,559
Speaker 1: And you know, well sir, I thank you for coming

1642
01:15:35,560 --> 01:15:35,960
Speaker 1: on the show.

1643
01:15:36,120 --> 01:15:38,240
Speaker 2: Yeah, Bro, thank you. I appreciate your artistreet, thank you

1644
01:15:38,360 --> 01:15:40,920
Speaker 2: very much. Brother everything you shot everything DJ.

1645
01:15:40,760 --> 01:15:43,800
Speaker 1: Muggs on the Quest Love Show yep, and we will

1646
01:15:43,840 --> 01:15:45,840
Speaker 1: see y'all on the next go around. See y'all later.

1647
01:15:51,920 --> 01:15:54,439
Speaker 1: The West Love Show is hosted by Me a mirror

1648
01:15:54,520 --> 01:15:59,360
Speaker 1: Quest Love Tom Executive producers are Sean g Brian Calhoun

1649
01:15:59,800 --> 01:16:06,360
Speaker 1: and Me. Produced by Brittany Benjamin and Jake Payne. Produced

1650
01:16:06,400 --> 01:16:12,400
Speaker 1: for iHeart by Noel Brown, Edited by Alex Connelly. iHeart

1651
01:16:12,439 --> 01:16:17,760
Speaker 1: Video support by Mark Kanton, Logos Graphics and animation by

1652
01:16:17,840 --> 01:16:24,360
Speaker 1: Nick Blowe. Additional support by Lance Colman and special thanks

1653
01:16:24,360 --> 01:16:31,400
Speaker 1: to Kathy Brown. Special thanks to Sundar Steve Mandel. Please subscribe, rate, review,

1654
01:16:31,560 --> 01:16:35,080
Speaker 1: and share The Quest Love Show wherever you stream your podcast,

1655
01:16:35,479 --> 01:16:38,479
Speaker 1: and make sure you follow us on socials That's at

1656
01:16:39,240 --> 01:16:44,360
Speaker 1: q LS. Check out hundreds and hundreds of QLs episodes,

1657
01:16:44,400 --> 01:16:47,959
Speaker 1: including the Quest of Supreme shows and our podcast archives.

1658
01:16:50,520 --> 01:16:53,040
Speaker 1: Quest Love Show is a production of iHeartRadio