WEBVTT - DJ Muggs

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<v Speaker 1>Quest Love Show is a production of iHeart Radio. Ladies

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

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<v Speaker 1>I kind of want to even skip the long accolades

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<v Speaker 1>just so I can get started with the questions. But

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<v Speaker 1>this interview has been a long time coming. Many of

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<v Speaker 1>you asked about getting him on the show. It's only

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<v Speaker 1>right that I check in with him for starters. You know,

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<v Speaker 1>one of the founding members of Cypercial, not to mention

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<v Speaker 1>for Cypercal seven A three, so many other associations. We

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<v Speaker 1>can go to Soul Sat, we can. We'll be here

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<v Speaker 1>all day if we're just doing the accolades. I was

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<v Speaker 1>about to say, you pioneered hip hop at Geffen. Yeah,

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

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<v Speaker 1>keeping the Soul Assassin's brand alive right now with the

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<v Speaker 1>new sci fi film and an album alongside the La

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

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<v Speaker 1>I've been waiting for this.

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<v Speaker 2>Thank you, DJ Muggs, thanks for having me. Bro mean

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<v Speaker 2>it's a lot.

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<v Speaker 1>Welcome, Welcome, welcome, welcome. All right. I will start with you,

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<v Speaker 1>as I start with most of my guests. What is

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<v Speaker 1>your first musical memory in life.

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<v Speaker 2>Growing up, My uncle was my mom's little brother, was

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<v Speaker 2>my roommate. I was about four or five six those ages,

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<v Speaker 2>and he had velvet posters, black lights, a tract tapes

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<v Speaker 2>on the wall, right, and beads incense. You know, he

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<v Speaker 2>was in the rocks. So listening to the Led Zeppelin,

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<v Speaker 2>Jimi Hendrix, you know what I mean? That was like

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<v Speaker 2>my intro to music right there.

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<v Speaker 1>This explains the first night pressil record. Absolutely. Okay, Now

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

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

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<v Speaker 1>Jamaica hospital. All right, how long were you there before?

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<v Speaker 1>Because of course now we associate you with you out here,

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<v Speaker 1>But how long were you in?

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<v Speaker 2>I moved out here when I was thirteen go to

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<v Speaker 2>high school. Yeah, the summer before high.

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<v Speaker 1>School, so in for the first thirteen years. Like, have

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<v Speaker 1>you had any hip hop experiences whatsoever? Like growing up

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<v Speaker 1>in New York or Yeah?

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<v Speaker 2>It was pretty much just the music, you know. I

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<v Speaker 2>think I fell in love with hip hop or rappers delight, right,

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<v Speaker 2>I caught the fever. I was just sitting by the

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<v Speaker 2>radio all day waiting for the song to come on.

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<v Speaker 1>Tape it yep, got you, got you well. You mentioned

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<v Speaker 1>the albums that were like in your household. Do you

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<v Speaker 1>remember the very first album that you purchased with your own.

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<v Speaker 2>Money, own money? I think it was War. It had

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

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<v Speaker 2>And I was when I heard low Writer. I was

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<v Speaker 2>I would just play Lowriter all the time. My mom

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<v Speaker 2>had got me into forty five and then you know

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<v Speaker 2>I wanted that album.

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<v Speaker 1>I wanted it to what else they had? Ah Man,

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<v Speaker 1>all right, you mentioned that, And I was four when

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<v Speaker 1>that came out. And if you remember the album covered

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<v Speaker 1>that smiley face on it, if you're four years old

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<v Speaker 1>looking at that smiley face, even though like it just

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<v Speaker 1>looked real evil to me. And I used to hide

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<v Speaker 1>that record in the basement. My dad cut so one

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<v Speaker 1>of my first punishments, He's like, where's my War record?

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<v Speaker 1>And like I buried it, like I couldn't. I couldn't

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<v Speaker 1>stand that smile man like that and shame on the

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<v Speaker 1>world by the main ingredient, like those two album covers,

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

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<v Speaker 1>of the war were a little different. So what technically

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<v Speaker 1>brought you to Los Angeles.

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<v Speaker 2>My mother moved here about a couple of years before.

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<v Speaker 2>I didn't want to leave, so I stayed in New

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<v Speaker 2>York live with my aunt, and then you know, I

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<v Speaker 2>started just getting a little trouble. She was like, you

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<v Speaker 2>got to get out of here and go live with

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<v Speaker 2>your mother, the fresh Princess. So I went from you know,

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<v Speaker 2>one of the most culturally diverse places in the world,

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<v Speaker 2>to move into a neighborhood called Bell Gardens where it

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<v Speaker 2>was ninety nine point nine percent Mexican. Okay, so it

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<v Speaker 2>was a culture shock for me.

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<v Speaker 1>What was it like adjusting in this time period? For you?

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<v Speaker 2>It was hard, man, because you know, I'm used to

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<v Speaker 2>jump on trains and everything was right down the block,

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<v Speaker 2>and in Bell Gardens there was no trains. There was

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<v Speaker 2>nothing there. You know, you had to go to a

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<v Speaker 2>whole nother city to get anything. So, you know, I

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<v Speaker 2>didn't like it at all. I would go back to

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<v Speaker 2>New York, jump on a Greyhound, go back every summer,

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<v Speaker 2>go back for Christmas vacation. Anytime I can get out

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<v Speaker 2>of here, I'll just try to get out of here.

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<v Speaker 1>Okay. What were your aspirations as a well, I guess

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<v Speaker 1>we would call them tweens now like twelve thirteen fourth

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<v Speaker 1>What were your aspirations? What did you want to do?

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<v Speaker 2>I wanted to play sports, football, baseball. I played football

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<v Speaker 2>and baseball, okay, and I was like, I'm gonna be

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<v Speaker 2>I'm gonna play sports when I grow up. So I

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<v Speaker 2>just played summer leagues, you know, anywhere I can get

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<v Speaker 2>on a team. I just Pop Warner baseball. That's all

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<v Speaker 2>I did little league.

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<v Speaker 1>So did you start out as a DJ?

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<v Speaker 2>Like?

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<v Speaker 1>How does music enter your life?

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<v Speaker 2>And now it's like I got the fever for breakdancing,

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<v Speaker 2>So breakdancing came out. We started breakdancing, and then we

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<v Speaker 2>was in the basement one time and the homie had

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<v Speaker 2>a little turntable and we was all trying to copy

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<v Speaker 2>Rockety DST. Everybody was a little turntable with the cassette

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<v Speaker 2>in it, you know, with the radio in it all

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<v Speaker 2>I so we didn't know what the scratch pad was.

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<v Speaker 2>We was in there trying to cut it. The needles

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<v Speaker 2>was jumping, and that's when I called started catching the

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<v Speaker 2>fever a little bit. And then when I seen DST.

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<v Speaker 2>I think it was the American Music Grammy that turned

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<v Speaker 2>me out right there. Okay, I was like, oh shit,

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<v Speaker 2>what is this? It was like some futuristic ship.

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<v Speaker 1>So that was your that was your come to GC

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<v Speaker 1>moment with it. Did you have any experiences with any

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<v Speaker 1>cruise pre seven A three or like.

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<v Speaker 2>Well, Cypress. I was down with Cypress before. The crew

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<v Speaker 2>was called DVX Devastating Vocal Excellence and it was about

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<v Speaker 2>seven eight of us, Melimennace be Real, send T Bone,

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<v Speaker 2>who actually ended up being in the Funk Dubias.

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<v Speaker 1>So you were all a crew.

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<v Speaker 2>It was before they got to see how I met

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<v Speaker 2>in Yeah, and then one of my boys was went

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

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<v Speaker 2>two kids from Brooklyn. You got to meet him. Came

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<v Speaker 2>out to Hollywood, met them, and I was throwing a

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<v Speaker 2>jam in a park in Bell Gardens and seven eight

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<v Speaker 2>three had a record out of my Cola Records called

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<v Speaker 2>seven A three Were Rocky, which was a remake of

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<v Speaker 2>We Were Rocky, and I was like, Yo, you guys

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<v Speaker 2>want to come play my party. We didn't know nobody

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<v Speaker 2>would a record out at that time, so that was

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<v Speaker 2>big for us. So they came and the DJ didn't

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<v Speaker 2>show up, so I DJ for him and they said,

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<v Speaker 2>you want to be on DJ. We're doing three shows

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<v Speaker 2>with Ice Team next week, and one was at Osco's,

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<v Speaker 2>you know. A couple of them was there was a

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<v Speaker 2>club where the Beverly Centers now. We played there and

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<v Speaker 2>we did the three shows, and then about three months

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<v Speaker 2>later we was in the studio recording for Colors saw

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<v Speaker 2>Mad Mad World.

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

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<v Speaker 1>you were throwing jams, like what as a promoter or

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<v Speaker 1>just as a DJ or DJ promoter.

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<v Speaker 2>We got together with a couple of little promoters around

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<v Speaker 2>in the neighborhood, and we knew the guy at the

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<v Speaker 2>park because we would always go to the park, you know,

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<v Speaker 2>play carms and basketball and dodgeball and you know, playing

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<v Speaker 2>Little League at the park and shit. And she gave

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<v Speaker 2>us the little hall at the park five dollars to

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<v Speaker 2>get in and through the jam and it was banging,

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<v Speaker 2>and that was the beginning of it all.

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<v Speaker 1>Okay. So I've always heard of the folklore of early

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<v Speaker 1>hip hop starting out in the parks and what not, police,

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<v Speaker 1>athletically whatever, back in New York, but out here like

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<v Speaker 1>because the only times I've heard of jams are literally

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<v Speaker 1>like uncle jam stories walk me just through, like what

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<v Speaker 1>a typical party is that's not in a non club atmosphere.

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<v Speaker 1>In the eighties of California.

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<v Speaker 2>Most of it was backyard parties. Two dollars to get

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<v Speaker 2>in a keg, you know what I mean. Everybody come

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<v Speaker 2>in and all the little local promoters would throw them.

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<v Speaker 2>It was a lot of freestyle music. Nobody wanted to

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<v Speaker 2>dance to hip hop. It was too slow, you know

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<v Speaker 2>what I mean. So it was that and I used

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<v Speaker 2>to actually go and go to Uncle Jam's. I would

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<v Speaker 2>go out by the airport that'd have it in a

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<v Speaker 2>hotel anything I can.

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<v Speaker 1>Please tell me what that was like.

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<v Speaker 2>It was just a lot of gangsters, a lot of

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<v Speaker 2>gangsters just pop locking, a lot of pop locking, and

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<v Speaker 2>then you know, and I would just sit in the

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<v Speaker 2>corner and just watch and listen. And then I started

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<v Speaker 2>going to World on Wheels, Costant Communi Rial was the

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<v Speaker 2>other one.

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<v Speaker 1>Of them, Wheels, Rodska Stating Ring.

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<v Speaker 2>Yeah, Greg Mac used to do that with Tony G

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<v Speaker 2>and then.

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<v Speaker 1>Walking Ice Cuban the mix started.

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<v Speaker 2>Yeah, there was World on Wheels, there was Skateland USA

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<v Speaker 2>and uh, and then I'll go to the Radio Tron

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<v Speaker 2>Radio Tron by MacArthur Park downtown and just absorb it

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<v Speaker 2>because there was nowhere to see it or here you

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<v Speaker 2>had to go, you know, So any anywhere I can

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<v Speaker 2>get there, I would just take a bus, and the

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<v Speaker 2>bus would take me two hours to get there, you

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<v Speaker 2>know what I mean. So I would just get on

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<v Speaker 2>the bus and go to the go to the ship.

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<v Speaker 1>Okay. So in developing seventy three for starters, I got

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<v Speaker 1>familiar with these guys because you know, once Iron Nation

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<v Speaker 1>to millions, then I needed anything associated with the bomb squad,

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<v Speaker 1>so they produced it. I brought the entire records and

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

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<v Speaker 1>at least texture wise, it was way ahead of its time.

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<v Speaker 1>Like there's rock rap hybrid on there, which I'm assuming

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<v Speaker 1>now that I know Joe Nicholas associated with it. So

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

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<v Speaker 1>and Andy was there in all the Yeah, the usual

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<v Speaker 1>suspects in Philly. I'm from Philly, so like drums is

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<v Speaker 1>steal and all that stuff to me was like shit

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<v Speaker 1>that the goats wound up doing. And then rage against

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<v Speaker 1>machine and all that stuff. Were you guys like aware

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<v Speaker 1>of how radical that record was in terms of a

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<v Speaker 1>few things on that album will eventually become commonplace, like

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<v Speaker 1>fifteen years from then or twenty years from then. Like

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<v Speaker 1>I mean at the time when in doing like live

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<v Speaker 1>hip hop with First of all, I know that's Andy

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<v Speaker 1>Drummond because I know his drum texture. He was on base,

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<v Speaker 1>was it, Mike, Mike No, not Blonde from School Love? Yeah. Yeah,

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<v Speaker 1>he's on MTV and plug with LL playing. Mama said

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<v Speaker 1>that was him. Yeah, yeah, I was gonna say, what

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<v Speaker 1>is by the way, Mike Tyler? Yes, okay. How receptive

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<v Speaker 1>were you to those ideas when when it was presented

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<v Speaker 1>to you?

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<v Speaker 2>Well, it was interesting because I had all these ideas,

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<v Speaker 2>I had records like and you know, I was eighteen,

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

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<v Speaker 1>How much agency did you have in suggesting.

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<v Speaker 2>We was in Philly because Jeff Finster signed us a guffin.

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<v Speaker 2>Then there was big There was big fans of PSK,

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<v Speaker 2>so got it. They want Joe to Butcher to work

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<v Speaker 2>And it was the.

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<v Speaker 1>First school shoutout is from school e D School.

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<v Speaker 2>He actually programmed drums on a couple of songs.

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<v Speaker 1>Yeah, Okay. I heard the word schooly cash.

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<v Speaker 2>Wandy jazz, jazz, jazz jazz, and I think it was

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<v Speaker 2>Robbie Robbie. What was the rappers in Robbie g Robbie

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<v Speaker 2>b Okay, yeah, they all they all programmed. They all

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<v Speaker 2>would come in a program and I was I didn't

0:10:53.200 --> 0:10:54.720
<v Speaker 2>I didn't produce it. I didn't have a drum machine.

0:10:54.720 --> 0:10:56.640
<v Speaker 2>I just had all these ideas. So I just sat

0:10:56.679 --> 0:10:58.800
<v Speaker 2>and watched and just absorbed everything and learned. I got

0:10:58.800 --> 0:11:01.120
<v Speaker 2>a crash course and to make music in a month.

0:11:01.720 --> 0:11:04.000
<v Speaker 1>Back then, what was your weapon of choice? Based on

0:11:04.040 --> 0:11:07.439
<v Speaker 1>the sonic of it, I'm assuming that's a twelve hundred

0:11:07.640 --> 0:11:08.480
<v Speaker 1>bad twelve hundred.

0:11:08.960 --> 0:11:11.560
<v Speaker 2>I didn't have a twelve hundred yet though. So the

0:11:11.640 --> 0:11:14.040
<v Speaker 2>seven eight three album we worked on it. I had

0:11:14.080 --> 0:11:17.000
<v Speaker 2>these ideas. I got back and I didn't love the record,

0:11:17.000 --> 0:11:18.960
<v Speaker 2>to tell you the truth, because I wanted it to

0:11:18.960 --> 0:11:19.880
<v Speaker 2>be darker and harder.

0:11:20.000 --> 0:11:20.480
<v Speaker 1>You know. I was.

0:11:20.920 --> 0:11:22.920
<v Speaker 2>I was in the Yo Bum Rush, the show, I

0:11:23.080 --> 0:11:25.840
<v Speaker 2>was in the Ultramagnetic, I was Bebop was a big

0:11:25.840 --> 0:11:28.800
<v Speaker 2>inspiration on me. The Ramloz record, So this is what

0:11:28.840 --> 0:11:31.360
<v Speaker 2>I wanted. So when I got home, I was like, fuck, man,

0:11:31.400 --> 0:11:33.640
<v Speaker 2>I wanted the record to sound like this, so I

0:11:33.720 --> 0:11:36.360
<v Speaker 2>saved up my money, saved up my money and got

0:11:36.360 --> 0:11:39.240
<v Speaker 2>me an SP twelve hundred, and then I just started

0:11:39.520 --> 0:11:42.280
<v Speaker 2>kidnamed Blau that was down with Rhym Syndicate. He showed

0:11:42.280 --> 0:11:44.160
<v Speaker 2>me i'd call him up if I got stuck. And

0:11:44.360 --> 0:11:46.400
<v Speaker 2>I made wag beats for about a year, you know,

0:11:46.480 --> 0:11:48.760
<v Speaker 2>and then one day we did Real Estate and it

0:11:48.880 --> 0:11:50.360
<v Speaker 2>just sounded like it.

0:11:50.280 --> 0:11:51.760
<v Speaker 1>It sounded like a record.

0:11:52.240 --> 0:11:54.160
<v Speaker 2>And our demos we had a big ass boombox with

0:11:54.200 --> 0:11:56.400
<v Speaker 2>a double cassette, so I'd run the drum machine right

0:11:56.440 --> 0:11:58.520
<v Speaker 2>into it. We put the mic right into it, pushed

0:11:58.559 --> 0:12:00.680
<v Speaker 2>record on the cassette, and biro just one take, and

0:12:00.720 --> 0:12:02.440
<v Speaker 2>that was our demos. And that's how we That's how

0:12:02.480 --> 0:12:03.240
<v Speaker 2>we started out.

0:12:03.640 --> 0:12:04.679
<v Speaker 1>That's how y'all got a deal.

0:12:05.400 --> 0:12:07.600
<v Speaker 2>Damn okay, Well no, that was how we made That

0:12:07.679 --> 0:12:09.360
<v Speaker 2>was how we made real Estate. And I would send

0:12:09.360 --> 0:12:10.839
<v Speaker 2>the demos to Joe and Joe was like, Oh, this

0:12:10.880 --> 0:12:14.880
<v Speaker 2>shit's hot. And then then we got a publishing deal

0:12:14.920 --> 0:12:17.160
<v Speaker 2>with BMG and they gave us some money to go

0:12:17.160 --> 0:12:21.480
<v Speaker 2>in the studio. Then we recorded Funky Feel, One Light

0:12:21.520 --> 0:12:24.560
<v Speaker 2>Another and Kill a Man and a song called Caliente

0:12:24.600 --> 0:12:27.280
<v Speaker 2>which was a Spanish song that wasn't on the record,

0:12:27.320 --> 0:12:29.960
<v Speaker 2>and thought that was our demo. Okay, that got us

0:12:30.000 --> 0:12:30.320
<v Speaker 2>the deal.

0:12:30.559 --> 0:12:33.680
<v Speaker 1>So you've made all those even before. But once you

0:12:33.679 --> 0:12:35.640
<v Speaker 1>got the deal, did you remake those records again? Are

0:12:35.679 --> 0:12:36.360
<v Speaker 1>you just trying to know?

0:12:36.600 --> 0:12:39.240
<v Speaker 2>I think it was like a three year period while

0:12:39.280 --> 0:12:41.120
<v Speaker 2>we was working until we got the deal. Two years.

0:12:41.160 --> 0:12:43.120
<v Speaker 2>So if you notice all the breaks and those songs,

0:12:43.160 --> 0:12:45.120
<v Speaker 2>it was just me getting bored and just revisit them,

0:12:45.200 --> 0:12:47.480
<v Speaker 2>just keep adding and adding and adding over that period

0:12:47.559 --> 0:12:47.880
<v Speaker 2>of time.

0:12:48.080 --> 0:12:51.400
<v Speaker 1>Yeah, I was gonna say, so, what makes you guys unique?

0:12:51.679 --> 0:12:54.240
<v Speaker 1>At least in my opinion, was that, you know, ninety

0:12:54.280 --> 0:12:57.600
<v Speaker 1>one was sort of the cutoff year where a lot

0:12:57.600 --> 0:13:02.400
<v Speaker 1>of the hip hop establishment was using primarily ultimate beats

0:13:02.400 --> 0:13:03.160
<v Speaker 1>and brakes.

0:13:03.880 --> 0:13:05.760
<v Speaker 2>Like, oh, I couldn't wait for the next one to

0:13:05.800 --> 0:13:06.319
<v Speaker 2>come out.

0:13:06.200 --> 0:13:09.160
<v Speaker 1>A different combination. See I discovered an eighty nine when

0:13:09.240 --> 0:13:13.280
<v Speaker 1>like all twenty were already out. But so you were

0:13:13.360 --> 0:13:17.000
<v Speaker 1>getting them in real time, and yeah, how long would

0:13:17.000 --> 0:13:18.880
<v Speaker 1>releases be in between?

0:13:19.000 --> 0:13:21.040
<v Speaker 2>I don't remember exactly, but I go up to forty

0:13:21.080 --> 0:13:23.240
<v Speaker 2>second Street. There was a spot on forty second Street,

0:13:23.280 --> 0:13:25.880
<v Speaker 2>and I'd just go up there and you know, just pillage,

0:13:26.360 --> 0:13:28.280
<v Speaker 2>what's going what's coming out? Next One's the next one

0:13:28.320 --> 0:13:29.880
<v Speaker 2>coming out, So I would just always look forward to

0:13:29.960 --> 0:13:33.000
<v Speaker 2>the next one, because, you know, digging it was a

0:13:33.040 --> 0:13:34.760
<v Speaker 2>little bit different back then. I didn't have the money

0:13:34.760 --> 0:13:36.760
<v Speaker 2>for the record, so I'd be in the ninety nine

0:13:36.800 --> 0:13:38.679
<v Speaker 2>cent bend and just pulling out the ninety nine cent

0:13:38.720 --> 0:13:41.880
<v Speaker 2>ben and using breaks and beats. But you know, also

0:13:41.920 --> 0:13:44.040
<v Speaker 2>back then, you couldn't use anything. If it was used,

0:13:44.200 --> 0:13:46.680
<v Speaker 2>you was whack, you know, so if people use the

0:13:46.720 --> 0:13:50.160
<v Speaker 2>sample before you, it wasn't something you'd want to put out.

0:13:50.320 --> 0:13:52.120
<v Speaker 2>And I almost didn't put Kill a Man out because

0:13:52.120 --> 0:13:55.600
<v Speaker 2>we had the demo, and then EPMD came out with Rampage,

0:13:55.760 --> 0:13:57.920
<v Speaker 2>and I was like, man, we can't put this shit out.

0:13:58.120 --> 0:14:01.280
<v Speaker 2>I'm glad we did, though, because I remember you remember

0:14:01.280 --> 0:14:03.680
<v Speaker 2>making that record. All the homies was driving around bumping

0:14:03.720 --> 0:14:05.559
<v Speaker 2>it every day. You know, we'd give cassettes out in

0:14:05.559 --> 0:14:08.040
<v Speaker 2>the neighborhood, and I was like, man, I'm glad we

0:14:08.080 --> 0:14:10.320
<v Speaker 2>put that shit out because it would have been cold

0:14:10.320 --> 0:14:10.880
<v Speaker 2>if we didn't.

0:14:11.000 --> 0:14:13.920
<v Speaker 1>I think the day that you guys mastered. So I

0:14:13.960 --> 0:14:19.200
<v Speaker 1>started interning at rough House right when Black Sunday came

0:14:19.200 --> 0:14:24.840
<v Speaker 1>out or slightly before, but Han Soul had gotten a

0:14:24.880 --> 0:14:28.040
<v Speaker 1>copy of you Guys's cassette. And this is right when

0:14:28.040 --> 0:14:30.720
<v Speaker 1>Tarik and I were first just like busking on the

0:14:30.720 --> 0:14:34.200
<v Speaker 1>streets or whatever, and so you know, we saw Hans

0:14:34.200 --> 0:14:37.040
<v Speaker 1>Soul and that was like, oh God, Philadelphia celebrities checking

0:14:37.080 --> 0:14:38.920
<v Speaker 1>us out, and so he gave us a lift in

0:14:39.480 --> 0:14:41.960
<v Speaker 1>he played that entire record on the way home. We

0:14:41.960 --> 0:14:44.640
<v Speaker 1>were just like mind blowing, like we just never heard

0:14:44.640 --> 0:14:46.960
<v Speaker 1>no shit like that in our lives. You know, most

0:14:47.000 --> 0:14:50.120
<v Speaker 1>people would credit ninety one for being the kind of

0:14:50.120 --> 0:14:54.080
<v Speaker 1>the hip hop renaissance period. And a lot of your

0:14:54.120 --> 0:14:57.800
<v Speaker 1>contemporaries went jazz. Pete Rock was going, jazz, Premiere was

0:14:57.800 --> 0:15:02.240
<v Speaker 1>going jazz, key Tip, you were going aychaedelic rocking psychedelics,

0:15:02.240 --> 0:15:06.080
<v Speaker 1>so especially blues, and I assume that's because of the

0:15:06.080 --> 0:15:08.120
<v Speaker 1>influence that you grew up and listening to.

0:15:08.200 --> 0:15:09.720
<v Speaker 2>You've grown up with dad and all the you know,

0:15:09.800 --> 0:15:12.600
<v Speaker 2>all the Vietnam rock, Concrete its clear water, you know,

0:15:12.920 --> 0:15:14.120
<v Speaker 2>all that type stuff.

0:15:14.720 --> 0:15:17.280
<v Speaker 1>And also I tend to judge people not on like

0:15:17.480 --> 0:15:21.080
<v Speaker 1>the hit singles, but the filler. So just all the

0:15:21.240 --> 0:15:23.760
<v Speaker 1>crazy psychedelic shit you're doing on stone is the way

0:15:23.800 --> 0:15:26.680
<v Speaker 1>of the walk and especially at the end, like just

0:15:26.960 --> 0:15:29.440
<v Speaker 1>you talking about the process of putting that record together,

0:15:29.480 --> 0:15:32.720
<v Speaker 1>because it just sounds like nothing that was ever released

0:15:32.720 --> 0:15:34.680
<v Speaker 1>in a lot of rule breaking on it, like.

0:15:34.960 --> 0:15:37.440
<v Speaker 2>Yeah, very unorthodoxed, you know what I mean, and just

0:15:37.640 --> 0:15:39.800
<v Speaker 2>trying to find our own sound, because it was important

0:15:39.840 --> 0:15:42.760
<v Speaker 2>then to have your own sound, your own look, and

0:15:43.600 --> 0:15:46.240
<v Speaker 2>have your own slang too, you know what I mean.

0:15:46.280 --> 0:15:48.520
<v Speaker 2>And it was interesting because you have I was inspired

0:15:48.560 --> 0:15:51.080
<v Speaker 2>by New York production, so you had a New York

0:15:51.080 --> 0:15:53.560
<v Speaker 2>production with West Coast slang on it in West Coast MC,

0:15:53.800 --> 0:15:57.080
<v Speaker 2>so it was a whole new sound and style. And

0:15:57.360 --> 0:16:01.120
<v Speaker 2>we'd do the demos at the house. By that time,

0:16:01.160 --> 0:16:02.800
<v Speaker 2>I got a task Camp four track, and if it

0:16:02.800 --> 0:16:04.680
<v Speaker 2>didn't sound good on the four track, we wouldn't record

0:16:04.680 --> 0:16:08.400
<v Speaker 2>it in the studio, and you know, just piecing away,

0:16:08.400 --> 0:16:11.200
<v Speaker 2>piecing away, and we almost didn't put hand on the

0:16:11.200 --> 0:16:15.400
<v Speaker 2>pump on there. I was actually just going from couch

0:16:15.440 --> 0:16:17.000
<v Speaker 2>to couch on my Homies and we were staying at

0:16:17.000 --> 0:16:19.880
<v Speaker 2>the oak Wood with Bread from seven A three and

0:16:19.920 --> 0:16:21.960
<v Speaker 2>I played that beat and he's like, yo, I like

0:16:22.000 --> 0:16:23.200
<v Speaker 2>that beat, and I go, I don't like it because

0:16:23.240 --> 0:16:24.800
<v Speaker 2>let me write to it. I'm like, all right, let

0:16:24.840 --> 0:16:26.320
<v Speaker 2>me let you write to it. He wrote, hand on

0:16:26.320 --> 0:16:29.000
<v Speaker 2>the pump, oh word okay. He wrote the first verse

0:16:29.080 --> 0:16:30.840
<v Speaker 2>the hook, and the second he goes, and he wrote

0:16:30.840 --> 0:16:35.240
<v Speaker 2>it for be real and it sounded cool. We recorded it,

0:16:35.240 --> 0:16:37.280
<v Speaker 2>but we went into the studio. It came alive, man,

0:16:37.880 --> 0:16:40.320
<v Speaker 2>and I was high as hell in the studio, and

0:16:40.360 --> 0:16:42.280
<v Speaker 2>I didn't have patience to wait for them to hook

0:16:42.320 --> 0:16:43.760
<v Speaker 2>the media up to the drum machine. So all they

0:16:43.880 --> 0:16:46.400
<v Speaker 2>ate a weights I played live. They was on, someone

0:16:46.400 --> 0:16:47.960
<v Speaker 2>were a little in front, some are a little behind,

0:16:48.480 --> 0:16:50.920
<v Speaker 2>and then going into the hooks boom boom bom boom

0:16:50.920 --> 0:16:53.400
<v Speaker 2>boom boom, and all the little sounds. I play them

0:16:53.440 --> 0:16:57.000
<v Speaker 2>all live. So I didn't really care about quantizing. I

0:16:57.000 --> 0:16:58.720
<v Speaker 2>didn't care about it being a little off. I didn't

0:16:58.720 --> 0:17:01.240
<v Speaker 2>care about sound quality. It was more about a vibe

0:17:01.240 --> 0:17:02.280
<v Speaker 2>and what felt right to us.

0:17:02.800 --> 0:17:05.520
<v Speaker 1>You guys came to act to Philadelphia to actually record it.

0:17:05.560 --> 0:17:07.879
<v Speaker 1>How many weeks or months did it take to record

0:17:07.920 --> 0:17:08.320
<v Speaker 1>the album?

0:17:08.480 --> 0:17:10.760
<v Speaker 2>Most of it was recorded. I think we was probably

0:17:10.760 --> 0:17:13.159
<v Speaker 2>in Philly for about a month, staying at the Comfort

0:17:13.160 --> 0:17:17.200
<v Speaker 2>in Okay, same place we stayed with seven A three

0:17:17.680 --> 0:17:20.080
<v Speaker 2>Just walk over to four four four fourth Street, go

0:17:20.119 --> 0:17:22.399
<v Speaker 2>down to the basement, get myself some chicken soup or

0:17:22.440 --> 0:17:25.000
<v Speaker 2>something like the little stand they head right there. Yeah,

0:17:25.160 --> 0:17:28.439
<v Speaker 2>go downstairs and just lock in man, And most of

0:17:28.440 --> 0:17:32.040
<v Speaker 2>the record was done. We recorded I think Latin Lingo

0:17:32.359 --> 0:17:36.000
<v Speaker 2>in Philly, and then probably the only extra song we

0:17:36.119 --> 0:17:38.680
<v Speaker 2>recorded in Philly was that one. Then the album was

0:17:38.720 --> 0:17:40.760
<v Speaker 2>pretty much done. I came back to La and Joe's like,

0:17:40.800 --> 0:17:43.000
<v Speaker 2>we need two more songs, and then that's when we

0:17:43.040 --> 0:17:46.080
<v Speaker 2>did Holding the Head and we did Stone Is the

0:17:46.080 --> 0:17:52.280
<v Speaker 2>Way of the Walk?

0:17:58.920 --> 0:18:02.919
<v Speaker 1>Could you talk about the after effect? Did you expect

0:18:03.880 --> 0:18:06.480
<v Speaker 1>this album to do what it did in terms of

0:18:06.760 --> 0:18:09.360
<v Speaker 1>not even the numbers, but just your nariety, your.

0:18:09.840 --> 0:18:11.840
<v Speaker 2>Nah man, I just wanted to make a record where

0:18:11.840 --> 0:18:14.240
<v Speaker 2>all my peers gave me respect. That was the main thing.

0:18:14.280 --> 0:18:14.800
<v Speaker 1>Make a record.

0:18:14.840 --> 0:18:16.919
<v Speaker 2>I figured we set about a one hundred fifty thousand

0:18:16.920 --> 0:18:19.640
<v Speaker 2>if we did out. Everybody I loved was selling about

0:18:19.640 --> 0:18:21.399
<v Speaker 2>that many records, you know what I mean. So I

0:18:21.480 --> 0:18:24.119
<v Speaker 2>was like, man, if we could do that, we're good.

0:18:24.240 --> 0:18:28.520
<v Speaker 2>And the record came out. We shipped sixty thousand, sold

0:18:28.520 --> 0:18:31.440
<v Speaker 2>about two records. We came out the same time as

0:18:31.440 --> 0:18:32.960
<v Speaker 2>Tim Dog he was signed, So we went on a

0:18:32.960 --> 0:18:35.399
<v Speaker 2>promo tour with Tim Dog and he was fuck Compton

0:18:35.440 --> 0:18:38.280
<v Speaker 2>was banging. So you know, we was doing going to

0:18:38.320 --> 0:18:40.920
<v Speaker 2>one stops, playing in front of twenty people in the morning,

0:18:41.000 --> 0:18:43.879
<v Speaker 2>eating it while they're eating eggs. We did playing the

0:18:43.880 --> 0:18:47.479
<v Speaker 2>clubs sixteen people, you know what I mean, doing the

0:18:47.480 --> 0:18:50.280
<v Speaker 2>morning shows, doing the mix shows, doing the local press,

0:18:50.400 --> 0:18:53.119
<v Speaker 2>just doing everything, going city to city and it wasn't popping,

0:18:53.200 --> 0:18:55.600
<v Speaker 2>but everybody loved our record. We was like, what's going on?

0:18:55.720 --> 0:18:58.800
<v Speaker 2>And then we had two days off on tour. We

0:18:58.800 --> 0:19:01.800
<v Speaker 2>was on a Naughty by Nature tour or and we

0:19:01.840 --> 0:19:05.640
<v Speaker 2>was doing b E t in DC. Two days off

0:19:05.640 --> 0:19:07.600
<v Speaker 2>and we drove up to New York. We shot kill

0:19:07.640 --> 0:19:09.239
<v Speaker 2>a man and we shot hand on the Pump back

0:19:09.280 --> 0:19:10.600
<v Speaker 2>to back. That's why they're in New York.

0:19:10.760 --> 0:19:13.000
<v Speaker 1>I was gonna ask, why did y'all shoot in New York?

0:19:13.560 --> 0:19:16.280
<v Speaker 1>And this is another thing I always thought the top

0:19:16.320 --> 0:19:21.280
<v Speaker 1>of the second verse, I always thought that was send Dog.

0:19:21.520 --> 0:19:25.200
<v Speaker 1>But I remember watching you. I'm like, wait a minute,

0:19:25.880 --> 0:19:29.280
<v Speaker 1>I didn't know you rapped, but was that sind Dogs?

0:19:29.320 --> 0:19:31.080
<v Speaker 2>It was sind Dog on the thing, but send Dog

0:19:31.160 --> 0:19:33.720
<v Speaker 2>had that backup voice. So we was like, let's let's

0:19:33.800 --> 0:19:35.399
<v Speaker 2>just I'll do the video. He was like, you do

0:19:35.440 --> 0:19:37.080
<v Speaker 2>the vid? He looked like it threw it off a

0:19:37.119 --> 0:19:41.320
<v Speaker 2>little bit right, right, you know? So then MTV raps

0:19:41.320 --> 0:19:43.480
<v Speaker 2>started playing it right, but they started playing it twice

0:19:43.520 --> 0:19:45.159
<v Speaker 2>a week, and that was like the Bible. You couldn't

0:19:45.200 --> 0:19:47.119
<v Speaker 2>wait to get home and watch MTV Raps every day

0:19:47.119 --> 0:19:48.800
<v Speaker 2>because that was the only place you could issue. So

0:19:49.400 --> 0:19:53.680
<v Speaker 2>the combination of that stretching Barbito playing our record, and

0:19:53.720 --> 0:19:58.679
<v Speaker 2>then Juice, the Juice soundtrack, and all those things coming together,

0:19:58.800 --> 0:20:00.840
<v Speaker 2>we just we went all the way to three. We

0:20:00.960 --> 0:20:03.960
<v Speaker 2>started selling sixty seventy eighty thousand records a week, touring

0:20:04.040 --> 0:20:05.480
<v Speaker 2>like a punk rock band because we knew we had

0:20:05.520 --> 0:20:07.200
<v Speaker 2>a tour to get in front of people, because we

0:20:07.200 --> 0:20:08.800
<v Speaker 2>weren't going to get radio with how I could kill

0:20:08.840 --> 0:20:09.800
<v Speaker 2>a man, right.

0:20:10.080 --> 0:20:13.080
<v Speaker 1>Just the synergy between the three of you. At what

0:20:13.160 --> 0:20:19.080
<v Speaker 1>point did you realize that a rapper's voice becomes an instrument?

0:20:19.880 --> 0:20:22.959
<v Speaker 1>But clearly in this group, I mean especially, I mean

0:20:23.359 --> 0:20:26.960
<v Speaker 1>be real. Of course he has a natural gift with

0:20:27.000 --> 0:20:31.119
<v Speaker 1>his voice. But I know Flave has pioneered a second

0:20:31.240 --> 0:20:34.680
<v Speaker 1>general role as in hype Man or the second guy

0:20:34.920 --> 0:20:37.399
<v Speaker 1>in the back of the Captain. But in my book,

0:20:37.560 --> 0:20:41.560
<v Speaker 1>like sin Dog is one of the greatest backing voices

0:20:41.600 --> 0:20:45.959
<v Speaker 1>of all time hip hop. And you hear his confidence

0:20:46.640 --> 0:20:50.160
<v Speaker 1>each song, each you know, each step of the way,

0:20:50.200 --> 0:20:54.800
<v Speaker 1>you hear his confidence get better. Why why would you, guys?

0:20:54.840 --> 0:20:57.600
<v Speaker 1>And I understand that Juice was a high profile thing,

0:20:57.680 --> 0:21:00.919
<v Speaker 1>but for me, like shoot him Up deserved to be

0:21:01.080 --> 0:21:03.560
<v Speaker 1>on an album so that people would know what I mean.

0:21:03.640 --> 0:21:06.119
<v Speaker 1>Juice was successful, so people knew. But yeah, why I

0:21:06.200 --> 0:21:06.840
<v Speaker 1>threw that away?

0:21:07.000 --> 0:21:09.959
<v Speaker 2>Well, we made that specifically for the movie God. So

0:21:10.040 --> 0:21:12.360
<v Speaker 2>you know, we went in and we was in New York.

0:21:12.400 --> 0:21:15.440
<v Speaker 2>I think I think Chris Shaw from Public Enemy engineer

0:21:15.800 --> 0:21:17.560
<v Speaker 2>one of theirs, he was in the studio with us,

0:21:17.600 --> 0:21:20.240
<v Speaker 2>and we had to go make a song for the soundtrack.

0:21:20.800 --> 0:21:23.520
<v Speaker 2>And then you know, I think Hank did the put

0:21:23.560 --> 0:21:25.399
<v Speaker 2>all the music together and Hank picked that song for

0:21:25.560 --> 0:21:27.920
<v Speaker 2>that scene for the actual main scene in the movie

0:21:28.000 --> 0:21:29.960
<v Speaker 2>kill a Man. Yeah, but shoot him Up. He is

0:21:30.000 --> 0:21:31.080
<v Speaker 2>just made for the soundtrack.

0:21:31.680 --> 0:21:34.440
<v Speaker 1>I would say, like around the time that Black Sunday's

0:21:34.640 --> 0:21:37.879
<v Speaker 1>coming out, would you say that there is such a

0:21:37.920 --> 0:21:42.479
<v Speaker 1>thing as being too successful? Because the thing is I

0:21:42.520 --> 0:21:46.439
<v Speaker 1>acknowledge you guys more than anything, as far as the

0:21:46.480 --> 0:21:52.000
<v Speaker 1>groups that we looked to as far as touring kind

0:21:52.040 --> 0:21:56.879
<v Speaker 1>of outside of the box in terms of like, you

0:21:56.920 --> 0:21:58.440
<v Speaker 1>guys were the first group that I was like, Oh,

0:21:58.720 --> 0:22:01.359
<v Speaker 1>I didn't know that hip hop groups could only be

0:22:01.480 --> 0:22:04.840
<v Speaker 1>locked into doing hip hop shows. Can just talk about

0:22:04.840 --> 0:22:09.639
<v Speaker 1>the whole experiences in doing like all tours and with

0:22:10.400 --> 0:22:13.440
<v Speaker 1>Lolla Palus and the whole different audience embracing you gut.

0:22:13.600 --> 0:22:15.199
<v Speaker 2>Yeah, it was we had we had that rock and

0:22:15.240 --> 0:22:17.920
<v Speaker 2>roll energy. Our bandit which which you know, Public Enemy

0:22:17.960 --> 0:22:20.439
<v Speaker 2>had that rock and roll energy, Beastie Boys had it,

0:22:20.800 --> 0:22:22.560
<v Speaker 2>Run had it, you know what I mean. So we

0:22:22.600 --> 0:22:25.480
<v Speaker 2>had that energy. So the first thing was they started

0:22:25.480 --> 0:22:28.000
<v Speaker 2>putting us on these different tours to you know, open

0:22:28.119 --> 0:22:30.520
<v Speaker 2>up the fan base. And first time we did it

0:22:30.560 --> 0:22:33.560
<v Speaker 2>was Lo La Palouzsa was the second stage and we

0:22:33.680 --> 0:22:36.040
<v Speaker 2>killed it. Everybody came killed and killed it, and then

0:22:36.119 --> 0:22:38.760
<v Speaker 2>you know, just started opening up things and just started

0:22:38.800 --> 0:22:41.080
<v Speaker 2>putting some with different people. We played with Metallica one night,

0:22:41.359 --> 0:22:43.480
<v Speaker 2>next show, We're playing with York you know what I mean.

0:22:43.680 --> 0:22:46.879
<v Speaker 2>So it was like we just our music worked in festivals,

0:22:47.119 --> 0:22:48.639
<v Speaker 2>which was because it had that energy and it had

0:22:48.640 --> 0:22:50.720
<v Speaker 2>that rock and roll energy, but it was still hip hop.

0:22:50.760 --> 0:22:53.280
<v Speaker 2>But like I said, we came from the bands. I

0:22:53.320 --> 0:22:55.280
<v Speaker 2>just mentioned them. Hip hop bands all had that energy,

0:22:55.600 --> 0:22:57.199
<v Speaker 2>you know, So that was a big influence for us

0:22:57.200 --> 0:22:57.760
<v Speaker 2>at that time.

0:22:58.080 --> 0:23:00.439
<v Speaker 1>Speaking of your live show, can you talk about bringing

0:23:01.240 --> 0:23:03.960
<v Speaker 1>Eric Bobo into the fold and his energy as a

0:23:03.960 --> 0:23:08.159
<v Speaker 1>percussionist and whatnot, like definitely brought the show up even higher,

0:23:08.160 --> 0:23:09.000
<v Speaker 1>Like talk about.

0:23:08.800 --> 0:23:12.760
<v Speaker 2>Bobo was with the Beastie Boys and he became our

0:23:12.800 --> 0:23:15.400
<v Speaker 2>friend on tour. Beastie Boys didn't smoke. They was vegan

0:23:15.440 --> 0:23:18.040
<v Speaker 2>and everything, so Bobo would come on our bus smoke weed, right,

0:23:18.359 --> 0:23:22.800
<v Speaker 2>you know. And then we was doing Woodstock and be

0:23:22.920 --> 0:23:25.320
<v Speaker 2>really invited Bobo to come play Woodstock with us. So

0:23:25.560 --> 0:23:27.240
<v Speaker 2>that was the first time he was on stage with

0:23:27.320 --> 0:23:30.320
<v Speaker 2>us like that. So he came and after that show

0:23:31.000 --> 0:23:33.639
<v Speaker 2>he pretty much told the Beastie Boys, I retire, I'm

0:23:33.640 --> 0:23:35.560
<v Speaker 2>going to start rolling with Cypress. We invited him in

0:23:35.600 --> 0:23:37.760
<v Speaker 2>the band at that point. We liked the dynamics would

0:23:37.760 --> 0:23:40.400
<v Speaker 2>have brought on stage. The percussion was killing. It fit

0:23:40.480 --> 0:23:43.240
<v Speaker 2>right into what we was doing and shit. So that

0:23:43.400 --> 0:23:45.280
<v Speaker 2>was big for us to add Bobo.

0:23:45.400 --> 0:23:47.800
<v Speaker 1>Since you know, the days of Fat Fro Freddie trying

0:23:47.800 --> 0:23:49.880
<v Speaker 1>to bring the punk thing together with the hip hop thing.

0:23:49.920 --> 0:23:54.000
<v Speaker 1>In the village in downtown New York. There's always been

0:23:54.160 --> 0:23:57.520
<v Speaker 1>a connection between the two. But I'll say that when

0:23:57.520 --> 0:23:59.600
<v Speaker 1>we started entering the game and doing the same things

0:24:00.320 --> 0:24:03.240
<v Speaker 1>for the best Boys and then doing stuff with Beck

0:24:03.320 --> 0:24:07.600
<v Speaker 1>and certain rock groups raged against the Machine and whatnot, Like,

0:24:07.640 --> 0:24:09.760
<v Speaker 1>I always felt that you guys made it easier for

0:24:09.880 --> 0:24:12.760
<v Speaker 1>us to get the lay of the land. But how

0:24:12.880 --> 0:24:17.960
<v Speaker 1>jarring was it to play these venues that weren't necessarily

0:24:18.119 --> 0:24:21.160
<v Speaker 1>audiences that were there to see a hip hop show.

0:24:21.359 --> 0:24:24.040
<v Speaker 2>Like, we loved it because they were wild. They start

0:24:24.080 --> 0:24:26.119
<v Speaker 2>slam dancing, you know, the kids was just losing.

0:24:26.160 --> 0:24:28.000
<v Speaker 1>So they were open to it and wide open to it.

0:24:28.040 --> 0:24:30.480
<v Speaker 2>They loved us. Yeah, they loved it. So we just

0:24:30.520 --> 0:24:32.320
<v Speaker 2>embraced it. Man. We just rolled with it and like,

0:24:32.520 --> 0:24:35.439
<v Speaker 2>what's going on next? Let's go, you know.

0:24:36.359 --> 0:24:38.480
<v Speaker 1>So, can you talk about the pressures of the follow

0:24:38.520 --> 0:24:41.200
<v Speaker 1>up record? Now? I always feel like the sophomore record

0:24:41.280 --> 0:24:43.399
<v Speaker 1>is the album which a lot all the pressure in

0:24:43.440 --> 0:24:44.359
<v Speaker 1>the world's on you to.

0:24:46.119 --> 0:24:50.280
<v Speaker 2>We was torn when we toured like seven months that

0:24:50.440 --> 0:24:53.159
<v Speaker 2>for that record, first album, and the label hit us

0:24:53.320 --> 0:24:54.879
<v Speaker 2>was like we need this album right now for the

0:24:54.880 --> 0:24:58.320
<v Speaker 2>fourth quarter. So we was like shit, man, We went

0:24:58.359 --> 0:24:59.920
<v Speaker 2>in the studio. We worked on it for a month.

0:25:00.760 --> 0:25:04.080
<v Speaker 2>If you notice, like three songs already came out, you know,

0:25:04.800 --> 0:25:06.920
<v Speaker 2>A to the motherfucking K. To the K was out

0:25:07.320 --> 0:25:09.440
<v Speaker 2>hand on the glock was a remix on the back,

0:25:09.480 --> 0:25:12.280
<v Speaker 2>you know what I mean. And then we went in.

0:25:12.320 --> 0:25:16.000
<v Speaker 2>I think we recorded ten new songs and quick. It

0:25:16.080 --> 0:25:17.919
<v Speaker 2>was a little crazy touring that much because I was

0:25:17.960 --> 0:25:19.960
<v Speaker 2>used to taking my time on beats and just you know.

0:25:20.240 --> 0:25:23.080
<v Speaker 1>Where did you record the second album? New York? Okay?

0:25:23.240 --> 0:25:25.399
<v Speaker 2>Yeah, the second album was in New York and then uh,

0:25:26.480 --> 0:25:28.879
<v Speaker 2>you know, went down to Philly and mixed it and

0:25:29.280 --> 0:25:33.159
<v Speaker 2>recorded it. And I'd said I would never rush a

0:25:33.240 --> 0:25:34.880
<v Speaker 2>record again and the rest of my life like I'm

0:25:34.880 --> 0:25:37.199
<v Speaker 2>taking my time moving forward. But at that time, you know,

0:25:37.200 --> 0:25:38.399
<v Speaker 2>it was a new thing for us to hurry up

0:25:38.400 --> 0:25:39.760
<v Speaker 2>and make a record. We was used to take the

0:25:39.800 --> 0:25:42.280
<v Speaker 2>first albums three years. First album is pretty much our

0:25:42.320 --> 0:25:45.200
<v Speaker 2>whole lives right right, every idea we've ever had, right,

0:25:45.480 --> 0:25:47.240
<v Speaker 2>So you know, the second one was rushed, and.

0:25:48.080 --> 0:25:54.480
<v Speaker 1>History shows that rush jobs yield also the most successful. Yeah,

0:25:54.840 --> 0:25:57.160
<v Speaker 1>I can name you twenty songs that were literally made

0:25:57.200 --> 0:26:00.240
<v Speaker 1>like on the like Aisley Brothers have this story, can

0:26:00.280 --> 0:26:03.560
<v Speaker 1>shout literally in seven minutes, they had seven minutes left, like,

0:26:03.800 --> 0:26:06.760
<v Speaker 1>let's do that church on real quick, mma, freestylet it.

0:26:07.240 --> 0:26:09.159
<v Speaker 2>And I was listening to Black Sabbath a lot and

0:26:09.240 --> 0:26:11.800
<v Speaker 2>a group called Ministry, you know, listen in the Ministry.

0:26:11.840 --> 0:26:14.920
<v Speaker 2>And so that's probably a reason the record got real

0:26:15.000 --> 0:26:16.520
<v Speaker 2>dark on that second one, you know what I mean.

0:26:16.560 --> 0:26:18.680
<v Speaker 2>There wasn't a lot of experiment and trying different things.

0:26:18.680 --> 0:26:20.359
<v Speaker 2>It was pretty much I made this beatless rap on

0:26:20.359 --> 0:26:22.120
<v Speaker 2>this beat. I made this beatless rap on this beat.

0:26:22.200 --> 0:26:26.680
<v Speaker 1>What is your creative process in terms of putting things together?

0:26:26.720 --> 0:26:29.840
<v Speaker 1>Because I meant, you know, the foundation of your work

0:26:29.960 --> 0:26:34.120
<v Speaker 1>is hip hop, but also your accessory noises, all those

0:26:34.119 --> 0:26:39.000
<v Speaker 1>things are also just as important to your sonic overlay,

0:26:39.080 --> 0:26:41.560
<v Speaker 1>like the universes that you paint. Do you just listen

0:26:41.640 --> 0:26:45.120
<v Speaker 1>to the records completely and then take notes on I'll

0:26:45.119 --> 0:26:46.040
<v Speaker 1>take that, I'll take that.

0:26:46.160 --> 0:26:48.800
<v Speaker 2>Or I'll always take notes. I'd always go back listen

0:26:48.840 --> 0:26:51.040
<v Speaker 2>to things, write it down. I'd always like to bring

0:26:51.040 --> 0:26:54.280
<v Speaker 2>a sound in, like halfway through the verse, like introduce

0:26:54.320 --> 0:26:56.800
<v Speaker 2>a sound. Always introduce a sound on the chorus that

0:26:56.920 --> 0:26:59.879
<v Speaker 2>wasn't in the verses. Second verse comes in, either put

0:26:59.880 --> 0:27:02.240
<v Speaker 2>a break that you haven't heard yet, or introduced a

0:27:02.280 --> 0:27:05.080
<v Speaker 2>new sound that didn't play yet, you know what I mean.

0:27:05.160 --> 0:27:07.639
<v Speaker 2>And then just try to keep it moving. And wherever

0:27:07.680 --> 0:27:10.479
<v Speaker 2>I got bored, that's where you would hear me flip it.

0:27:10.520 --> 0:27:12.280
<v Speaker 2>And that's just for me hearing the song over and

0:27:12.320 --> 0:27:14.359
<v Speaker 2>over and over and over. We're okay, I'm bored of

0:27:14.400 --> 0:27:16.399
<v Speaker 2>this section right here. It needs some life right here,

0:27:16.400 --> 0:27:18.960
<v Speaker 2>a little flavor. So then I would just start adding

0:27:18.960 --> 0:27:20.840
<v Speaker 2>things on to it, and the songs would change. They

0:27:20.840 --> 0:27:23.359
<v Speaker 2>would change and change and change and b rooud. It

0:27:23.480 --> 0:27:25.400
<v Speaker 2>wouldn't end like it started, you know what I mean.

0:27:25.600 --> 0:27:28.800
<v Speaker 2>Some songs i'd remix and just I had time, can

0:27:28.840 --> 0:27:30.520
<v Speaker 2>I make this better? And I just go in and

0:27:30.560 --> 0:27:31.920
<v Speaker 2>flip it, put a new beat on it.

0:27:32.119 --> 0:27:34.000
<v Speaker 1>I was going to say the break and kill a man,

0:27:34.840 --> 0:27:37.639
<v Speaker 1>that eight second or eight bar break that you do

0:27:37.880 --> 0:27:40.920
<v Speaker 1>before the last verse. The way we would just reestyle

0:27:41.000 --> 0:27:44.680
<v Speaker 1>over that part. It make pause tapes over that, like.

0:27:44.640 --> 0:27:47.600
<v Speaker 2>That was a whole nother beat that that was good,

0:27:48.200 --> 0:27:50.159
<v Speaker 2>Like for that eight seconds, it's amazing, But when you

0:27:50.160 --> 0:27:52.280
<v Speaker 2>hear it for two minutes, it was like, this is boring,

0:27:52.320 --> 0:27:54.760
<v Speaker 2>you know what I mean. So I was like I

0:27:54.800 --> 0:27:57.040
<v Speaker 2>would just take these other beats that I thought were banging,

0:27:57.080 --> 0:27:58.520
<v Speaker 2>but they weren't banging for a song, and then I

0:27:58.560 --> 0:28:00.480
<v Speaker 2>would use those for the breaks. So a lot of

0:28:00.520 --> 0:28:01.840
<v Speaker 2>those breaks were actually other beats I.

0:28:01.880 --> 0:28:07.640
<v Speaker 1>Made, Like especially with the Cipher's Hill timeline. You hear

0:28:07.720 --> 0:28:10.639
<v Speaker 1>the metamorphosis of the group, like I hear stuff that

0:28:10.680 --> 0:28:13.240
<v Speaker 1>you make or in twelve hundred. I guess twelve hundred

0:28:13.320 --> 0:28:15.520
<v Speaker 1>still your your favorite weapon of choice.

0:28:15.520 --> 0:28:18.679
<v Speaker 2>But I'm in the box now pretty much. I'm all

0:28:18.680 --> 0:28:21.280
<v Speaker 2>in the box really, yeah, just for time. You know,

0:28:21.320 --> 0:28:22.480
<v Speaker 2>I got a lot of things to do, so I

0:28:22.520 --> 0:28:24.119
<v Speaker 2>go in, but I've learned. It took me a minute

0:28:24.119 --> 0:28:26.640
<v Speaker 2>to just know how to manipulate it, to get my sound,

0:28:27.440 --> 0:28:28.720
<v Speaker 2>learning to use the right plug in time.

0:28:28.720 --> 0:28:32.199
<v Speaker 1>How hard is it to let go of what you know,

0:28:32.280 --> 0:28:33.840
<v Speaker 1>like the back of your hand, muscle memories.

0:28:33.880 --> 0:28:35.919
<v Speaker 2>Oh it was hard at the beginning, Like you know,

0:28:36.160 --> 0:28:38.600
<v Speaker 2>at the beginning, it was hard. But I think on

0:28:38.640 --> 0:28:41.000
<v Speaker 2>the third album, I started using the ASR ten and

0:28:41.040 --> 0:28:43.080
<v Speaker 2>I started using more live instruments as well a lot

0:28:43.080 --> 0:28:44.680
<v Speaker 2>of live fretless basses.

0:28:44.880 --> 0:28:48.520
<v Speaker 1>What prompted you to make that change?

0:28:48.720 --> 0:28:51.320
<v Speaker 2>I needed more sample and time because at one point

0:28:51.360 --> 0:28:53.360
<v Speaker 2>I was having three or four s P twelves lined

0:28:53.400 --> 0:28:56.560
<v Speaker 2>up are using bomb squads. I only had, you know,

0:28:56.640 --> 0:28:58.640
<v Speaker 2>ten seconds of sample in time, and I wanted like

0:28:59.000 --> 0:29:02.640
<v Speaker 2>an eight second sample, like for illusions. It's a long sample.

0:29:03.000 --> 0:29:04.760
<v Speaker 2>And I was like, how do I do this? You

0:29:04.760 --> 0:29:06.800
<v Speaker 2>know what I mean? So Alchemist is the one who

0:29:06.880 --> 0:29:08.640
<v Speaker 2>had ASR ten, and he was like, yo, you could

0:29:08.640 --> 0:29:10.920
<v Speaker 2>loop it in here, so you put it in there.

0:29:11.240 --> 0:29:13.320
<v Speaker 2>And I was like, oh shit, I could do that

0:29:13.360 --> 0:29:16.160
<v Speaker 2>with this machine. So then I got that machine, set

0:29:16.160 --> 0:29:17.600
<v Speaker 2>it right by the SP twelve hundred. But all the

0:29:17.680 --> 0:29:20.000
<v Speaker 2>drums would happen in the SP twelve hundred. I don't

0:29:20.080 --> 0:29:22.680
<v Speaker 2>like how the ASR sounded for the drums, but I'd

0:29:22.680 --> 0:29:25.080
<v Speaker 2>put samples in the ASR ten, the long samples.

0:29:25.560 --> 0:29:28.880
<v Speaker 1>Okay, so your musical stuff would go into ASR two. Yeah,

0:29:28.920 --> 0:29:31.760
<v Speaker 1>you still kept your all the drums and drums all right?

0:29:31.840 --> 0:29:35.880
<v Speaker 1>So for you, what's your best kick? Your best there?

0:29:36.440 --> 0:29:38.720
<v Speaker 1>I know it's super nerdy, but trust me, we want

0:29:38.720 --> 0:29:40.960
<v Speaker 1>to know these things, like what is your go to

0:29:42.080 --> 0:29:45.280
<v Speaker 1>as far as like your best texture. I had.

0:29:45.400 --> 0:29:47.440
<v Speaker 2>I had a couple of kicks I would use on

0:29:47.480 --> 0:29:49.560
<v Speaker 2>a lot of songs. I would use tramp a lot.

0:29:49.760 --> 0:29:51.640
<v Speaker 2>That kick from Tramp, and I'd put it underneath a

0:29:51.680 --> 0:29:53.160
<v Speaker 2>lot of those first couple of records.

0:29:53.440 --> 0:29:55.600
<v Speaker 1>Is there an isolated kick in tramp that will?

0:29:55.640 --> 0:29:58.440
<v Speaker 2>You know? There's fifteen versions of tramp, right.

0:29:58.840 --> 0:29:59.240
<v Speaker 1>So.

0:30:01.160 --> 0:30:04.960
<v Speaker 2>Noticing, so I grabbed that one and I had one

0:30:04.960 --> 0:30:07.280
<v Speaker 2>eight awaight I would always use, and then a lot

0:30:07.320 --> 0:30:10.520
<v Speaker 2>of snares I would get from hip hop instrumentals, you know.

0:30:10.560 --> 0:30:12.120
<v Speaker 2>I was like, oh, that's a that's a hit song

0:30:12.160 --> 0:30:14.240
<v Speaker 2>that Snarees banged, so that means it's a hit on

0:30:14.280 --> 0:30:16.120
<v Speaker 2>that one. It's going to be a hit on this one,

0:30:16.560 --> 0:30:20.080
<v Speaker 2>you know. So I take your customer snare even for

0:30:20.160 --> 0:30:22.880
<v Speaker 2>Killer Man. For the drums, I actually took the Day

0:30:22.960 --> 0:30:26.480
<v Speaker 2>Last Soul had a little break from the Manzel record.

0:30:26.800 --> 0:30:28.920
<v Speaker 2>I didn't have the original Manzel record, so I got

0:30:28.920 --> 0:30:31.160
<v Speaker 2>it from the Day Last Soul and it still had

0:30:31.200 --> 0:30:33.000
<v Speaker 2>the eight awaits in it if you listen to it.

0:30:33.280 --> 0:30:36.440
<v Speaker 2>Plug tuning was my ship. That blew my mind when

0:30:36.440 --> 0:30:38.680
<v Speaker 2>I heard that, so Killer Man started off. I wanted

0:30:38.720 --> 0:30:41.840
<v Speaker 2>to make plug tuning words. So that was me trying

0:30:41.880 --> 0:30:44.080
<v Speaker 2>to you know, my version of plug tuning.

0:30:44.800 --> 0:30:45.880
<v Speaker 1>Even you hear the bass.

0:30:45.600 --> 0:30:48.320
<v Speaker 2>Doom doom, doom, doom, doom.

0:30:48.160 --> 0:30:49.440
<v Speaker 1>To hear it do do do?

0:30:49.520 --> 0:30:50.680
<v Speaker 2>Do you know what I'm saying?

0:30:51.040 --> 0:30:54.040
<v Speaker 1>You got to hear. I don't know if you recently

0:30:54.080 --> 0:30:58.760
<v Speaker 1>heard it, but you know, because of the anniversaries coming

0:30:58.840 --> 0:31:01.720
<v Speaker 1>up for like all the day Off stuff, they put

0:31:01.760 --> 0:31:08.200
<v Speaker 1>the original like Muddy for track demo to man Yeah

0:31:08.240 --> 0:31:10.400
<v Speaker 1>and Potholes and.

0:31:11.360 --> 0:31:14.000
<v Speaker 2>All those Prince Paul records. Man, like that Daylight Soul

0:31:14.120 --> 0:31:15.600
<v Speaker 2>changed my life when I heard it. And you knew

0:31:15.840 --> 0:31:18.520
<v Speaker 2>in the eighties, from eighty seven to like eighty nine,

0:31:18.720 --> 0:31:22.640
<v Speaker 2>every week the hip hop was reinvented, right, you know,

0:31:22.680 --> 0:31:23.560
<v Speaker 2>And I was just like.

0:31:23.640 --> 0:31:26.280
<v Speaker 1>Damn, all right, question I've been dying to ask you.

0:31:26.960 --> 0:31:30.440
<v Speaker 1>And this this is strictly from this. This is a

0:31:30.520 --> 0:31:34.680
<v Speaker 1>mirror the intern at rough House asking these questions. If

0:31:34.920 --> 0:31:41.160
<v Speaker 1>you listened to the first Criss Cross record, did anything

0:31:41.280 --> 0:31:43.120
<v Speaker 1>like sound familiar to you at all as far as

0:31:43.160 --> 0:31:48.240
<v Speaker 1>all those drums were concerned. Yes, okay, it wasn't just me.

0:31:50.600 --> 0:31:53.560
<v Speaker 2>I even there's even a little squeak in the record. Dog,

0:31:53.680 --> 0:31:54.280
<v Speaker 2>you know what I'm saying?

0:31:54.440 --> 0:31:57.680
<v Speaker 1>Literally like okay. At one point when we finally got

0:31:57.720 --> 0:32:01.880
<v Speaker 1>a record deal, I think we made I think we

0:32:01.960 --> 0:32:06.760
<v Speaker 1>mixed like five songs in Studio four and I went

0:32:06.800 --> 0:32:09.040
<v Speaker 1>to the back of like Andy's room, which like all

0:32:09.040 --> 0:32:12.080
<v Speaker 1>where all the tapes are, and literally I saw the

0:32:12.120 --> 0:32:15.120
<v Speaker 1>first entire Cypress Hill record and then I went and

0:32:15.160 --> 0:32:17.960
<v Speaker 1>grabbed my keyboard player. I was like, I bet you

0:32:17.960 --> 0:32:20.840
<v Speaker 1>any amount of money. This is where Jermaine got his

0:32:20.960 --> 0:32:23.920
<v Speaker 1>drums for it, because literally it was like four songs.

0:32:23.920 --> 0:32:25.920
<v Speaker 2>I was like wow, Like it was like, you know

0:32:26.000 --> 0:32:28.520
<v Speaker 2>Cypres Hill meets Naughty by Nature. It's like they tell

0:32:28.560 --> 0:32:29.920
<v Speaker 2>all the Naughty by Nature and it was.

0:32:29.920 --> 0:32:35.320
<v Speaker 3>Like I wanted to know how you felt about that.

0:32:35.280 --> 0:32:37.440
<v Speaker 2>Like, yeah, I'll tell you an interesting story. Though I

0:32:38.800 --> 0:32:41.080
<v Speaker 2>sent you the Butcher the Jump Around demo.

0:32:42.320 --> 0:32:44.400
<v Speaker 1>Now I want to get you that part too, And they.

0:32:44.320 --> 0:32:48.160
<v Speaker 2>Wanted to sign it. Before that, I had already heard

0:32:48.160 --> 0:32:49.920
<v Speaker 2>that I was going to Jack the rapper, and I

0:32:49.960 --> 0:32:51.720
<v Speaker 2>heard the Cris Cross demos. They played them to me

0:32:51.720 --> 0:32:54.680
<v Speaker 2>in the car and Jump wasn't on there on the demos.

0:32:55.160 --> 0:32:56.640
<v Speaker 2>One day they go, oh, we don't want to sign

0:32:56.800 --> 0:33:01.520
<v Speaker 2>House of Pain. No more cool. Then cut a few

0:33:01.520 --> 0:33:04.800
<v Speaker 2>months later, then I had to jump demo. That's why

0:33:04.800 --> 0:33:06.200
<v Speaker 2>you get this is dedicated to.

0:33:07.840 --> 0:33:08.040
<v Speaker 1>You know.

0:33:08.440 --> 0:33:10.840
<v Speaker 2>And it wasn't that I probably wasn't Joe, but somebody

0:33:10.880 --> 0:33:11.840
<v Speaker 2>heard the record you know.

0:33:11.920 --> 0:33:14.280
<v Speaker 1>And I was going to say, how awkward is that

0:33:14.320 --> 0:33:17.680
<v Speaker 1>where it's like your label head is kind of your target,

0:33:17.960 --> 0:33:19.960
<v Speaker 1>but you still have a working relationship with him.

0:33:20.000 --> 0:33:22.680
<v Speaker 2>But well that was everlast. He's like, don't take that

0:33:22.760 --> 0:33:25.240
<v Speaker 2>off the song. I'm leaving that fund say to you.

0:33:25.600 --> 0:33:27.720
<v Speaker 2>Joe was like, Muggsy, what's going on. I had nothing

0:33:27.720 --> 0:33:29.360
<v Speaker 2>to do with it, wasn't. I was like, yeah, but Joe,

0:33:29.400 --> 0:33:30.280
<v Speaker 2>it's kind of funny.

0:33:30.280 --> 0:33:31.160
<v Speaker 1>We gave me the record.

0:33:31.240 --> 0:33:33.240
<v Speaker 2>It wasn't on their demo. You played me the demo

0:33:33.280 --> 0:33:34.920
<v Speaker 2>and all of a sudden you don't want to sign us,

0:33:34.960 --> 0:33:36.200
<v Speaker 2>But now you have a song called Jump.

0:33:36.840 --> 0:33:39.440
<v Speaker 1>Have you seen this the recent commercial where they actually

0:33:39.520 --> 0:33:43.680
<v Speaker 1>kept that part in which one damn jump around just

0:33:43.800 --> 0:33:47.560
<v Speaker 1>recently got license for a commercial that I saw during

0:33:47.560 --> 0:33:51.280
<v Speaker 1>the Super Bowl, all right, for the Volkswagen Yeah, and

0:33:51.480 --> 0:33:54.280
<v Speaker 1>in the fade out they still kept it dedicated. Just

0:33:54.360 --> 0:33:57.440
<v Speaker 1>I was like, wait, shit, yeah, well, I mean they

0:33:57.440 --> 0:33:59.320
<v Speaker 1>cut it off right before they say his name. But

0:33:59.720 --> 0:34:03.640
<v Speaker 1>I always wanted to know how that went down. I

0:34:03.640 --> 0:34:06.520
<v Speaker 1>forgot about the whole Jump comparison. I just meant, like,

0:34:06.560 --> 0:34:09.440
<v Speaker 1>your drums and your text right For the longest I

0:34:09.480 --> 0:34:12.520
<v Speaker 1>would ask, like, I know the SP twelve hundred pads

0:34:12.520 --> 0:34:15.040
<v Speaker 1>are here somewhere, like they gotta be here. Let me

0:34:15.040 --> 0:34:29.759
<v Speaker 1>hear his drums, but not the case. What are the

0:34:29.800 --> 0:34:33.320
<v Speaker 1>five records that nineties era mugs would save in a

0:34:33.400 --> 0:34:38.000
<v Speaker 1>fire in terms of just your all time favorites that.

0:34:37.920 --> 0:34:42.759
<v Speaker 2>You would probably Jimmie Hendricks if you hear kill him

0:34:42.800 --> 0:34:44.799
<v Speaker 2>and I sampled him in the chorus. Of course, you

0:34:44.840 --> 0:34:48.120
<v Speaker 2>know that that record tramp for sure. At the time

0:34:48.920 --> 0:34:52.239
<v Speaker 2>it was tramp. It was anything with a jazz stand

0:34:52.320 --> 0:34:55.000
<v Speaker 2>up base, whatever that might be. At the time, I

0:34:55.120 --> 0:34:57.279
<v Speaker 2>was all about putting jazz stand up bases in there.

0:34:57.600 --> 0:35:02.200
<v Speaker 2>And then barkas Barks. I sampled a lot of barks

0:35:02.239 --> 0:35:04.120
<v Speaker 2>little pieces though, because you know, with the SP twelve

0:35:04.160 --> 0:35:05.440
<v Speaker 2>you didn't have a lot of sampling time, so it

0:35:05.480 --> 0:35:08.279
<v Speaker 2>would be a lot of little pieces all mixed up

0:35:08.280 --> 0:35:08.600
<v Speaker 2>in there.

0:35:08.640 --> 0:35:13.160
<v Speaker 1>And then did you mind the digital distortion of a

0:35:13.160 --> 0:35:15.680
<v Speaker 1>twelve hundred or did you feel that that added to it,

0:35:15.800 --> 0:35:19.000
<v Speaker 1>like if you had the machine that sort of made

0:35:19.040 --> 0:35:22.480
<v Speaker 1>it perfect and sheen, would you have embraced that more or.

0:35:22.719 --> 0:35:24.359
<v Speaker 2>I kind of dug it because you know, we didn't

0:35:24.400 --> 0:35:26.520
<v Speaker 2>have no sampling time, so I would have the beat

0:35:26.560 --> 0:35:30.080
<v Speaker 2>on and then I'd match the sample perfect and then

0:35:30.120 --> 0:35:32.080
<v Speaker 2>I put it on forty five sampling it to the

0:35:32.120 --> 0:35:33.600
<v Speaker 2>drum machine and had to pull it down. That's how

0:35:33.600 --> 0:35:36.239
<v Speaker 2>we doubled our sampling time. So that was just part

0:35:36.280 --> 0:35:38.320
<v Speaker 2>of it. I didn't care because out here we was

0:35:38.360 --> 0:35:41.480
<v Speaker 2>listening to KD and KD at night. A Spanish station

0:35:41.520 --> 0:35:43.480
<v Speaker 2>would come on around six o'clock, so you'd hear it's

0:35:43.600 --> 0:35:46.279
<v Speaker 2>AM radio first of all, right, and then you get

0:35:46.280 --> 0:35:48.560
<v Speaker 2>the Spanish station, so it's dusty. It sounds like shit,

0:35:48.680 --> 0:35:51.160
<v Speaker 2>So you were used to it. How did you say

0:35:51.200 --> 0:35:51.600
<v Speaker 2>that sounds?

0:35:52.080 --> 0:35:55.880
<v Speaker 1>Yeah? Because especially like let me think of a good example,

0:35:55.920 --> 0:36:00.880
<v Speaker 1>you know, cold feet using all the staff, like all

0:36:00.920 --> 0:36:05.600
<v Speaker 1>of your the who did cold feet? Albur king? Yeah,

0:36:05.680 --> 0:36:10.640
<v Speaker 1>like those stabs you know, once processed through the twelve hundred,

0:36:11.280 --> 0:36:15.160
<v Speaker 1>it's digitally distorted it, which I always wanted to know

0:36:15.280 --> 0:36:20.520
<v Speaker 1>if people embraced the distortion of it all or if

0:36:20.560 --> 0:36:24.520
<v Speaker 1>they were longing for a day were now you know, yeah,

0:36:24.520 --> 0:36:25.640
<v Speaker 1>sonic perfection I was.

0:36:25.840 --> 0:36:28.640
<v Speaker 2>I didn't care about being sonic perfectionist at all. I

0:36:28.680 --> 0:36:32.640
<v Speaker 2>was about vibe, just straight vibe, one hundred percent. Joe

0:36:32.680 --> 0:36:34.480
<v Speaker 2>cleaned it up a little later, you know what I mean,

0:36:34.480 --> 0:36:35.840
<v Speaker 2>he cleaned it up a little bit, but I was like,

0:36:35.840 --> 0:36:37.920
<v Speaker 2>don't clean it up too much, Like I want my

0:36:37.960 --> 0:36:38.520
<v Speaker 2>shit dirty.

0:36:39.120 --> 0:36:41.840
<v Speaker 1>All right, So you're a house opinion production. Did you

0:36:41.920 --> 0:36:43.960
<v Speaker 1>do the entire first? No?

0:36:44.120 --> 0:36:45.799
<v Speaker 2>I did about eight because we was on the road

0:36:45.840 --> 0:36:50.399
<v Speaker 2>so much. Then their DJ didn't make beat yet, but

0:36:50.480 --> 0:36:52.200
<v Speaker 2>he came. He came over my house when I was

0:36:52.200 --> 0:36:54.640
<v Speaker 2>doing the demos and he just watched and he went

0:36:54.680 --> 0:36:56.640
<v Speaker 2>home and started making beats. If you notice a lot

0:36:56.680 --> 0:36:57.880
<v Speaker 2>of that shit sounds like I did it.

0:36:58.800 --> 0:37:01.720
<v Speaker 1>So did you do come get some of this? Yeah?

0:37:02.239 --> 0:37:08.040
<v Speaker 1>Shake kickers? Yes, all right? What I care about Danny Boy? No,

0:37:08.640 --> 0:37:11.560
<v Speaker 1>I knew it. I was like, Danny Boys is a

0:37:11.600 --> 0:37:14.799
<v Speaker 1>little too clean for it. I was trying to differentiate

0:37:14.840 --> 0:37:17.799
<v Speaker 1>between the two for jump Around at least, did you

0:37:19.400 --> 0:37:22.160
<v Speaker 1>expected all that that was going to take off as

0:37:22.239 --> 0:37:23.399
<v Speaker 1>much as it did? At all?

0:37:23.440 --> 0:37:25.680
<v Speaker 2>Bro, Like it's forever I had that beat, and like

0:37:25.719 --> 0:37:28.239
<v Speaker 2>I would demo beats with different rappers and to come through.

0:37:28.239 --> 0:37:29.879
<v Speaker 2>But if you didn't kill it, you couldn't have the beat.

0:37:30.320 --> 0:37:31.960
<v Speaker 2>His son Dooby rapped on it. He used to rap

0:37:31.960 --> 0:37:33.319
<v Speaker 2>on a lot of beats because he was just he

0:37:33.400 --> 0:37:35.279
<v Speaker 2>was sixteen years old. He was the homie. He was

0:37:35.280 --> 0:37:37.919
<v Speaker 2>Shawn's homie from seven eight three, okay, so he lived

0:37:37.920 --> 0:37:39.600
<v Speaker 2>down the Blox. He'd come over and just rap on shit.

0:37:39.680 --> 0:37:41.760
<v Speaker 2>So he rapped on it. I demoed it with Daddy

0:37:41.760 --> 0:37:44.319
<v Speaker 2>Freddy okay because I did like four joints with him

0:37:44.360 --> 0:37:46.040
<v Speaker 2>because I was a big rag muffin hip hop fan.

0:37:46.160 --> 0:37:47.240
<v Speaker 1>Yeah, and then.

0:37:48.760 --> 0:37:51.680
<v Speaker 2>I actually played it for Cube, passed on it, and

0:37:51.719 --> 0:37:55.560
<v Speaker 2>then you know, recorded House of Pain and it was cool.

0:37:55.680 --> 0:37:58.560
<v Speaker 2>I liked it, you know, we shopped it around, nobody

0:37:58.600 --> 0:38:00.840
<v Speaker 2>was biting on it, and then hit me he was

0:38:00.840 --> 0:38:04.320
<v Speaker 2>working at Priority Flexing and wanted to sign it. Offered

0:38:04.320 --> 0:38:06.799
<v Speaker 2>a sixty five thousand, and then one day I got

0:38:06.840 --> 0:38:10.080
<v Speaker 2>a call from Tommy Boy, which was Monica Lynch and

0:38:10.800 --> 0:38:13.960
<v Speaker 2>she's like, mugs, this reminds me of she She's irish.

0:38:13.960 --> 0:38:16.120
<v Speaker 2>She goes this reminds me of my brothers. They go

0:38:16.160 --> 0:38:17.799
<v Speaker 2>to church, then they go to the bars and get

0:38:17.880 --> 0:38:21.120
<v Speaker 2>drunk in their fights, right, and it was the perfect place.

0:38:21.120 --> 0:38:23.239
<v Speaker 2>So I told House of Pain, you know, let's roll

0:38:23.280 --> 0:38:25.920
<v Speaker 2>with her. And then we got the same guy to

0:38:25.920 --> 0:38:28.520
<v Speaker 2>do their video, Shady Perez, the same Mike Miller to

0:38:28.560 --> 0:38:30.399
<v Speaker 2>shoot their album covered, the same guy that did us.

0:38:30.480 --> 0:38:34.000
<v Speaker 2>We got the same management, and you know she knew

0:38:34.000 --> 0:38:36.640
<v Speaker 2>what to do with the whole Irish vibe. And you

0:38:36.640 --> 0:38:38.440
<v Speaker 2>know they went to the Irish Date Parade and that

0:38:38.560 --> 0:38:41.640
<v Speaker 2>song took off and you never expect nothing like that

0:38:41.640 --> 0:38:42.080
<v Speaker 2>to happen.

0:38:42.680 --> 0:38:44.040
<v Speaker 1>You know. I liked the record.

0:38:44.320 --> 0:38:46.120
<v Speaker 2>I didn't think it was a great record, but I

0:38:46.239 --> 0:38:46.840
<v Speaker 2>liked the record.

0:38:47.239 --> 0:38:50.440
<v Speaker 1>I feel like that song is the September of hip hop. Yeah,

0:38:50.760 --> 0:38:53.640
<v Speaker 1>like earth Wind and Fire had, you know, all these

0:38:53.640 --> 0:38:55.680
<v Speaker 1>songs that identify them, but the end of the day,

0:38:55.719 --> 0:38:58.520
<v Speaker 1>it's like a filler song from the Greatest Hits album

0:38:58.560 --> 0:39:03.319
<v Speaker 1>that winds up. Same with Ronde. It's tricky like that

0:39:03.440 --> 0:39:06.680
<v Speaker 1>might wind up being their signature song once the smoke clears,

0:39:06.719 --> 0:39:09.480
<v Speaker 1>even though you know it's Peter Piper and all that shit,

0:39:09.600 --> 0:39:13.600
<v Speaker 1>and like like when the smoke is clear, like jump

0:39:13.640 --> 0:39:17.279
<v Speaker 1>around will never not be played at sports, anthems never

0:39:17.320 --> 0:39:19.160
<v Speaker 1>not be played at celebrations, Like to this.

0:39:19.200 --> 0:39:21.080
<v Speaker 2>Day, it just gets bigger and bigger and bigger.

0:39:21.920 --> 0:39:25.040
<v Speaker 1>It's crazy, all right. Question I've been dying to ask you.

0:39:25.680 --> 0:39:30.040
<v Speaker 1>Did you produce sometimes the Neighborhood for Call the Wild?

0:39:30.320 --> 0:39:33.120
<v Speaker 2>No, I didn't, And I remember you asked me one

0:39:33.160 --> 0:39:34.880
<v Speaker 2>time a fight. You know, I need that single and

0:39:35.000 --> 0:39:36.920
<v Speaker 2>I didn't have any and you was like, yeah, right,

0:39:37.000 --> 0:39:39.080
<v Speaker 2>you don't got any. I think we was on the

0:39:39.080 --> 0:39:42.000
<v Speaker 2>Smoking Grooves. Yes, I think Shawn C produced that record.

0:39:42.400 --> 0:39:45.400
<v Speaker 2>What I think Shawn C might have produced it? That

0:39:45.560 --> 0:39:46.680
<v Speaker 2>and Clouds of Smoke.

0:39:47.080 --> 0:39:49.120
<v Speaker 1>Well, I mean I want to ask about Daddy Freddy

0:39:49.120 --> 0:39:52.239
<v Speaker 1>and Funk Dubis also, But where did they come from?

0:39:52.760 --> 0:39:55.520
<v Speaker 2>The call the Wilds from the polo grounds, you know,

0:39:56.120 --> 0:39:59.520
<v Speaker 2>one hundred fifty fifth and Saint Nick and I met

0:39:59.520 --> 0:40:02.040
<v Speaker 2>them and then I just started working with him, and uh,

0:40:02.120 --> 0:40:03.640
<v Speaker 2>you know, I was busy and stuff. We was doing

0:40:03.640 --> 0:40:06.000
<v Speaker 2>demos and then they was doing records with with Shawn C.

0:40:06.239 --> 0:40:08.520
<v Speaker 2>Was up in their neighborhood. So they came with that

0:40:08.560 --> 0:40:11.840
<v Speaker 2>one day and I was like, Yo, that beat is crazzy.

0:40:12.200 --> 0:40:14.480
<v Speaker 1>To this day, that beat rules my life. Shout out

0:40:14.480 --> 0:40:17.759
<v Speaker 1>to Cosmic Kevin Philadelphia for put me onto that. He

0:40:18.280 --> 0:40:21.920
<v Speaker 1>just spun the Jesus out of it on radio one day,

0:40:21.920 --> 0:40:25.360
<v Speaker 1>and I to this day that that rolling pianos down.

0:40:25.280 --> 0:40:27.680
<v Speaker 2>Oh man, and it flips the pitch change and comes

0:40:27.680 --> 0:40:30.359
<v Speaker 2>back has ruled, yes, umps and everything. I actually got

0:40:30.400 --> 0:40:32.520
<v Speaker 2>to call the Wild album. We never put it out.

0:40:32.800 --> 0:40:36.240
<v Speaker 2>I got a whole album. It's banging too wait web

0:40:36.239 --> 0:40:39.560
<v Speaker 2>it we signed, uh, we signed to Chris. Chris Schwartz

0:40:39.600 --> 0:40:42.000
<v Speaker 2>signed us. They were going to be on rough House, Yeah,

0:40:42.040 --> 0:40:44.920
<v Speaker 2>and then they wanted a commercial record. We tried a couple,

0:40:45.040 --> 0:40:49.040
<v Speaker 2>We tried a couple, sampled some you know, uh, I

0:40:49.080 --> 0:40:51.600
<v Speaker 2>don't know, fucking some Marvin Gaye or some shit. We

0:40:51.800 --> 0:40:53.799
<v Speaker 2>try to do some of those those soul records. I

0:40:53.880 --> 0:40:55.480
<v Speaker 2>was out at the time and it wasn't working. And

0:40:55.520 --> 0:40:57.319
<v Speaker 2>then they was like, we don't want to do this.

0:40:57.400 --> 0:40:59.239
<v Speaker 2>I go, hey, man, this is the record. We don't

0:40:59.239 --> 0:41:02.560
<v Speaker 2>want to do a commercial record. And then we just

0:41:02.719 --> 0:41:05.120
<v Speaker 2>asked them if we can get dropped, and so they

0:41:05.200 --> 0:41:07.520
<v Speaker 2>let us go. Chris was cool as l let us go.

0:41:07.719 --> 0:41:09.960
<v Speaker 1>Do you still have that record? Yeah? I got to

0:41:09.960 --> 0:41:11.840
<v Speaker 1>hear that record, man, I'll shoot it over to please

0:41:12.120 --> 0:41:13.520
<v Speaker 1>absolutely God damn.

0:41:14.040 --> 0:41:15.640
<v Speaker 2>And the group broke up in the middle of all

0:41:15.680 --> 0:41:18.200
<v Speaker 2>that and everything, and Smooth actually stayed with me for

0:41:18.200 --> 0:41:20.160
<v Speaker 2>a while. He's out on the fourth Cypress album on

0:41:20.320 --> 0:41:21.240
<v Speaker 2>like about four songs.

0:41:21.320 --> 0:41:25.080
<v Speaker 1>Okay. That's a shame, man, because every day I was

0:41:25.120 --> 0:41:28.319
<v Speaker 1>going to like records, anything new, anything new, and it

0:41:28.400 --> 0:41:30.759
<v Speaker 1>never came out. What did that twelve innuch come out on?

0:41:30.880 --> 0:41:34.600
<v Speaker 2>Then I started the label's a east Side Records just

0:41:34.640 --> 0:41:37.920
<v Speaker 2>printed up ourselves, make like a few hundred copies and.

0:41:38.000 --> 0:41:42.160
<v Speaker 1>Damn all right, So I got lucky cool. I'm down. Yeah.

0:41:42.239 --> 0:41:47.360
<v Speaker 1>Talk about like as far as building the arsenal of

0:41:48.040 --> 0:41:51.279
<v Speaker 1>your sonic family, like, how did funk Dubious come into

0:41:51.719 --> 0:41:53.319
<v Speaker 1>to play? That was?

0:41:54.040 --> 0:41:56.239
<v Speaker 2>So we had Son who was trying to be big

0:41:56.320 --> 0:41:58.840
<v Speaker 2>Daddy Kane dressed like kinge rap like came you know,

0:41:58.880 --> 0:42:01.440
<v Speaker 2>he was Sean's little homie. And then we had t

0:42:01.640 --> 0:42:04.560
<v Speaker 2>Bone who was down with Cypress from the DVX crew,

0:42:05.040 --> 0:42:09.359
<v Speaker 2>and then Ralph em was Kid Frost DJ and so

0:42:09.400 --> 0:42:11.680
<v Speaker 2>we was like, let's put these guys together and make

0:42:11.680 --> 0:42:14.040
<v Speaker 2>a group. Bireu had a song called the Funk Dubius

0:42:14.080 --> 0:42:16.520
<v Speaker 2>that was actually on the A to the K beat

0:42:17.440 --> 0:42:20.279
<v Speaker 2>before we did at the k Okay, and we was like,

0:42:20.360 --> 0:42:23.839
<v Speaker 2>let's call them the funk Dubius from your song. So

0:42:23.880 --> 0:42:27.520
<v Speaker 2>we gave them the name, put them together and got

0:42:27.520 --> 0:42:30.279
<v Speaker 2>them their deal. There wasn't a lot of rappers around us.

0:42:30.280 --> 0:42:32.080
<v Speaker 2>Most of our homies didn't rap, so we was like,

0:42:32.280 --> 0:42:34.320
<v Speaker 2>they rapped, let's make a group of them.

0:42:34.600 --> 0:42:38.919
<v Speaker 1>I got the unveiling or the unleashing of the mug

0:42:39.040 --> 0:42:43.959
<v Speaker 1>sound in hip hop? Was your collaborative work with ice Cube, right,

0:42:44.000 --> 0:42:48.520
<v Speaker 1>which you know, I'm dying for the day for someone

0:42:48.719 --> 0:42:52.480
<v Speaker 1>to start playing Tear this motherfucker up, which is definitely

0:42:52.480 --> 0:42:55.920
<v Speaker 1>made for where we are now and these times. But

0:42:55.960 --> 0:42:58.319
<v Speaker 1>I always wanted to know, And I don't know if

0:42:58.360 --> 0:43:01.440
<v Speaker 1>they were added as an afterthought or whatnot. But do

0:43:01.480 --> 0:43:04.520
<v Speaker 1>you know why dos never actually dropped a verse on

0:43:04.760 --> 0:43:07.960
<v Speaker 1>check yourself? Like you just had them for the course

0:43:08.080 --> 0:43:08.600
<v Speaker 1>or that.

0:43:08.640 --> 0:43:11.799
<v Speaker 2>Was all Cube is? Yeah, Cube was after he had

0:43:11.960 --> 0:43:13.279
<v Speaker 2>sent him to be He's like, I'm gonna get dis

0:43:13.320 --> 0:43:13.960
<v Speaker 2>effects on this.

0:43:14.440 --> 0:43:16.400
<v Speaker 1>Okay, So you would just send the beat, send the

0:43:16.400 --> 0:43:18.040
<v Speaker 1>tapes out, and then let them do it.

0:43:18.040 --> 0:43:19.640
<v Speaker 2>They had none to do it. I mixed it, but

0:43:19.920 --> 0:43:20.279
<v Speaker 2>that was.

0:43:20.239 --> 0:43:26.000
<v Speaker 1>It, okay, Okay. Normally, when a DJ from a crew

0:43:26.360 --> 0:43:30.000
<v Speaker 1>gets prominent as a producer, nine times out of ten,

0:43:30.239 --> 0:43:32.759
<v Speaker 1>like I'll see a situation in which they'll get a

0:43:32.800 --> 0:43:36.160
<v Speaker 1>replacement touring DJ the tour of the group, especially a

0:43:36.160 --> 0:43:38.560
<v Speaker 1>group like Cypress Hill, which is always touring, so that

0:43:39.680 --> 0:43:42.480
<v Speaker 1>said DJ producer can go home and make stuff Like

0:43:42.560 --> 0:43:45.520
<v Speaker 1>at any point did you consider just permanently leaving the

0:43:45.520 --> 0:43:46.879
<v Speaker 1>group and just being.

0:43:46.920 --> 0:43:49.680
<v Speaker 2>Yeah, I have about probably about the last twelve years

0:43:49.680 --> 0:43:53.839
<v Speaker 2>I stopped torn. So you're not I don't tour on function, okay, Na.

0:43:53.880 --> 0:43:55.200
<v Speaker 2>I just wanted to make sure. You know, I used

0:43:55.239 --> 0:43:57.040
<v Speaker 2>to watch behind the music and everything, and I've seen

0:43:57.080 --> 0:43:59.320
<v Speaker 2>every rock star's biggest regret was not being able to

0:43:59.400 --> 0:44:01.160
<v Speaker 2>raise their children, you know what I mean. So I

0:44:01.200 --> 0:44:02.759
<v Speaker 2>was like, now I'm going to make sure I raise

0:44:02.840 --> 0:44:06.000
<v Speaker 2>my kids. And I just like being in the studio

0:44:06.040 --> 0:44:08.279
<v Speaker 2>and being creative, you know, because sometimes doing the same

0:44:08.280 --> 0:44:10.160
<v Speaker 2>set list night after night and being on the road,

0:44:10.160 --> 0:44:12.280
<v Speaker 2>it just felt like a robot. I want to switch

0:44:12.320 --> 0:44:15.080
<v Speaker 2>the set list up and you know, do crazy things

0:44:15.080 --> 0:44:18.320
<v Speaker 2>on tour. But I was just like, man, getting boring

0:44:18.400 --> 0:44:19.000
<v Speaker 2>and it was hard.

0:44:19.040 --> 0:44:19.719
<v Speaker 1>It was hard.

0:44:19.840 --> 0:44:22.399
<v Speaker 2>Was that it's hard to make beats back then. Now

0:44:22.400 --> 0:44:24.520
<v Speaker 2>it's easy with the computers, but trying to compete with,

0:44:24.600 --> 0:44:28.239
<v Speaker 2>you know, the biggest producers and be on tour for

0:44:28.239 --> 0:44:30.319
<v Speaker 2>seven months a year was hard. And you know, I

0:44:30.360 --> 0:44:31.719
<v Speaker 2>wasn't making beats fast. I make beats.

0:44:31.800 --> 0:44:34.120
<v Speaker 1>Did you feel competitive, especially in that era of like

0:44:34.200 --> 0:44:35.600
<v Speaker 1>who's going to get this break first?

0:44:35.600 --> 0:44:39.160
<v Speaker 2>And yo, I'd be on tour and come home and

0:44:39.160 --> 0:44:41.520
<v Speaker 2>be writing the studio, go back on tour, come home

0:44:41.520 --> 0:44:43.080
<v Speaker 2>and be writing a studio. Doing that, there was never

0:44:43.080 --> 0:44:45.879
<v Speaker 2>a break, so you know, I wasn't used to moving

0:44:45.960 --> 0:44:48.720
<v Speaker 2>like that. So six years of that shit, it's driving

0:44:48.719 --> 0:44:50.319
<v Speaker 2>you crazy. I didn't know it was driving me crazy

0:44:50.400 --> 0:44:52.680
<v Speaker 2>until I look back at the time. There was no breaks,

0:44:53.080 --> 0:44:55.200
<v Speaker 2>and it was hard. It was hard to like make beats.

0:44:55.239 --> 0:44:57.000
<v Speaker 2>You know, probably when.

0:44:56.880 --> 0:44:59.399
<v Speaker 1>Do you have a little operation on your tour bus.

0:44:59.400 --> 0:45:01.160
<v Speaker 2>I tried, but you're trying to play a record in

0:45:01.160 --> 0:45:03.080
<v Speaker 2>the bus is bounce and you're trying to record everybody's

0:45:03.080 --> 0:45:05.120
<v Speaker 2>on the bus. We had twelve people on the bus,

0:45:05.160 --> 0:45:07.799
<v Speaker 2>so it wasn't and you're tired on tour and shit.

0:45:07.920 --> 0:45:10.799
<v Speaker 2>So it was hard. And you know, I was making

0:45:10.840 --> 0:45:14.680
<v Speaker 2>about a beat a week back then, so I'd have

0:45:14.719 --> 0:45:16.440
<v Speaker 2>to come home and I got to turn this album

0:45:16.440 --> 0:45:18.239
<v Speaker 2>and you know, a month, so I just have to

0:45:18.239 --> 0:45:20.440
<v Speaker 2>make trying to make I learned to make beats faster,

0:45:20.960 --> 0:45:23.160
<v Speaker 2>but at that time it was a little bit difficult.

0:45:23.160 --> 0:45:27.480
<v Speaker 1>Man, every producer I know has a one that got

0:45:27.520 --> 0:45:30.799
<v Speaker 1>away in terms of like, well, you mentioned that you

0:45:30.800 --> 0:45:33.880
<v Speaker 1>were almost not going to release kill Man Been Criminal,

0:45:34.400 --> 0:45:38.359
<v Speaker 1>But has there ever been like a particularly sample that

0:45:38.480 --> 0:45:41.759
<v Speaker 1>you had something for that you held back of the

0:45:41.840 --> 0:45:43.799
<v Speaker 1>last minute because it's already out there.

0:45:43.920 --> 0:45:48.520
<v Speaker 2>And so after Black Sunday, after the record got so

0:45:48.600 --> 0:45:52.000
<v Speaker 2>big and you know, and saying it to bring Blue

0:45:52.040 --> 0:45:54.759
<v Speaker 2>the fuck up, then we started getting the backlash. Oh,

0:45:54.880 --> 0:45:57.759
<v Speaker 2>they sold out, they did this, they went rock. So

0:45:57.840 --> 0:46:00.000
<v Speaker 2>I was like, you was doing what you were doing exactly.

0:46:00.880 --> 0:46:02.440
<v Speaker 1>The brain could have been on the first record.

0:46:02.800 --> 0:46:04.279
<v Speaker 2>We never went out of our way to make it hit.

0:46:04.320 --> 0:46:06.520
<v Speaker 2>It's the same records we made. And what I knew

0:46:06.520 --> 0:46:08.439
<v Speaker 2>was insane in the brain. I was like, they didn't

0:46:08.440 --> 0:46:10.520
<v Speaker 2>get enough for that sound yet, so let me make

0:46:10.880 --> 0:46:12.960
<v Speaker 2>another version. To kill a Man is what insane in

0:46:13.000 --> 0:46:15.319
<v Speaker 2>the brain was. Let me make let me if you

0:46:15.640 --> 0:46:18.400
<v Speaker 2>listen to the bassline, Okay, so they put the brakes

0:46:18.400 --> 0:46:19.799
<v Speaker 2>in it and shit. So I was like, they didn't

0:46:19.800 --> 0:46:21.520
<v Speaker 2>get enough of this sound, so let me feed them

0:46:21.520 --> 0:46:23.040
<v Speaker 2>a little bit more of this sounds, you know what

0:46:23.040 --> 0:46:26.600
<v Speaker 2>I mean. So when it was time for the third album,

0:46:26.800 --> 0:46:28.600
<v Speaker 2>I was like, I'm gonna make the darkest record I

0:46:28.640 --> 0:46:31.200
<v Speaker 2>can make, you know, And so I just sat. But

0:46:31.280 --> 0:46:33.799
<v Speaker 2>we did a song that's a banger, and I hear

0:46:33.840 --> 0:46:35.120
<v Speaker 2>it now and I was like that was a hit

0:46:35.200 --> 0:46:37.240
<v Speaker 2>single that should have been the first single on Temple

0:46:37.239 --> 0:46:42.640
<v Speaker 2>of Boom, which one us to go with. And it's

0:46:42.640 --> 0:46:45.600
<v Speaker 2>called in the City of Angels. Okay, in the City

0:46:45.640 --> 0:46:47.840
<v Speaker 2>of Angels, where the hustlers play and the ballers be

0:46:47.920 --> 0:46:50.640
<v Speaker 2>dropping a vapid all day. It's a banger.

0:46:50.760 --> 0:46:54.080
<v Speaker 1>You mentioned something about texture. You gotta you gotta sell

0:46:54.120 --> 0:46:58.680
<v Speaker 1>this once and for all. Jump around, h what is

0:46:58.719 --> 0:47:03.760
<v Speaker 1>the shrill noise for? There's there's there's this battle.

0:47:03.880 --> 0:47:06.480
<v Speaker 2>I never cleared the sample though, so you want to

0:47:06.520 --> 0:47:07.000
<v Speaker 2>beep it out.

0:47:09.239 --> 0:47:12.640
<v Speaker 1>Look, if it's who I think it is, that person's

0:47:12.880 --> 0:47:14.760
<v Speaker 1>has been long gone for ten years.

0:47:15.280 --> 0:47:17.319
<v Speaker 2>It's not Prince Dog.

0:47:18.160 --> 0:47:23.480
<v Speaker 1>Okay, so it is indeed, but you hear what we hear.

0:47:24.120 --> 0:47:25.319
<v Speaker 2>Prince thought it was Prince too.

0:47:26.360 --> 0:47:27.000
<v Speaker 1>He came to you.

0:47:27.400 --> 0:47:29.200
<v Speaker 2>Yeah, when we was in Minnesota one time they go.

0:47:29.480 --> 0:47:31.799
<v Speaker 2>We was playing in the club. He was upstairs. We talked,

0:47:31.800 --> 0:47:33.600
<v Speaker 2>We had a little conversation for a minute, but it

0:47:33.640 --> 0:47:35.560
<v Speaker 2>wasn't Prince and I told him who it was and

0:47:35.600 --> 0:47:36.080
<v Speaker 2>he got it.

0:47:39.520 --> 0:47:41.880
<v Speaker 1>Wait, what so how did he approach you about it?

0:47:41.880 --> 0:47:44.120
<v Speaker 2>But he was downstairs, and I guess he was upstairs

0:47:44.120 --> 0:47:46.960
<v Speaker 2>and somebody had you know, Boom and I went upstairs

0:47:47.000 --> 0:47:49.399
<v Speaker 2>and just talked to him for a second and let

0:47:49.440 --> 0:47:52.560
<v Speaker 2>him know, and he just looked at me, like, Okay,

0:47:54.360 --> 0:47:56.600
<v Speaker 2>I think once he heard. I think once he heard

0:47:56.640 --> 0:47:57.960
<v Speaker 2>what it was, it made say.

0:47:57.840 --> 0:48:00.400
<v Speaker 1>You know what. Okay, So I went back and heard it.

0:48:00.480 --> 0:48:02.560
<v Speaker 2>But I couldn't mistake it. I couldn't mistake it for that.

0:48:02.680 --> 0:48:06.320
<v Speaker 1>I still love the lure of we We all thought

0:48:06.400 --> 0:48:10.359
<v Speaker 1>that the get off yell was a distorted whatever the

0:48:10.400 --> 0:48:15.560
<v Speaker 1>distorted shrill is in jump Around, when, of course it

0:48:15.640 --> 0:48:16.759
<v Speaker 1>was just and.

0:48:17.080 --> 0:48:19.040
<v Speaker 2>We just got popped for that sample I think about

0:48:19.040 --> 0:48:23.040
<v Speaker 2>five years ago. Wait, so it's still just We just

0:48:23.080 --> 0:48:25.399
<v Speaker 2>had to pay for it obviously. But you know, thank

0:48:25.400 --> 0:48:27.319
<v Speaker 2>god the laws got changed. They only was able to

0:48:27.320 --> 0:48:30.360
<v Speaker 2>go back three years and get royalties. If they was

0:48:30.400 --> 0:48:32.000
<v Speaker 2>able to go back twenty years, it would have been

0:48:32.239 --> 0:48:34.880
<v Speaker 2>cold as cold as ice for us. But yeah, it

0:48:34.920 --> 0:48:38.080
<v Speaker 2>was Chubby Checker for what song. I can't remember this,

0:48:40.040 --> 0:48:42.600
<v Speaker 2>that's Chubby Checker. Yeah, it's that. And then it just

0:48:42.640 --> 0:48:44.799
<v Speaker 2>goes into a hole. It goes into some hole of

0:48:44.800 --> 0:48:45.120
<v Speaker 2>the ship.

0:48:45.880 --> 0:48:48.600
<v Speaker 1>Okay, wow, I didn't know that.

0:48:49.120 --> 0:48:51.040
<v Speaker 2>And it's the same drums from hand on the pump,

0:48:51.520 --> 0:48:54.120
<v Speaker 2>same tramp. It is tramp drums and the same the

0:48:54.160 --> 0:48:56.799
<v Speaker 2>same high hats at the whole the same kit.

0:48:57.560 --> 0:49:00.560
<v Speaker 1>Like how exhausting was that period of hip hop? I mean,

0:49:00.719 --> 0:49:03.600
<v Speaker 1>that's the period I missed the most where it was

0:49:03.760 --> 0:49:07.880
<v Speaker 1>just the goal rush wild West of sample clearing and

0:49:08.719 --> 0:49:10.279
<v Speaker 1>not sample clearing.

0:49:10.040 --> 0:49:12.960
<v Speaker 2>Just putting records out, this barrage.

0:49:12.760 --> 0:49:14.919
<v Speaker 1>Of samples on top of each other, which I miss

0:49:14.960 --> 0:49:19.400
<v Speaker 1>it so money too, But how Nightmaries was it just

0:49:19.560 --> 0:49:24.239
<v Speaker 1>to make a record and say nineteen ninety five or

0:49:24.320 --> 0:49:27.239
<v Speaker 1>ninety six, where your hands are sort of tied behind

0:49:27.280 --> 0:49:31.680
<v Speaker 1>your back because what you're known for sonically you can't.

0:49:31.760 --> 0:49:34.320
<v Speaker 2>Well the first album when it was done, Chris Schwartz

0:49:34.360 --> 0:49:35.640
<v Speaker 2>told me like this, he is, we ain't going to

0:49:35.680 --> 0:49:38.920
<v Speaker 2>clear these samples. This record will never come out. We're

0:49:38.960 --> 0:49:40.680
<v Speaker 2>just gonna put this record out and deal with it later.

0:49:41.520 --> 0:49:44.280
<v Speaker 2>And we got hit for samples for the next fifteen years,

0:49:44.600 --> 0:49:45.120
<v Speaker 2>you know what I mean.

0:49:45.160 --> 0:49:46.520
<v Speaker 1>Oh, so you did have to pay a proble.

0:49:46.600 --> 0:49:49.319
<v Speaker 2>We played fifty grand for Duke of earl Ah. You know,

0:49:49.520 --> 0:49:52.400
<v Speaker 2>we paid, We paid, We paid for everything. And I

0:49:52.400 --> 0:49:54.160
<v Speaker 2>told ice Cube that one day he goes fifty grand

0:49:54.160 --> 0:49:56.920
<v Speaker 2>for a hit, I'll do that any day. And then

0:49:56.960 --> 0:49:58.600
<v Speaker 2>it made me go, oh, that should make sense to me.

0:49:58.640 --> 0:50:00.640
<v Speaker 2>I never thought about it like that. But by the

0:50:00.680 --> 0:50:03.440
<v Speaker 2>time I got the Temple of Boom, I started implementing

0:50:03.440 --> 0:50:05.120
<v Speaker 2>a lot of more live instruments. So there's a lot

0:50:05.160 --> 0:50:07.879
<v Speaker 2>of live baselines on there with just you know, live

0:50:08.040 --> 0:50:10.000
<v Speaker 2>organ sounds and stuff. All ran through the SP twelve

0:50:10.080 --> 0:50:12.480
<v Speaker 2>hundred to give them that dust. But at that time

0:50:12.520 --> 0:50:14.160
<v Speaker 2>I just was like, then I had to start turning

0:50:14.200 --> 0:50:16.960
<v Speaker 2>samples in the be and Sam was looking at me like,

0:50:17.080 --> 0:50:19.560
<v Speaker 2>better clear these fucking samples. Man, this is costing us

0:50:19.560 --> 0:50:21.600
<v Speaker 2>a lot of money. When we get another you know,

0:50:22.280 --> 0:50:26.320
<v Speaker 2>fifty hundred thousand dollars lawsuit, then we got hit forum

0:50:26.600 --> 0:50:33.279
<v Speaker 2>sil Johnson in Alude on Black Sunday because I'm Black. Yeah,

0:50:33.360 --> 0:50:37.920
<v Speaker 2>twenty million dollar lawsuit. Wait what twenty million dollars froze

0:50:37.960 --> 0:50:41.200
<v Speaker 2>everybody's publishing, froze everybody's royalties for a couple of years.

0:50:41.320 --> 0:50:43.280
<v Speaker 1>Where'd they get twenty million from.

0:50:43.280 --> 0:50:48.239
<v Speaker 2>Some ambulance chasing lawyer from Chicago and trying to say

0:50:48.280 --> 0:50:50.279
<v Speaker 2>that the reason this album's a hit is because of

0:50:50.320 --> 0:50:52.719
<v Speaker 2>that interlude. And I was like, no, it don't work

0:50:52.760 --> 0:50:55.200
<v Speaker 2>like that. The hit songs, the single and drove it.

0:50:55.280 --> 0:50:59.360
<v Speaker 2>I go, that's a thirty one second record.

0:51:00.239 --> 0:51:02.120
<v Speaker 1>For a fact that I first heard is it becomes

0:51:02.200 --> 0:51:05.480
<v Speaker 1>I'm black on that record, right, and I'm one of

0:51:05.480 --> 0:51:08.000
<v Speaker 1>the dueves and nerds that will read the sample credit

0:51:08.080 --> 0:51:12.080
<v Speaker 1>or whatever or no, and then by Cel Johnson and

0:51:12.120 --> 0:51:16.200
<v Speaker 1>then by more Cel Johnson, me too, and absolutely they

0:51:16.360 --> 0:51:19.839
<v Speaker 1>logically can't see that that's benefiting them.

0:51:20.160 --> 0:51:21.719
<v Speaker 2>I don't think he's seen it like that. I think

0:51:21.719 --> 0:51:23.239
<v Speaker 2>he was just trying to get as much as he can.

0:51:23.320 --> 0:51:25.520
<v Speaker 2>So thank god I've recorded. I got it from the

0:51:25.560 --> 0:51:27.640
<v Speaker 2>forty five, which I think the laws changed by the

0:51:27.680 --> 0:51:29.360
<v Speaker 2>time they started, by the time it was on the

0:51:29.400 --> 0:51:33.400
<v Speaker 2>album for the songwriters, right, they ended up getting three

0:51:33.480 --> 0:51:38.120
<v Speaker 2>hundred thousand, and then they appealed it and then the

0:51:38.200 --> 0:51:40.799
<v Speaker 2>judge got mad. He goes, you know what, now you

0:51:41.560 --> 0:51:44.280
<v Speaker 2>don't get ship. Now you got to pay their law fees.

0:51:45.480 --> 0:51:48.279
<v Speaker 2>So it ended up working out. It ended up working

0:51:48.280 --> 0:51:51.520
<v Speaker 2>out good for us man the guy that he got

0:51:51.520 --> 0:51:54.000
<v Speaker 2>real greedy and they was aggressive in the in the

0:51:54.960 --> 0:51:56.880
<v Speaker 2>I had to sit down and get testimonies and all

0:51:56.920 --> 0:51:58.840
<v Speaker 2>this shit. Lawyers were yelling at us. It was like

0:51:58.880 --> 0:52:02.600
<v Speaker 2>three days of sitting down, depositions and shit like that.

0:52:02.640 --> 0:52:05.759
<v Speaker 2>What you had to go through before an interlude. I

0:52:05.800 --> 0:52:07.839
<v Speaker 2>was like, God, damn, well, this shit I gotta go through.

0:52:07.880 --> 0:52:10.480
<v Speaker 2>And then, you know, and that's the to answer your question,

0:52:10.560 --> 0:52:13.279
<v Speaker 2>that's when it's like, I can't sample shit no more.

0:52:13.640 --> 0:52:15.600
<v Speaker 2>And then they was hitting you hard for samples at

0:52:15.600 --> 0:52:17.080
<v Speaker 2>that time because they knew what they can get, you

0:52:17.160 --> 0:52:19.120
<v Speaker 2>know what I mean. So, you know, then we just

0:52:19.120 --> 0:52:21.239
<v Speaker 2>started having to figure other things out. I think it

0:52:21.280 --> 0:52:23.080
<v Speaker 2>took away from the vibe, you know, moving forward to

0:52:23.160 --> 0:52:25.600
<v Speaker 2>like the fourth fifth album, you know, not being able

0:52:25.600 --> 0:52:27.600
<v Speaker 2>to just be free and sample anything you wanted at

0:52:27.640 --> 0:52:29.600
<v Speaker 2>any time. You know, you had to be very cautious,

0:52:29.800 --> 0:52:32.200
<v Speaker 2>especially once you get success. If he was putting underground

0:52:32.200 --> 0:52:34.839
<v Speaker 2>records out, it's a different thing. But now at that point,

0:52:34.840 --> 0:52:36.640
<v Speaker 2>as soon as that record comes out, they're playing that

0:52:36.600 --> 0:52:39.200
<v Speaker 2>they're looking for shit, right, and the label don't want

0:52:39.200 --> 0:52:41.120
<v Speaker 2>to give up their masters, you know, so the labels

0:52:41.160 --> 0:52:42.920
<v Speaker 2>extra too, you know, they're writing that ship in the

0:52:42.920 --> 0:52:45.240
<v Speaker 2>context you are liable for all the samples now.

0:52:56.960 --> 0:53:02.600
<v Speaker 1>In prime cypercial touring. Lord, how hard was it being

0:53:02.680 --> 0:53:07.640
<v Speaker 1>advocates of cannabis use and we use in kind of

0:53:07.640 --> 0:53:10.560
<v Speaker 1>an outlaw form like you know, yeah, yeah, where there's

0:53:10.560 --> 0:53:12.799
<v Speaker 1>some towns in which you guys knew you had to

0:53:12.840 --> 0:53:13.640
<v Speaker 1>go dry.

0:53:13.480 --> 0:53:16.520
<v Speaker 2>And the cops stay, don't light up, You're going to jail.

0:53:16.600 --> 0:53:18.759
<v Speaker 2>Cops waiting on the side of the stage, like a

0:53:18.760 --> 0:53:21.680
<v Speaker 2>lot of that, you know what I mean. That's when

0:53:21.719 --> 0:53:24.120
<v Speaker 2>it was actually fun. Though when it was the outlaws shit,

0:53:24.160 --> 0:53:26.680
<v Speaker 2>you know what I mean, That's when I actually dug it.

0:53:26.719 --> 0:53:30.759
<v Speaker 2>But yeah, there was times, you know, especially Texas, Arizona,

0:53:30.920 --> 0:53:33.279
<v Speaker 2>Theavid cops waiting for us, waiting for us, don't light up.

0:53:33.480 --> 0:53:35.120
<v Speaker 2>They were set. They're standing there waiting for you to

0:53:35.160 --> 0:53:37.240
<v Speaker 2>light up. So we got a lot of that, especially

0:53:37.280 --> 0:53:40.480
<v Speaker 2>like in the Bible belt and how would you handle it,

0:53:40.600 --> 0:53:42.360
<v Speaker 2>which wouldn't smoke on stage that night?

0:53:42.520 --> 0:53:47.160
<v Speaker 1>Really? Yeah? Okay, So I directed the Saturday Night Live

0:53:47.280 --> 0:53:52.239
<v Speaker 1>documentary about music acts on the show, and I had

0:53:52.280 --> 0:53:54.440
<v Speaker 1>it been a multi series, I would have definitely gotten

0:53:54.440 --> 0:53:58.640
<v Speaker 1>to you guys, because you guys are part of a

0:53:58.800 --> 0:54:02.920
<v Speaker 1>very small club of people who got in trouble for

0:54:04.080 --> 0:54:07.040
<v Speaker 1>certain acts on sn L. Can you talk about the

0:54:07.080 --> 0:54:09.600
<v Speaker 1>whole sn L incident because you actually came from behind

0:54:09.600 --> 0:54:13.160
<v Speaker 1>the turntables and set it off and said.

0:54:13.840 --> 0:54:17.000
<v Speaker 2>I said in New York, can I light my joint?

0:54:17.360 --> 0:54:21.680
<v Speaker 2>You know. So we're in the green room doing rehearsals

0:54:22.080 --> 0:54:24.640
<v Speaker 2>and I'm just rolling some weed and don't light up

0:54:24.640 --> 0:54:29.319
<v Speaker 2>on stage, and I'm like, of course, okay, don't light

0:54:29.440 --> 0:54:34.759
<v Speaker 2>up on stage. Fifteen times I had no problem. Then

0:54:35.040 --> 0:54:37.000
<v Speaker 2>I was just like, you know what, I was planning

0:54:37.000 --> 0:54:38.400
<v Speaker 2>on it. But after they was telling me, I started

0:54:38.400 --> 0:54:40.880
<v Speaker 2>second guestsing myself and I was like, man, fuck damn,

0:54:40.960 --> 0:54:42.880
<v Speaker 2>I'm gonna light up on stage, but don't do it

0:54:42.920 --> 0:54:44.239
<v Speaker 2>on the first song because they're not going to let

0:54:44.280 --> 0:54:46.479
<v Speaker 2>us come back out. So I waited to the second song.

0:54:47.400 --> 0:54:49.120
<v Speaker 2>That's when I go, Yo, can I light my joint?

0:54:49.640 --> 0:54:52.600
<v Speaker 2>They told me. The phone line started going crazy, the

0:54:52.640 --> 0:54:55.960
<v Speaker 2>crowd started looking around. Everybody's calling in what the fuck

0:54:56.000 --> 0:54:59.359
<v Speaker 2>they're doing? What the fuck they're doing, and you know,

0:55:00.360 --> 0:55:02.800
<v Speaker 2>start smashing the turntables because we would. We would smash

0:55:02.840 --> 0:55:05.959
<v Speaker 2>all our turntables like the Who. So you know, on tour,

0:55:06.120 --> 0:55:09.640
<v Speaker 2>smashing smashing everything like insane in the brain, so you know,

0:55:09.800 --> 0:55:12.440
<v Speaker 2>doing all that. And after after the show, well they

0:55:12.520 --> 0:55:15.919
<v Speaker 2>let me have it. The label the executives up there

0:55:16.520 --> 0:55:19.520
<v Speaker 2>being Sam was mad at me, and I was just like, man,

0:55:19.600 --> 0:55:21.680
<v Speaker 2>fuck this ship, you know what I mean, that's what

0:55:21.719 --> 0:55:24.479
<v Speaker 2>it is, so you know, I never knew it would

0:55:24.480 --> 0:55:26.480
<v Speaker 2>go this far and still be alive like this. You know,

0:55:26.520 --> 0:55:27.480
<v Speaker 2>it was just something we did.

0:55:27.640 --> 0:55:31.320
<v Speaker 1>It was it's legal, and like.

0:55:32.719 --> 0:55:38.920
<v Speaker 2>Now now it's now. Now it's corny. Everybody's it's boring.

0:55:39.000 --> 0:55:42.360
<v Speaker 2>Now I'm saying it was good when you was the

0:55:42.400 --> 0:55:43.960
<v Speaker 2>bad guy and you ain't supposed to do this, you

0:55:44.000 --> 0:55:45.560
<v Speaker 2>know what I mean. And you know, we we just

0:55:45.600 --> 0:55:47.920
<v Speaker 2>took the torch from a Bob Marley, from you know,

0:55:47.960 --> 0:55:49.799
<v Speaker 2>the Rolling Stones, all the rock and roll guys that

0:55:49.880 --> 0:55:51.560
<v Speaker 2>was smoking. That's what that's what. That's what we came.

0:55:51.840 --> 0:55:54.040
<v Speaker 1>Have you guys over the dispensary at least? Yeah, Bibro

0:55:54.200 --> 0:55:56.600
<v Speaker 1>has I was about to say, if there's not a

0:55:56.680 --> 0:55:59.279
<v Speaker 1>cypress really a dispensary, then this is off or not.

0:55:59.560 --> 0:56:02.239
<v Speaker 2>It's called the green thumb, okay, And you know, it's

0:56:02.320 --> 0:56:04.480
<v Speaker 2>just we just took the torch from Bob Marley, you

0:56:04.520 --> 0:56:06.880
<v Speaker 2>know what I mean, and all the acts of the sixties,

0:56:06.880 --> 0:56:09.239
<v Speaker 2>and it was like, let's just bring this this thing

0:56:09.280 --> 0:56:11.920
<v Speaker 2>and just's try to make this legal. So we was

0:56:11.920 --> 0:56:15.800
<v Speaker 2>doing fundraisers for Normal, the National Organization for Former Marijuana Laws,

0:56:16.120 --> 0:56:19.120
<v Speaker 2>doing fundraisers trying to get money so they can go

0:56:19.160 --> 0:56:21.919
<v Speaker 2>to Congress with their lobbyist groups and you know, get

0:56:21.920 --> 0:56:23.839
<v Speaker 2>this shit legal, you know what I mean. So for

0:56:23.960 --> 0:56:27.279
<v Speaker 2>years we did that and we pushed, we pushed for that,

0:56:27.360 --> 0:56:29.279
<v Speaker 2>and then once it got legal, I was like, I

0:56:29.440 --> 0:56:30.080
<v Speaker 2>just boring now.

0:56:30.400 --> 0:56:33.440
<v Speaker 1>I figured as much at the height of just the

0:56:34.080 --> 0:56:37.560
<v Speaker 1>fringy that was Cypersal. I always wanted to know, has

0:56:38.080 --> 0:56:40.759
<v Speaker 1>Hollywood ever come calling to you guys at all, like

0:56:41.280 --> 0:56:44.640
<v Speaker 1>especially in terms of like what Cheach and Chong films

0:56:44.680 --> 0:56:47.440
<v Speaker 1>meant in the seventies or whatever that at any point.

0:56:49.000 --> 0:56:51.799
<v Speaker 2>They haven't. They haven't, really. No. The only thing we

0:56:51.840 --> 0:56:53.799
<v Speaker 2>did close enough was we did I think we have

0:56:53.800 --> 0:56:56.759
<v Speaker 2>a scene in how High, Yeah, and just doing the

0:56:56.840 --> 0:57:00.200
<v Speaker 2>music for Fridays, But we never they never approached us

0:57:00.200 --> 0:57:02.719
<v Speaker 2>to do a film, which in hindsight, if I would

0:57:02.719 --> 0:57:04.759
<v Speaker 2>have known what I know now, we would have done

0:57:04.760 --> 0:57:07.439
<v Speaker 2>a film back then, probably been on volume five by now.

0:57:07.960 --> 0:57:11.200
<v Speaker 1>Were you involved at all with the okay As a

0:57:11.280 --> 0:57:15.880
<v Speaker 1>long time since Simpsons fan of course Simpson's heads know

0:57:16.040 --> 0:57:18.640
<v Speaker 1>that there was a Cypress Hill joke, maybe with the

0:57:18.640 --> 0:57:22.520
<v Speaker 1>London vill Harmonic whatever, And then I think recently or

0:57:22.640 --> 0:57:26.480
<v Speaker 1>maybe a year ago or two years ago, it finally

0:57:26.520 --> 0:57:27.520
<v Speaker 1>that joke finally came.

0:57:27.440 --> 0:57:31.080
<v Speaker 2>To life with yeaitis there was I wasn't there. DJ

0:57:31.200 --> 0:57:33.479
<v Speaker 2>Lord tours with him now from public and okay, okay,

0:57:33.560 --> 0:57:36.880
<v Speaker 2>yeah he's dope. Okay, damn See you didn't have to

0:57:36.920 --> 0:57:37.360
<v Speaker 2>deal with that.

0:57:37.600 --> 0:57:40.520
<v Speaker 1>I want to talk about your your collaboration al Preeze

0:57:40.520 --> 0:57:43.440
<v Speaker 1>that you've done. Soul Assassins was your your very first

0:57:43.840 --> 0:57:46.080
<v Speaker 1>outing outside of the group as far as.

0:57:46.080 --> 0:57:49.280
<v Speaker 2>Soul Assassins is a crew like, so once we start

0:57:49.360 --> 0:57:51.960
<v Speaker 2>putting out albums we had I mid the combination. Oh yeah,

0:57:52.000 --> 0:57:55.080
<v Speaker 2>that was my first thing outside the group. And you know,

0:57:55.120 --> 0:57:57.480
<v Speaker 2>I was never I went to I didn't like selling

0:57:57.480 --> 0:57:58.960
<v Speaker 2>beats to people because I went to a couple of

0:57:59.000 --> 0:58:02.000
<v Speaker 2>little studio sessions and there's ten producers waiting for their

0:58:02.000 --> 0:58:04.080
<v Speaker 2>turn to go play beat battle call. And I walked

0:58:04.120 --> 0:58:05.920
<v Speaker 2>into one of those and I looked around and I

0:58:05.960 --> 0:58:07.360
<v Speaker 2>was like, I'll be right back. I'm gonna go to

0:58:07.360 --> 0:58:11.040
<v Speaker 2>the store. And I never went back, you know. And

0:58:11.680 --> 0:58:14.360
<v Speaker 2>I was talking to a famous producer one day. I go, man,

0:58:14.400 --> 0:58:16.320
<v Speaker 2>I love your shit. He goes, nah, Man, he goes,

0:58:16.360 --> 0:58:17.760
<v Speaker 2>you're doing it right. He goes, I'm waiting for the

0:58:17.760 --> 0:58:19.720
<v Speaker 2>next phone call to sell a beat. He goes, you

0:58:19.760 --> 0:58:22.360
<v Speaker 2>build your own world, and then I was at that point,

0:58:22.400 --> 0:58:23.520
<v Speaker 2>I was like, you know what, I just want to

0:58:23.520 --> 0:58:25.440
<v Speaker 2>build my own worlds and be in full control of

0:58:25.480 --> 0:58:27.680
<v Speaker 2>my worlds. So that's the reason I didn't do a

0:58:27.720 --> 0:58:31.040
<v Speaker 2>lot of production outside. I've done records, but I just said,

0:58:31.080 --> 0:58:32.440
<v Speaker 2>you know what, I'm going to build my own worlds

0:58:32.440 --> 0:58:34.160
<v Speaker 2>for now on and work with artists and produce the

0:58:34.200 --> 0:58:37.240
<v Speaker 2>whole record and do the Sol Assassin's records now.

0:58:37.680 --> 0:58:40.880
<v Speaker 1>In the cattle called era of you know, make me beat,

0:58:40.920 --> 0:58:42.840
<v Speaker 1>made me beat? Like who? Well, I know you got

0:58:42.880 --> 0:58:44.400
<v Speaker 1>someone Goodie Mob?

0:58:44.640 --> 0:58:45.479
<v Speaker 2>Well there was my friends.

0:58:45.600 --> 0:58:46.240
<v Speaker 1>That was what to say.

0:58:46.240 --> 0:58:47.880
<v Speaker 2>That was a very random I used to go to

0:58:47.920 --> 0:58:49.920
<v Speaker 2>Atlanta and just ran a studio for a week and record,

0:58:50.000 --> 0:58:52.400
<v Speaker 2>like I was probably got five or six Morecodie Mob songs,

0:58:52.720 --> 0:58:52.920
<v Speaker 2>you know.

0:58:53.040 --> 0:58:55.840
<v Speaker 1>So what was it about Atlanta that called you there?

0:58:56.120 --> 0:58:58.240
<v Speaker 2>I just connected with them. When I met Goodie Mob,

0:58:58.440 --> 0:59:01.160
<v Speaker 2>we just became friends. So I would go down there

0:59:01.240 --> 0:59:03.240
<v Speaker 2>just just to go fuck with them. Okay, I'm right

0:59:03.280 --> 0:59:04.920
<v Speaker 2>in the studio, y'all in town. Just go down there

0:59:04.960 --> 0:59:06.880
<v Speaker 2>to make beats and then they pull up when they

0:59:06.880 --> 0:59:09.120
<v Speaker 2>could pull up and just record. When we ended up

0:59:09.120 --> 0:59:11.000
<v Speaker 2>doing one record we did was just a song. It

0:59:11.040 --> 0:59:14.160
<v Speaker 2>was on Still Standing, the second album. No, that was

0:59:14.200 --> 0:59:17.479
<v Speaker 2>in Shalah, Yes, No, but we did just a song

0:59:17.520 --> 0:59:19.920
<v Speaker 2>for a Spike Lee movie Bamboozled.

0:59:20.120 --> 0:59:20.560
<v Speaker 1>Yeah.

0:59:20.800 --> 0:59:23.240
<v Speaker 2>Yeah, oh shit, yeah, I gotta I gotta play the

0:59:23.280 --> 0:59:26.160
<v Speaker 2>original It's fucking fire, Okay.

0:59:26.280 --> 0:59:31.960
<v Speaker 1>If anything, I always felt that you were the next

0:59:32.080 --> 0:59:36.520
<v Speaker 1>logical step. Your your sound is like between especially between

0:59:36.600 --> 0:59:41.800
<v Speaker 1>ninety one and ninety four, your sonic texture would have

0:59:41.920 --> 0:59:48.680
<v Speaker 1>been the actual place where Pe should have landed in

0:59:48.800 --> 0:59:51.760
<v Speaker 1>terms of what to do next after Apocalypse ninety one?

0:59:52.120 --> 0:59:55.200
<v Speaker 1>Like what are some of the news that you didn't do?

0:59:55.280 --> 0:59:57.920
<v Speaker 1>As far as like collaborations.

0:59:57.560 --> 1:00:00.360
<v Speaker 2>Wasn't a lot? Like what wasn't a lot? Because I

1:00:00.440 --> 1:00:02.400
<v Speaker 2>just wouldn't even put myself out there like that.

1:00:02.840 --> 1:00:03.600
<v Speaker 1>Oh you know what I mean?

1:00:03.880 --> 1:00:05.520
<v Speaker 2>I just made sure I stayed in. I did what

1:00:05.640 --> 1:00:06.320
<v Speaker 2>krs wan.

1:00:07.040 --> 1:00:09.560
<v Speaker 1>You know what, while we're talking about this, you did

1:00:09.560 --> 1:00:13.240
<v Speaker 1>a remix for you two once and Numb.

1:00:13.360 --> 1:00:15.880
<v Speaker 2>It was numb first song Edge ever Edge rapped on it.

1:00:15.960 --> 1:00:18.680
<v Speaker 3>Yeah, dude, I was going to say that I always

1:00:18.720 --> 1:00:24.560
<v Speaker 3>knew the album version chat on Yeah. Fact, I was

1:00:24.600 --> 1:00:27.600
<v Speaker 3>going to say that when I got that twelve inch

1:00:28.480 --> 1:00:32.040
<v Speaker 3>I was like, yo, like now this sounds this sounds official.

1:00:32.200 --> 1:00:35.320
<v Speaker 1>Like their version was more like at Rock or whatever.

1:00:35.360 --> 1:00:38.520
<v Speaker 1>They were like switching their style up for that particular album.

1:00:38.920 --> 1:00:41.280
<v Speaker 1>But uh yeah, I was going to say that that

1:00:41.440 --> 1:00:44.360
<v Speaker 1>was an incredible remix that I felt that should have gotten.

1:00:44.640 --> 1:00:46.960
<v Speaker 2>Yeah, that one was banging. I was a banger. I

1:00:47.040 --> 1:00:49.400
<v Speaker 2>like that one got further into it and he kind

1:00:49.400 --> 1:00:50.040
<v Speaker 2>of rapped on it.

1:00:50.480 --> 1:00:50.640
<v Speaker 1>You know.

1:00:50.760 --> 1:00:53.200
<v Speaker 2>So I made that, man, you definitely made it.

1:00:53.840 --> 1:00:57.120
<v Speaker 1>You brought out more, at least as far as your

1:00:57.400 --> 1:01:00.000
<v Speaker 1>collaborative projects that you've done. I mean, You've done stuff

1:01:00.080 --> 1:01:05.000
<v Speaker 1>with the Jizza dude. The rock Marciano album is like

1:01:05.200 --> 1:01:07.040
<v Speaker 1>definitely one of my favorites. You work with Old Bill,

1:01:07.160 --> 1:01:10.520
<v Speaker 1>like all these acts, Planet Asia, six Jacket, all these

1:01:10.640 --> 1:01:14.560
<v Speaker 1>like of all the collaborative projects you've done, like would

1:01:14.560 --> 1:01:17.440
<v Speaker 1>have been like your favorites as far as your highlights.

1:01:17.400 --> 1:01:21.360
<v Speaker 2>The rock record, the Makami records, I did, Rome Streets.

1:01:21.560 --> 1:01:24.520
<v Speaker 1>Yeah, for where hip hop is now, like the post

1:01:24.600 --> 1:01:31.160
<v Speaker 1>rock Marciano Griselda. We could put Action Bronson's last three

1:01:31.320 --> 1:01:34.880
<v Speaker 1>or four records into there. I love where it's going,

1:01:34.960 --> 1:01:37.560
<v Speaker 1>which is weird because I'm a drummer and kind of

1:01:37.600 --> 1:01:41.000
<v Speaker 1>the one thing, thanks Alchemist, the one the one element

1:01:41.080 --> 1:01:46.400
<v Speaker 1>that's missing is it's drumless. But somehow I feel like

1:01:47.600 --> 1:01:50.280
<v Speaker 1>it fits into your world perfectly, Like how do you

1:01:50.320 --> 1:01:53.840
<v Speaker 1>feel now about And I know every.

1:01:54.440 --> 1:01:57.280
<v Speaker 2>You know this sounds morphine And even even with when

1:01:57.320 --> 1:02:00.000
<v Speaker 2>there are drums, they're mixed lower now and it's funny

1:02:00.040 --> 1:02:02.000
<v Speaker 2>when you mix them higher, it just sounds like boom

1:02:02.040 --> 1:02:04.560
<v Speaker 2>back from the nineties, right, But when you bring the

1:02:04.640 --> 1:02:06.600
<v Speaker 2>drums down a little bit more let the music shine.

1:02:06.680 --> 1:02:08.880
<v Speaker 2>It's with the sound of Now you know what I mean,

1:02:09.160 --> 1:02:11.360
<v Speaker 2>I've been drumless. I've done I'm born to get busy.

1:02:11.400 --> 1:02:14.600
<v Speaker 2>On the first Cypressouth, I didn't have no drums the

1:02:14.680 --> 1:02:17.320
<v Speaker 2>song with under Soul Assassins will call the Wild Yeah,

1:02:17.360 --> 1:02:20.480
<v Speaker 2>no drums, you know Scooby Doo with Cypress Hill, no drums.

1:02:20.520 --> 1:02:22.760
<v Speaker 2>So we tapped into that now. But now it wasn't

1:02:22.760 --> 1:02:24.160
<v Speaker 2>a thing then, but now it's a thing.

1:02:24.920 --> 1:02:28.640
<v Speaker 1>Is it odd for it not to have that? Because

1:02:28.720 --> 1:02:32.960
<v Speaker 1>even what I'm trying to make now, I'm like Jesus

1:02:33.000 --> 1:02:35.600
<v Speaker 1>like the latter, I turn my drums up. I'm like

1:02:35.680 --> 1:02:38.880
<v Speaker 1>sneaking back to my ninety six ninety seven thing, and

1:02:38.920 --> 1:02:42.720
<v Speaker 1>I'm trying to figure out like how to recontextualize the music.

1:02:42.840 --> 1:02:47.240
<v Speaker 1>But for you now that we're in loop based right

1:02:47.520 --> 1:02:51.480
<v Speaker 1>era hip hop, Like, how do you feel this is

1:02:51.680 --> 1:02:52.320
<v Speaker 1>right up your alley?

1:02:52.400 --> 1:02:55.440
<v Speaker 2>Yeah? Yeah, it's right up my alley. Sometimes you got

1:02:55.440 --> 1:02:57.200
<v Speaker 2>a loop and you try to put drums on them,

1:02:57.200 --> 1:02:59.400
<v Speaker 2>it just fucks it up. It don't sound good, you know.

1:02:59.680 --> 1:03:01.600
<v Speaker 2>So a lot of times I would just put drums

1:03:01.640 --> 1:03:03.960
<v Speaker 2>in there, even with Cyprus, and put the drums low

1:03:04.040 --> 1:03:05.880
<v Speaker 2>so it doesn't mess up the loop, you know, especially

1:03:05.880 --> 1:03:07.280
<v Speaker 2>if you're trying to put a snare on the snare

1:03:07.320 --> 1:03:10.560
<v Speaker 2>and it just takes the vibes. So if it works,

1:03:10.600 --> 1:03:13.840
<v Speaker 2>it works. And I make sure half the records usually

1:03:13.840 --> 1:03:17.800
<v Speaker 2>have drums, and then you know, parts of the records

1:03:17.840 --> 1:03:20.000
<v Speaker 2>don't have drums. And what I'm working on these days,

1:03:20.160 --> 1:03:22.400
<v Speaker 2>you know what I'm saying. And I don't pick the

1:03:22.440 --> 1:03:24.520
<v Speaker 2>beats for the rappers. I give them a folder, like

1:03:24.680 --> 1:03:27.000
<v Speaker 2>here's the thirty beats. I like, you know, pick what

1:03:27.080 --> 1:03:29.520
<v Speaker 2>you like. Sometimes they was like, man, I didn't like

1:03:29.560 --> 1:03:31.040
<v Speaker 2>those beats. I didn't pick them.

1:03:32.680 --> 1:03:35.680
<v Speaker 1>Nice Alchemist right now is like killing the game. Can

1:03:35.680 --> 1:03:39.080
<v Speaker 1>you just talk about like just mentoring him and from

1:03:39.120 --> 1:03:41.600
<v Speaker 1>the days of the hooligans to where he is now

1:03:41.800 --> 1:03:45.560
<v Speaker 1>as a producer and developing him. How would you first

1:03:45.560 --> 1:03:45.960
<v Speaker 1>meet him?

1:03:46.160 --> 1:03:50.600
<v Speaker 2>I met him because actually are for our manager back

1:03:50.640 --> 1:03:52.360
<v Speaker 2>then called me one day he goes, Mugs, you want

1:03:52.360 --> 1:03:54.760
<v Speaker 2>to make a lot of money, and I'm like, why not?

1:03:56.200 --> 1:03:59.000
<v Speaker 2>I got this rap group, two little white kids from

1:03:59.000 --> 1:04:01.400
<v Speaker 2>Beverly Hills. I said, get the fuck out of here.

1:04:02.160 --> 1:04:03.840
<v Speaker 2>I don't want to talk show, get out of here

1:04:03.840 --> 1:04:06.720
<v Speaker 2>with this shit. And so they called be Real next.

1:04:06.960 --> 1:04:08.840
<v Speaker 2>You know, they want affiliated with Cypress. So b Real

1:04:08.920 --> 1:04:11.360
<v Speaker 2>ended up working with him and he executive produced the

1:04:11.400 --> 1:04:16.200
<v Speaker 2>first album and got some producers that were down with

1:04:16.240 --> 1:04:20.320
<v Speaker 2>the management team to produce their first record. So during

1:04:20.320 --> 1:04:23.680
<v Speaker 2>that I met Al and then Al realized during that

1:04:23.720 --> 1:04:26.280
<v Speaker 2>record like, oh, Muggs is the sound beside Cypress Hill.

1:04:26.880 --> 1:04:29.520
<v Speaker 2>So I seen him he was about fourteen, and I

1:04:29.680 --> 1:04:32.040
<v Speaker 2>seen in him what I've seen in me at that age,

1:04:32.160 --> 1:04:35.400
<v Speaker 2>like mans, just his hunger and his dedication. And I

1:04:35.480 --> 1:04:37.520
<v Speaker 2>was but you know I was. I didn't have nobody

1:04:37.600 --> 1:04:41.680
<v Speaker 2>to show me like how this shit works. I remember

1:04:41.720 --> 1:04:44.320
<v Speaker 2>walking in the studio the first time when we was kids.

1:04:44.600 --> 1:04:47.200
<v Speaker 2>I walked into the studio in Hollywood Boulevard and we

1:04:47.200 --> 1:04:49.520
<v Speaker 2>want to make a record. I thought the music was

1:04:49.520 --> 1:04:51.240
<v Speaker 2>already in the studio for you. I don't know how

1:04:51.280 --> 1:04:53.960
<v Speaker 2>to make the music and bring it there. So I

1:04:54.080 --> 1:04:57.040
<v Speaker 2>was like, all, this kid needs to be exposed and

1:04:57.120 --> 1:04:59.960
<v Speaker 2>be around it. So him being him being in the studio,

1:05:00.560 --> 1:05:02.480
<v Speaker 2>I take him on tour with us every place we

1:05:02.560 --> 1:05:04.840
<v Speaker 2>can go. He went to Atlanta with me, you know,

1:05:04.880 --> 1:05:06.919
<v Speaker 2>and I'd just take him around and anything I did,

1:05:06.920 --> 1:05:09.040
<v Speaker 2>I just brought him with me and just exposed him.

1:05:09.400 --> 1:05:11.320
<v Speaker 2>And he's a sponge and he's a little genius, you

1:05:11.360 --> 1:05:12.560
<v Speaker 2>know what I mean. And I just knew he just

1:05:12.600 --> 1:05:14.600
<v Speaker 2>needed to be around it to soak it up, because

1:05:14.640 --> 1:05:16.600
<v Speaker 2>that's how I learned with Joe the Butcher, just being

1:05:16.640 --> 1:05:19.680
<v Speaker 2>in the studio. Oh that's how you do it. That's

1:05:19.680 --> 1:05:22.920
<v Speaker 2>how this is. And you know, it's just it's just

1:05:23.040 --> 1:05:26.760
<v Speaker 2>a fucking quantum leap, you know, into into the future.

1:05:26.800 --> 1:05:28.760
<v Speaker 2>So all these all the shit you might have had

1:05:28.760 --> 1:05:31.640
<v Speaker 2>to deal with, you can just kind of like just

1:05:31.800 --> 1:05:33.200
<v Speaker 2>learn from being around the shit.

1:05:34.440 --> 1:05:42.000
<v Speaker 1>Now that you're almost four decades into making music, where

1:05:42.160 --> 1:05:45.800
<v Speaker 1>does the passion still lie? Like what is your process

1:05:45.840 --> 1:05:50.360
<v Speaker 1>today like tomorrow? When do you normally make beats? Are

1:05:50.360 --> 1:05:52.120
<v Speaker 1>you a morning person. Are you a night person?

1:05:52.200 --> 1:05:54.480
<v Speaker 2>I'll flip it up because if sometimes I get up

1:05:54.480 --> 1:05:56.800
<v Speaker 2>at six and just go to the studio, but then

1:05:56.840 --> 1:05:59.040
<v Speaker 2>after three or four days, I'm bored of that, you know,

1:05:59.080 --> 1:06:00.840
<v Speaker 2>so I might do that. Now I'll just try to

1:06:00.840 --> 1:06:02.480
<v Speaker 2>make I'll go in for six hours and make a

1:06:02.480 --> 1:06:05.000
<v Speaker 2>beat every half an hour. But I don't finish beats

1:06:05.000 --> 1:06:08.360
<v Speaker 2>no more, because I remember sitting down and listening to

1:06:08.400 --> 1:06:10.760
<v Speaker 2>about fifty beats I never used, and I spend fucking

1:06:10.880 --> 1:06:12.480
<v Speaker 2>days on them, and I go, how much time did

1:06:12.480 --> 1:06:14.560
<v Speaker 2>I just waste on these beats that never came out?

1:06:14.800 --> 1:06:17.439
<v Speaker 2>So now I just ideas. I don't finish the beats.

1:06:17.440 --> 1:06:18.840
<v Speaker 2>I come up with ideas. So I'll go in three

1:06:18.880 --> 1:06:22.439
<v Speaker 2>days a week, make twelve beats a day, and then

1:06:22.640 --> 1:06:24.640
<v Speaker 2>when somebody wants to use it, then I finish it,

1:06:25.240 --> 1:06:27.040
<v Speaker 2>you know. So I just I get to scratch idea.

1:06:27.680 --> 1:06:31.040
<v Speaker 1>Where is the sort of the pile up? How many

1:06:31.560 --> 1:06:35.080
<v Speaker 1>would you reckon? Are in your cannon right now? As

1:06:35.120 --> 1:06:38.360
<v Speaker 1>far as like, do you have an entire collection of

1:06:38.560 --> 1:06:40.240
<v Speaker 1>every beat that you've ever made.

1:06:40.440 --> 1:06:41.959
<v Speaker 2>From the last ten years?

1:06:42.040 --> 1:06:42.320
<v Speaker 1>Yeah?

1:06:42.440 --> 1:06:45.400
<v Speaker 2>I got hundreds and hundreds and hundreds of beats.

1:06:45.440 --> 1:06:48.800
<v Speaker 1>Have you kept the original s B twelve hundred discs

1:06:49.080 --> 1:06:49.520
<v Speaker 1>from the.

1:06:49.800 --> 1:06:52.120
<v Speaker 2>Got all those discs still okay, you know, and they

1:06:52.160 --> 1:06:54.320
<v Speaker 2>work all right, No, that's important.

1:06:54.400 --> 1:07:00.720
<v Speaker 1>That's important creatively. Now what still, what's still motivates you?

1:07:01.480 --> 1:07:05.640
<v Speaker 2>I think now it's like working with younger artists and

1:07:05.680 --> 1:07:08.880
<v Speaker 2>being able to just inspire and maybe help, like, you know,

1:07:09.040 --> 1:07:11.520
<v Speaker 2>oh I like this motherfucker. Oh but if he did this,

1:07:11.680 --> 1:07:13.360
<v Speaker 2>I could take him to the next level, you know,

1:07:13.560 --> 1:07:15.400
<v Speaker 2>and then you got to put the work in, obviously,

1:07:15.480 --> 1:07:18.360
<v Speaker 2>but just just the kind of music we love. I

1:07:18.440 --> 1:07:21.320
<v Speaker 2>just want to keep inspiring the next generation of kids

1:07:21.320 --> 1:07:23.560
<v Speaker 2>to keep doing what we love. And I think they

1:07:23.640 --> 1:07:26.600
<v Speaker 2>got to, you know, go and do this style or

1:07:26.680 --> 1:07:29.560
<v Speaker 2>I got to do trap records or nothing like this style. Right,

1:07:29.560 --> 1:07:32.320
<v Speaker 2>here's this shit. So you know, I see me now

1:07:32.360 --> 1:07:34.480
<v Speaker 2>as just being an inspiration to the next generation.

1:07:35.000 --> 1:07:38.280
<v Speaker 1>Has there ever been a time period where you thought

1:07:38.400 --> 1:07:43.400
<v Speaker 1>you might have to be a suit an executive? Never

1:07:43.600 --> 1:07:46.680
<v Speaker 1>working at a I always wandered, all right, So this

1:07:46.760 --> 1:07:50.360
<v Speaker 1>is the thing. Artists often complain about suits and just

1:07:50.400 --> 1:07:53.720
<v Speaker 1>the politics of the industry. But I always said that

1:07:54.640 --> 1:07:57.120
<v Speaker 1>I can't wait for the day in which like music

1:07:57.160 --> 1:08:00.680
<v Speaker 1>cats actually run the music business. It would be so

1:08:00.760 --> 1:08:04.080
<v Speaker 1>much different, Like your version of what you think is

1:08:04.120 --> 1:08:07.320
<v Speaker 1>dope right right, could mean the world of difference for

1:08:07.560 --> 1:08:10.560
<v Speaker 1>least like five or six quality records to come out,

1:08:10.560 --> 1:08:13.560
<v Speaker 1>because I know that you least have immersed yourself and

1:08:13.600 --> 1:08:16.600
<v Speaker 1>dipped the toe inside of actual music, whereas you know

1:08:16.640 --> 1:08:17.519
<v Speaker 1>your average A and R.

1:08:17.840 --> 1:08:21.160
<v Speaker 2>Well, Andrew Shack a Priority actually brought me in to

1:08:21.560 --> 1:08:24.040
<v Speaker 2>run the A and R department, but then Priority went

1:08:24.040 --> 1:08:25.679
<v Speaker 2>out of business like two months later.

1:08:25.920 --> 1:08:26.559
<v Speaker 1>Hey they sold.

1:08:27.000 --> 1:08:32.080
<v Speaker 2>But that's I feel the same way about press and

1:08:33.800 --> 1:08:36.040
<v Speaker 2>what you guys are doing is great because it's actually musicians.

1:08:36.040 --> 1:08:38.240
<v Speaker 2>What Nori's doing is great, What Cam is doing great.

1:08:38.240 --> 1:08:39.960
<v Speaker 2>You know. I'm glad that's happening because there was a

1:08:39.960 --> 1:08:42.680
<v Speaker 2>lot of people over here judging your music that never

1:08:42.720 --> 1:08:44.439
<v Speaker 2>went on tour, that didn't know how hard it is

1:08:44.439 --> 1:08:47.400
<v Speaker 2>to have a relations journalists, Yeah, to go on tour

1:08:47.880 --> 1:08:49.680
<v Speaker 2>and then be on tour for seven months and then

1:08:49.760 --> 1:08:52.600
<v Speaker 2>you know, fighting with your wife and then having the

1:08:52.640 --> 1:08:55.240
<v Speaker 2>pressure to go make a hit song. Like they're just

1:08:55.240 --> 1:08:57.080
<v Speaker 2>going to sit back and talk about your records, and

1:08:57.120 --> 1:08:59.599
<v Speaker 2>it's like, you know, so when I did the Bullworth record,

1:08:59.640 --> 1:09:01.280
<v Speaker 2>methemat and had a line they talk about it while

1:09:01.280 --> 1:09:03.400
<v Speaker 2>we live it, you know, and it's like to be

1:09:03.400 --> 1:09:05.559
<v Speaker 2>able to sit down and talk to journalists who actually

1:09:05.600 --> 1:09:08.000
<v Speaker 2>do this with us, it's like, oh fuck, it's refreshing.

1:09:08.200 --> 1:09:10.639
<v Speaker 2>Just when even when I watch sports and there's sports

1:09:10.640 --> 1:09:13.080
<v Speaker 2>guys that are the journalists. Now it's like, oh, this

1:09:13.120 --> 1:09:15.400
<v Speaker 2>is the shit, you know what I'm saying. But you know,

1:09:15.439 --> 1:09:17.240
<v Speaker 2>I've been I've been blessed to be able to save

1:09:17.280 --> 1:09:19.120
<v Speaker 2>my money make a lot of really good investments. So

1:09:19.200 --> 1:09:21.080
<v Speaker 2>I don't make music for money no more. It's just

1:09:21.120 --> 1:09:24.800
<v Speaker 2>strictly being creative. And you know, there's a few times

1:09:24.840 --> 1:09:26.040
<v Speaker 2>a year I go, I never want to do this

1:09:26.080 --> 1:09:28.240
<v Speaker 2>shit again, you know. But then I just go on vacation.

1:09:29.720 --> 1:09:32.080
<v Speaker 2>And then as funny, soon as I get out of

1:09:32.120 --> 1:09:35.160
<v Speaker 2>my comfort zone and I get somewhere, I'm like, oh,

1:09:35.160 --> 1:09:37.720
<v Speaker 2>the ideas start coming and they just start piling and right,

1:09:37.840 --> 1:09:39.479
<v Speaker 2>you know what I mean. And I just get home

1:09:39.520 --> 1:09:41.679
<v Speaker 2>and I got the fire again. But I know myself,

1:09:41.720 --> 1:09:43.559
<v Speaker 2>well enough I go out here, I'm here again. I

1:09:43.600 --> 1:09:44.800
<v Speaker 2>need to let me get out of town for me,

1:09:44.960 --> 1:09:45.800
<v Speaker 2>let me go do something else.

1:09:45.800 --> 1:09:48.240
<v Speaker 1>Do you have a self care routine where people believe

1:09:48.280 --> 1:09:49.960
<v Speaker 1>in vacations and time out.

1:09:49.840 --> 1:09:52.439
<v Speaker 2>And definitely it's necessary, you know, And I end up

1:09:52.840 --> 1:09:54.680
<v Speaker 2>making beats in the morning. If I'm in Hawaii, I'll

1:09:54.680 --> 1:09:56.000
<v Speaker 2>get up for an hour and just bang out a

1:09:56.040 --> 1:09:57.840
<v Speaker 2>couple of ideas and then just go swim all day,

1:09:57.880 --> 1:10:00.840
<v Speaker 2>you know what I'm saying. So I'm as myself as

1:10:00.840 --> 1:10:04.280
<v Speaker 2>a man to understand like my ebbs and flows. But

1:10:04.400 --> 1:10:06.760
<v Speaker 2>now I'm not a producer, you know. I'm more of

1:10:06.760 --> 1:10:09.240
<v Speaker 2>an artist where I'm going to sit down and make

1:10:09.280 --> 1:10:13.040
<v Speaker 2>full projects and try to teach these dudes find out

1:10:13.080 --> 1:10:14.639
<v Speaker 2>what the best thing is for them. Some people don't

1:10:14.680 --> 1:10:17.519
<v Speaker 2>want to listen. I'm like, I give them some advice.

1:10:17.520 --> 1:10:19.839
<v Speaker 2>I don't want to listen. I'm like, cool, all your ideas,

1:10:19.840 --> 1:10:22.000
<v Speaker 2>all your thinking got to you exactly where you are today.

1:10:22.280 --> 1:10:24.320
<v Speaker 2>If you want to stay where you are, keep going.

1:10:24.400 --> 1:10:26.439
<v Speaker 2>But if you want to listen, I could help you

1:10:26.520 --> 1:10:28.400
<v Speaker 2>get to that next place where you want to get,

1:10:28.439 --> 1:10:31.000
<v Speaker 2>you know what I mean, and level up a little bit.

1:10:31.040 --> 1:10:33.519
<v Speaker 2>So the motherfuckers who want to listen. And then after

1:10:33.600 --> 1:10:35.120
<v Speaker 2>they've done work with me and I actually put the

1:10:35.160 --> 1:10:37.880
<v Speaker 2>work in, I see the jump and they come. I mean,

1:10:37.920 --> 1:10:40.480
<v Speaker 2>I appreciated my life changed after I work with you,

1:10:40.479 --> 1:10:41.960
<v Speaker 2>you know, And other dudes who are just like, Nah,

1:10:41.960 --> 1:10:43.439
<v Speaker 2>this is how I do my shit, and this is

1:10:43.439 --> 1:10:45.920
<v Speaker 2>who I am. Oh I cool down, homie. Yeah, there's

1:10:45.960 --> 1:10:46.920
<v Speaker 2>the record. We're done.

1:10:47.120 --> 1:10:50.840
<v Speaker 1>God bless you anything left on your bucket list as

1:10:50.880 --> 1:10:54.200
<v Speaker 1>far as things that you want to achieve creatively.

1:10:54.640 --> 1:10:57.320
<v Speaker 2>I'm doing films now. So this is my second short film. Okay,

1:10:57.880 --> 1:10:59.479
<v Speaker 2>So I think next year I'm going to get into

1:10:59.520 --> 1:11:02.320
<v Speaker 2>some features. That's the next move. And that actually made

1:11:02.360 --> 1:11:05.040
<v Speaker 2>the third Soul Assassin album. We made fun because I

1:11:05.080 --> 1:11:06.960
<v Speaker 2>was like, man, I've done one hundred and fifty music videos.

1:11:06.960 --> 1:11:09.840
<v Speaker 2>I'm tired of doing videos, you know, I'm tired of this.

1:11:09.920 --> 1:11:11.760
<v Speaker 2>I was like, what else can I do? Man? And

1:11:12.720 --> 1:11:15.000
<v Speaker 2>so Death Valley. I got with Jason Goldwatch and did

1:11:15.040 --> 1:11:18.599
<v Speaker 2>Death Valley, which actually started inspiring a couple of different

1:11:18.600 --> 1:11:19.519
<v Speaker 2>people to make films.

1:11:19.560 --> 1:11:19.720
<v Speaker 1>You know.

1:11:19.760 --> 1:11:22.439
<v Speaker 2>Al told me he's like, man, you inspired me to

1:11:22.439 --> 1:11:25.879
<v Speaker 2>make the film he made last year with them, was it, Gibbs.

1:11:26.400 --> 1:11:29.519
<v Speaker 2>It's just being able to just something that just keeps

1:11:29.520 --> 1:11:32.160
<v Speaker 2>my brain ticking and stuff, you know. So sometimes I'll

1:11:32.160 --> 1:11:33.600
<v Speaker 2>go in and bring my musicians in and be like,

1:11:33.640 --> 1:11:35.559
<v Speaker 2>all right, let's play some shit like this. I'll play

1:11:35.600 --> 1:11:37.720
<v Speaker 2>records and we'll just flip them in and I'll just

1:11:37.800 --> 1:11:39.679
<v Speaker 2>He'll play me shit and I'll just flip the samples.

1:11:39.720 --> 1:11:43.400
<v Speaker 2>And other days I just go in and sample and yeah, man,

1:11:43.439 --> 1:11:46.320
<v Speaker 2>it's just shit's got to come out. I just enjoy

1:11:46.400 --> 1:11:48.240
<v Speaker 2>going in the lab and just making music.

1:11:48.240 --> 1:11:51.080
<v Speaker 1>Still, what was the advice that you're glad that you

1:11:51.120 --> 1:11:51.880
<v Speaker 1>didn't take it?

1:11:52.040 --> 1:11:54.439
<v Speaker 2>Make your shit on the metronome. Your shit's dusty, you

1:11:54.479 --> 1:11:55.320
<v Speaker 2>need to clean it up.

1:11:55.720 --> 1:11:59.760
<v Speaker 1>You don't quantize sometimes, no Ah, nice, you need.

1:11:59.680 --> 1:12:03.200
<v Speaker 2>Your shit soft beat. It's it's dusty, it's not quantized,

1:12:03.360 --> 1:12:06.600
<v Speaker 2>and uh, you know, and I was like, fuck it.

1:12:06.640 --> 1:12:09.759
<v Speaker 2>I like it. I like unorthodox shit that doesn't make sense,

1:12:09.960 --> 1:12:13.680
<v Speaker 2>you know what I mean? And that's been I live

1:12:13.720 --> 1:12:14.880
<v Speaker 2>by that and die by that shit.

1:12:15.439 --> 1:12:19.479
<v Speaker 1>Who is your longest friendship in this industry and as

1:12:19.479 --> 1:12:22.120
<v Speaker 1>far as your journey as DJ months.

1:12:21.520 --> 1:12:25.439
<v Speaker 2>Oh shit, probably my Cypress boys, you know, Me and

1:12:25.479 --> 1:12:29.120
<v Speaker 2>B still tight, you know what I mean. And just

1:12:29.120 --> 1:12:31.400
<v Speaker 2>my regular homies, you know what I mean. I met

1:12:31.400 --> 1:12:33.040
<v Speaker 2>a lot of good people along the journey, you know

1:12:33.080 --> 1:12:35.320
<v Speaker 2>what I'm saying. But yeah, just the fact we still

1:12:35.320 --> 1:12:37.080
<v Speaker 2>got a good brotherhood. Anybody's cool.

1:12:37.240 --> 1:12:39.760
<v Speaker 1>Who's the one person in your life that keeps you

1:12:39.800 --> 1:12:42.320
<v Speaker 1>in check in check. I mean a lot of times

1:12:42.439 --> 1:12:44.280
<v Speaker 1>I think when you get status, you go into it.

1:12:44.360 --> 1:12:45.120
<v Speaker 1>Can't tell me nothing.

1:12:46.160 --> 1:12:48.479
<v Speaker 2>It's just my regular friends. Just my regular friends. Work,

1:12:48.520 --> 1:12:50.400
<v Speaker 2>we clown you know. If I walk in with some

1:12:50.439 --> 1:12:55.040
<v Speaker 2>funny ass socks on, you know, they let you have it,

1:12:55.120 --> 1:12:56.960
<v Speaker 2>you know what I mean. So you know, just my

1:12:57.520 --> 1:12:59.800
<v Speaker 2>homies are just some regular motherfuckers. They don't they don't

1:12:59.800 --> 1:13:02.400
<v Speaker 2>make me music and nothing. So it's just keeping your

1:13:02.479 --> 1:13:04.200
<v Speaker 2>core group of homies around all the time.

1:13:04.400 --> 1:13:07.960
<v Speaker 1>All right, I'll close with this, why do you still

1:13:08.000 --> 1:13:12.200
<v Speaker 1>do it? Why do you still want to make music?

1:13:12.720 --> 1:13:15.120
<v Speaker 1>What keeps you going? You know?

1:13:15.200 --> 1:13:17.240
<v Speaker 2>I think my biggest fear is waking up one day

1:13:17.280 --> 1:13:20.920
<v Speaker 2>and just not having an inspiration, like not having that

1:13:21.000 --> 1:13:23.120
<v Speaker 2>no more, you know what I mean. And so I

1:13:23.240 --> 1:13:27.640
<v Speaker 2>just appreciate the blessing I was given, you know what

1:13:27.680 --> 1:13:29.960
<v Speaker 2>I mean. And I will never disrespect this blessing, so

1:13:30.720 --> 1:13:33.880
<v Speaker 2>I actually enjoy it, you know what I mean. And

1:13:35.240 --> 1:13:37.040
<v Speaker 2>early in my career is about the ego and about

1:13:37.040 --> 1:13:38.680
<v Speaker 2>me and being successful, you know what I mean, and

1:13:38.720 --> 1:13:40.160
<v Speaker 2>getting out there and you know, trying to be one

1:13:40.200 --> 1:13:42.799
<v Speaker 2>of the best producers and then you know, you achieve

1:13:42.880 --> 1:13:46.600
<v Speaker 2>that and now It's about finding the next generation and

1:13:47.080 --> 1:13:50.439
<v Speaker 2>finding little diamonds in the rough and shining them up

1:13:50.439 --> 1:13:52.680
<v Speaker 2>a little bit and getting in the lab with them,

1:13:52.680 --> 1:13:55.720
<v Speaker 2>you know. Like like the kittf I'm working with now,

1:13:55.760 --> 1:13:58.680
<v Speaker 2>I thought he was one of the best dudes that

1:13:58.720 --> 1:14:00.280
<v Speaker 2>I like in La So I was like, I could

1:14:00.280 --> 1:14:03.000
<v Speaker 2>take watch when this album's done, You're going to start

1:14:03.000 --> 1:14:05.200
<v Speaker 2>torn in Europe. You're going to start seeing a lot

1:14:05.200 --> 1:14:06.880
<v Speaker 2>of doors open for it that didn't open, you know.

1:14:07.520 --> 1:14:10.919
<v Speaker 2>Hence you know Rome Streets, same situation. Where as Freshco

1:14:11.360 --> 1:14:13.120
<v Speaker 2>from Canada. You know what I mean, Just working with

1:14:13.160 --> 1:14:15.320
<v Speaker 2>these kids that are open and they're excited, and they're

1:14:15.360 --> 1:14:17.400
<v Speaker 2>just they're hungry, and I'm like, oh, that's how I

1:14:17.439 --> 1:14:19.559
<v Speaker 2>felt in nineteen eighty eight, you know what I mean.

1:14:19.600 --> 1:14:22.320
<v Speaker 2>And being able to help them achieve their dreams and

1:14:22.360 --> 1:14:24.320
<v Speaker 2>all their goals and their ambitions, you know, and when

1:14:24.320 --> 1:14:26.160
<v Speaker 2>you see the light on in them that they really

1:14:26.680 --> 1:14:28.880
<v Speaker 2>want to work and do this and put the put

1:14:28.920 --> 1:14:33.120
<v Speaker 2>more energy into the project, then you'll put I'm like, yeah, Okay,

1:14:33.520 --> 1:14:35.120
<v Speaker 2>that's what I feed off of now.

1:14:35.960 --> 1:14:38.320
<v Speaker 1>I know. You know, people will come up to you say, oh,

1:14:38.439 --> 1:14:39.839
<v Speaker 1>this is a classic, this is a classic.

1:14:39.960 --> 1:14:44.360
<v Speaker 2>Oh it was the movie with hit Boy Goldfish. Yeah,

1:14:44.760 --> 1:14:46.759
<v Speaker 2>when I was at the screen and Owl gave me props,

1:14:46.760 --> 1:14:48.559
<v Speaker 2>he was like, man, we did this because of Mugs.

1:14:48.600 --> 1:14:50.000
<v Speaker 2>I got inspired by Death Valley.

1:14:50.200 --> 1:14:50.599
<v Speaker 1>Oh okay.

1:14:50.760 --> 1:14:52.880
<v Speaker 2>So you know those are the things, those are the

1:14:52.880 --> 1:14:54.920
<v Speaker 2>things that keep me doing and I think, you know,

1:14:55.200 --> 1:14:57.519
<v Speaker 2>I'm still trying to push the limits in the underground

1:14:57.600 --> 1:14:59.280
<v Speaker 2>music and try to push things. So like I'll get

1:14:59.280 --> 1:15:02.000
<v Speaker 2>into features and just do different things and hopefully I

1:15:02.040 --> 1:15:04.960
<v Speaker 2>could inspire, like I said, just keep inspiring motherfuckers to

1:15:05.080 --> 1:15:07.120
<v Speaker 2>keep doing what we like. Because there was a minute

1:15:07.120 --> 1:15:08.680
<v Speaker 2>there with this kind of hip hop was kind of

1:15:09.200 --> 1:15:10.840
<v Speaker 2>it was getting less and less, you know what I mean.

1:15:10.920 --> 1:15:12.960
<v Speaker 2>It's like it was it was hanging by a string,

1:15:13.000 --> 1:15:15.200
<v Speaker 2>you know what I mean. But you know, and just

1:15:15.320 --> 1:15:17.360
<v Speaker 2>you know, seeing ship like Na's coming back and doing

1:15:17.400 --> 1:15:19.320
<v Speaker 2>his ship and everything he's doing with MASSI appeal like

1:15:19.360 --> 1:15:21.439
<v Speaker 2>that's inspiring, you know, coming back and bringing all the

1:15:21.479 --> 1:15:24.360
<v Speaker 2>OG's back and everything. So that's what we got to do.

1:15:24.400 --> 1:15:26.080
<v Speaker 2>This game gave me a lot, man, you know what

1:15:26.080 --> 1:15:29.240
<v Speaker 2>I mean, People I met, places, I've been, things I

1:15:29.280 --> 1:15:31.800
<v Speaker 2>got to do, and so I just want to keep

1:15:31.800 --> 1:15:32.680
<v Speaker 2>giving back to it.

1:15:32.760 --> 1:15:35.559
<v Speaker 1>And you know, well sir, I thank you for coming

1:15:35.560 --> 1:15:35.960
<v Speaker 1>on the show.

1:15:36.120 --> 1:15:38.240
<v Speaker 2>Yeah, Bro, thank you. I appreciate your artistreet, thank you

1:15:38.360 --> 1:15:40.920
<v Speaker 2>very much. Brother everything you shot everything DJ.

1:15:40.760 --> 1:15:43.800
<v Speaker 1>Muggs on the Quest Love Show yep, and we will

1:15:43.840 --> 1:15:45.840
<v Speaker 1>see y'all on the next go around. See y'all later.

1:15:51.920 --> 1:15:54.439
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1:15:54.520 --> 1:15:59.360
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