The Questlove Show - QLS Classic: DJ Premier

Episode Date: July 28, 2025

Houston's very own DJ Premier talks about how he got his name, what it was like to leave Texas to make it in NYC and how he found musical enlightenment. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

This is an I-heart podcast. Guaranteed Human. 2%. That's the number of people who take the stairs when there is also an escalator available. I'm Michael Easter. And on my podcast, 2%. I break down the science of mental toughness, fitness, and building resilience in our strange, modern world. Put yourself through some hardships and you will come out on the other side a happier, more fulfilled, healthier person.

Listen to 2%. That's TWO percent on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show.

This is a place for raw, unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to the Clifford show on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. On the Look Back at it podcast.

From 1979, that was a big moment for me. 84's big to me. I'm Sam J. And I'm Alex English. Each episode, we pick a year, unpack what went down, and try to make sense of how we survived it. With our friends, fellow comedians, and favorite authors.

Like Mark Lamont Hill on the 80s. 84 was a wild year. I don't think there's a more important year for black people. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg Gillespie and Michael Marncini. My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

Quest Love Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. What up? It's Unpaid Bill. Check out this interview with Houston's very own DJ premieres. Talks about how he got his name, what it's like to leave Texas to make it in New York City, and how he found musical enlightenment. It's a QLS classic from March 22nd, 2017.

Suprema, Subrama, Role Call. Supremma, Subrama, Role Call. Supremma, Subima, Submina Role Call. Supremma, Subima, Submina Rocaul call. Quest Love, not Quest Rock. Yeah. Glob, trot, no stop.

Yeah. No court and viszots. Yeah. You fucking redid. Oh, my God. And I still messed up my verse. Supremma, sub, sub, supremo roll call. Fante is here.

Yeah. Check my sound. Yeah. J'all niggas is violent. Yeah. Straight up and down. Oh. Supreme.

Superima, Subrema, sub, sub, sub, supremo role call. Suprema, sub, sub, sub. Supremea. Role. I'm Sugar Steve. Yeah. I cannot lie.

Yeah. I watch Primo. Yeah. Make devil's pie. Roll call. That's right. Suprema. Suprema roll call.

Suprema. Suprema. Submina. Role calls. My Phil is here. Yeah. You know my Steve. Yeah.

Reuse my roll calls. Yeah. Whenever I please. Roll call. Suprema. Suprema. Suprema. Suprema.

Rocall. Supriva. Suprema, roll call Islaea Yeah Sitting with a G Yeah Motherfucking premiere

Yeah You know my Steve Goa Suprema Suprema Roll call Your turn All that do

My name is Prine Yeah I am Suprema Yeah I'm on the roll call Yeah Not a can'tina Roca

Cramer Sub prima Supremea, Suprema, Supremma, Supremma, Rocahn, Supriva, Supraima, Supriva, Rocah, Supremo, Rocah. Supremo, Rocah. Wow, I wasn't expecting that to rap. It's just here, me, now we should have this,

Supremo. I was thinking that right as we started, yeah. That's... That's crazy. That's crazy. Take two? Nah, nah, no, no. Ladies and gentlemen,

She looks mad because she didn't get steed before. I'm fucking, come on. That very rarely happens that we'll hit the same one. I mean, I had two of my lines get stolen. It is true, so I'll take it. Damn. See, now you know, because I figured one of them rants was going to be part of that. I initially was going to use the violation straight up.

Then I was like, no, let me go to you fucking robots. Fucking robots. Well, ladies and gentlemen, if you have not guessed, this is going to be. be an instant fan out classic episode of Quest Love Supreme. Without further ado, we have one of the greatest, most celebrated, most awesomest flag torchbearing members of hip hop culture with us today. DJ Premier, ladies and gentlemen. Thank you, thank you, thank you.

Okay, so I want to apologize in advance for the massive amounts of fanning out that we're going to do. I'm going to try and keep the inside speak and... Exactly. The rabbit hole. Keep the rabbit hole. Yeah, I won't go too deep. Yeah, I won't try to fall any rabbit holes. We got a lot to cut.

Stay out of that sunken place. And I have on a shirt that you were one of the first ones to say you were a fan of the NYGs. Yes. Yes. So I remember a long time ago, you're like, when are they coming? out. Yes. So they're about to come out. Yeah, shot the pants and Shabino. So

I'll make sure I get you an advanced copy of the album. It's coming out soon? Yeah, yeah. I'm mixing now. I produce the whole thing. It's straight New York sounding gutter, raw lyrics, you know, from the perspective of the true adult streets,

you know. I would expect nothing less. Stuff we can relate to. I see. Yeah, my first time meeting you was at a New York, MIG show at a, we were a knitting factory. Oh, Nitting Factory. 2002.

We did an LB show and it was, that's my first time meeting you and guru. Rest and peace. We did a first joint. We did like our first little showcase. It was, it was little brother, Knots and,

Frank and Nick were supposed to be there. Frank and Dank. No, they were there. Frank and was there. They were doing, Take the clothes off. They were doing take them clothes off. But it was people in the crowd saying,

take them coats off. And I was like, Because they had the furze on shit I remember that That shit was fucked up That was the original knitting factory Before they moved Before they moved

They moved to Williamsburg Yep And I met Prine back upstate I was like yo I was like man What's up His first thing to me Yo yeah yo son

I only did two records In my life You know what I'm saying I did two records I only did two records in my life And guru was there And yeah It was crazy like

God It was long ago Okay So what I always wanted to know I mean You're so New York and gangstar was such the consummate New York group yet you guys didn't start from New York City

he started from Boston and I started from Texas how for me it was my mom it is an art teacher and she just had so many records in the house you know the rules where don't touch the top of the record only hold the edges or you get a we call it a whoopin not a spanking a whooping i touch the top because i just wanted to see what it's touching the top do she goes you got your fingerprints on your dumb motherfucker smack smack like and then but i mean we i got plenty of weapons because you know i i looked at records as a toy because the labels was what attracted me the way

they looked when they spun i was really attracted to the labels You know, it's like, wow, Motown, the way it looked in Tamla. Dark Skit Motown versus Lightskin. Yeah, I thought I was the only one that made that. Oh, like the blue versus the yellow and the brown. Tamla was the yellow and the brown. Harry Wagner once at Universal explained to me that because Motown used 18 different factories across the United States to print their, like they didn't do their own pressing.

It was never consistent. So the ink would be consistent. So you would have some motown print that had a very dark hue to it. And then you had a lighter motel. But sometimes even the Tamila would be a very dark label versus a light one. It would just-Guardy. It would depend on, you know, what pressing plant you used. Yeah, but the label's always fascinated me just the way it looked when it spun.

And then on top of that, you know, you had semi-not, not semi-a-old, you know, they went to semi-automatics, but it looks like a gun, but they're fully automatic turntables, which at that time, my mother called her a record player, not a turntable. So seeing her stack the spindle with the, that looks like a bottle rocket, whatever, and stack that, and then put 545s on there and let the arm hold it, and then the arm goes up, touches it, goes back, the record drops in it. I'm like, how does it know to land there? Like, you know, so I took her apart, which got me a... I was like, what did that get you?

Because I wanted to see the mechanics of what's making it do that and know where to land. And then on top of it, when you put an album, it knew to start at the album, where it's like, how does it go here, but on the 45, it goes all the way inside and lands right on the... I was into jukeboxes, too. I would just stare at the jukebox because almost any restaurant back

then had a jukebox, and I would just stare at and watch it shuffle the records and then you, you know, like that. I know, I'm like... That's why he's like happy days. I don't feel crazy. I used to do not feel crazy. I used to do the same stuff. Happy days, man.

Would you rotate records without even listening to it just see what it looked like spinning? Yep, yep. Were you biased against labels that you didn't like copy-wise, even if they had good music? Did you judge it on the label? The judge is on the label, like I do now. Like, I never liked Capital.

So thus, it took me a long time, like, especially old people were in the old way of Purple Capital or Orange, Capos. Like Nat King Cold Capital. Okay, the black with the rainbow around the rainbow. Yeah, that's why I never touched my dad's Capitol record. Right. It took me wrong to get in the Beatles and Beach, like, all that stuff. Wow.

So you had the best label. Who was the, like, the one? I used to like Warner Brothers. You know what scary labels used to scare me? I never like Buddha. Yeah, with the little band at the bottom. I liked Kurt Tom. Kurtz.

Well, look at that. Well, here's the thing. You like Kurt Tom? Yeah. I scared his shit. That's Kurt Tom. We literally fixed out of the mouth to say that at the same time. I would never to listen to if there's hell below.

We all got to go. We're all going to go with all that psychedelic echo effect to it. In the dark as a three-year-old watching that Kurtzum label in the, nah. But I'd be obsessed with it. Like, I make them put it on. Then I run upstairs and hide under the covers. I hit under the covers when Jaws came out because I thought the shock could come in. But I'm like, and if you think about it, the shark can't swim without water.

Right. But I just remember going to see Jaws with my family and just that tune, doom, doom, doom, doom, doom, doom, doom. I was so scared of staying by myself, you know, my parents let us stay by herself at a young age because it's just like that in the South. You know, you leave your door unlocked and people just walk in, you know, like I'm from that. Like, hey, hey, hey, hey, your dad home is not, you know, unjust. chain five, I learned that when I came to New York. And my mom's from Baltimore, so even when we used to stay in my

grandmother's house, same thing, they had all these locks, and you're just like, damn, you know, what's the, you know, but then you see the corner store right outside the house where everybody's fighting and screaming and breaking glass, and I'm like, oh, I want to go home, I want to go back to Texas. You know, and then you get to the

teenage age where it's like, yo, I love all this violent stuff, you know. And that's when the changes started, the change started to come. Shot to Sam Cooke. Your father, he was a professor at pre-review. Yeah, yeah. And he was my dean.

Imagine that. So you went for free? No. What? Well, I mean, yeah, he paid for it. What was your major? What was your major? Computer science.

And none of those languages exist. You know, I took Fortran and Basic and Cobol. I was like Basic, Cobol. Yeah, yeah. And now, you can't get your receipt back. Nah, no. No. So wait, if the turntable was such a sacred holy ground in your household,

what happened the very first time you ever heard the adventures of Grandmaster Flash on the wheels of steel? Oh, man. Did you hear it as a youngster in Texas? No, I was going back and forth. Well, yeah, I was going back and forth because my grandfather lived in Brooklyn. That's how the first Brooklyn connection happened because he lived in Brooklyn. So being staying with him, he and I used to always go to a, I was really in the pinball games heavy as a kid.

So he's always taken me to play land in Times Square. And then we always go to a Yankee game. So I was so used to go into baseball games with him. And so I got into baseball. I played when I was young. And he's the one that got me into that. And then he used to tour with his band. And he played trombone, trumpet, guitar, and upright bass.

So he used to always show me all the pictures like, yeah, this is when I was in Germany. this is when I was here, this is when I was there. And I remember his wife Rooney, God bless her. She's always going, oh, Bill, there you go. He loves to brag about all the places he's been. But for me, it was like, wow, all this music took you all these places, you know. So I wanted to do that same thing. Yeah, but so.

So it wasn't like you scratched on the home term table in. No, not then. But by the time scratching came out, I just wanted to figure out how are they able to bring it back like that. And then my homie, who's still a friend of mine, R.P. Cola, his name is Randy Pettis. He went to my college. So I didn't really understand the scratching aspect as far as how they're making the record come back until like 1985 when, 84, I'm sorry, 84 when I was in college, because I graduated high school in my freshman year in college, I went to summer school just so I just wanted

to be in college so bad because, you know, just to get away, hang out with all the people. And we only live five minutes from the college. It's still a different world when you live on campus. Now I'm the dorms and with the boys. We're drinking. We're doing all the stuff that you want to do away from your parents. And I just remember, man, he was scratching and he had these felt pads on there. And I was like, yo, how are you doing that?

And he was like, I'll show you. He said, come to my dorm. And I went to his dorm. He showed me how to cut on his old big Gemini. It was a big Gemini mixer. It was silver with wood on the side. That's all I remember, the big silver. Damn, you had to run.

to get the cross phase. And he was used to train. And the way the dorms were set up, shot to Holly Hall. That was the dorm of all the wildness. The way he had to set up, he had two on the right because he couldn't do left and right

but he couldn't left and right. But only when he was doing the gigs at his dorm he would set him up on the right. So being I got so used to learning it that way, I just stuck with that way. I got better now where I got to cross over and everything. but now I don't want them that way.

But if it's set up that way, I'm still nice to do it with him on the right. And then the second thing that led me just keep it on the right was when Malcolm McLaren and the world famous Supreme Team came out with the album, D. Like, Scratch and you see the turntables together. Yeah, the turntables together on the cover. And the mixer is a GLI mixer in the front. So I was like, I want to do that. But I'm just going to move them back over like the way RP taught me.

First time I saw you cut, that was where you had. Yeah, that was tradition. You had them on the right. Yeah. I've been told that was called Philly style. But I don't know if I can claim that now. So it's because- Was that like cash money?

Was he cutting like that? I don't know. Like just every Philly DJ, Jeff's the first guy I ever see cut normal with left and right turntables. But most Philly DJs that I've known always have the turntables to the left and the mixer to the right.

Wow. Because that's how I learned. And even it even further got validated. I once saw whoever tone looks, DJ was. Em Walt. Whoa.

Where's going at when we need it? How do you know these things? How do you know? Oh, wait, DJ, M. Mark, I remember. How do you know that? I don't know how I remember that, but I think he shouted him out

in a song or something. But that was a DJ. You pulled that out way too fast. Is there anything you don't know? No, it's plenty. This is a while I'm hearing. That's why he's part of the break. God damn

Well yeah Em walk Like was doing it Philly Style with on the side I never saw that either With the turntable Yeah yeah you did

Is that 12 o'clock Yeah So then I was like Oh okay That's how you're supposed to do it So is that when you became Like when you saw it When you saw it going about

Wax Master C Yeah I just wanted to have a name And you know First I was DJ Chris You know And then Wax Master C Because I was like Damn everybody

jam master, grandmaster, no one's waxmaster. And right when I claimed that name, Waxmaster Tori came out on B-Boy Records. And the fact it was on B-Boy Records with K.R. With criminal-minded and all that. And, you know, KG, the All from the Cold Crush. And I was just like, damn, man. This dude's going to blow, and now I can't use that one.

But he was a DJ, but just Waxmaster Tori. It was like, damn. But I kept it. And then when I joined Gangstar, Stu Fine, who was the owner of Wild Pitch, it was a husband and wife, an own label. Stu Fine was like, I really don't like your name. And I was like, man, what's wrong? He said, it just doesn't catch.

It just doesn't catch. Why don't you see if you can come over with a new name? And I was like, well, let me get back to you. And I had gone back to Texas to go to school. So I just made a list. You know, I remember DJ Scratching Cut. I had a DJ Turn around

I know I'm sorry Turn around Hey man We all have names in our Backyard I had mix and scratch Premiere was one of them You know

I made a little list And my mom always Keeps these yellow Tablets you know Around the house Which I took the day Yeah to this very day I keep them as well

Because I got something In my bag That brought with me It's just a thing So I wrote like seven or eight I wanted to do at least 10, but I wrote about seven. I remember I had a Revolve,

I had Revolution. Shout to DJ Revolution, who's one of the nastiest cutters ever. And, you know, and so I showed my mom, and she was looking at it and she goes, I think you should go to Premier because you always want to be first and stuff

and this and that. And I used to repair everybody's stuff in my neighborhood. Actually, Travis Scott's father was like my OG. What? Yeah. You know, his father, yeah, of course. Right, right, right. He's probably like, I'm 50, he's probably like 57, 58, but, but, yeah, Jack Webster, which actually Travis Scott, used to be Jack Webster before he changed the Travis.

Scott was Jack Webster and Travis Webster and their brothers and South to Sonora Webster. And rest of his dad who's actually used to play cards every Thursday with my father. He just passed, going on three years now. And shout to Ms. Webster, who's first person in my neighborhood, I heard curse more than Richard Price. The old lady on the block. Every Christmas, we still go over to our house and go see her, and she's just a barrel of fun, and she's just so funny. So, you know, I remember when they were telling me about Travis Scott wanting to get on

and everything, and they would give me his music and stuff. So, like, he's popping now. This is still in, this is back in prayer. Yeah, yeah. And Jack and Travis played bass and drums, and they were the first one with a pool table, the first one with the VCR and our neighborhood. And they lived, like, three houses from me.

So I used to go over there to that game room, play pool, and learn how to play drums and bass. And that's where my instrumentation came from. I took piano lessons, but by second grade, I was like, I don't want to do that. I want to play Cowboys and Indians and all that stuff. You know, so I started doing that type of stuff. And then I was in Little League baseball. So during that time, I just, you know, I left the everything else to the side. Next thing you know, everything.

start to trickle into the, you know, the turntable stage of everything. And, you know, music was always just heavy in the house. 2%. That is the number of people who take the stairs when there is also an escalator available. I'm Michael Easter. And on my podcast, 2%, I break down the science of mental toughness, fitness, and building resilience in our strange modern world. I'll be speaking with writers, researchers, and other health and fitness. experts and more to look past the impractical and way too complex pseudoscience that dominates the wellness industry. We really believe that seed oils were inherently inflammatory. We got it wrong.

Many of the problems that we are freaked out about in the world are the result of stress. Put yourself through some hardships and you will come out on the other side a happier, more fulfilled, healthier person. Listen to 2%. That's T-W-O-P-Sent. on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Do you remember when Diana Ross double-tap Little Kim's boobs at the VMAs? Or when Kanye said that George Bush didn't like black people. I know what you're thinking. What the hell does George Bush got to do with Little Kim?

Well, you can find out on the Look Back at It podcast. I'm Sam J. And I'm Alex English. Each episode, we pick a here, unpack what went down, and try to make sense of how we survived it. including a recent episode with Mark Lamont Hill waxing all about crack in the 80s. To be clear, 84 was big to me, not just because of crack.

I'm down to talk about crack all day, but just so y'all know. I mean, at this point, Mark, this is the second episode where we've discussed crack, so I'm starting to see that there's a through line. We also have AIDS on the table right now, so... Thank you for finishing that sentence. Yes, I don't think there's a more important year for black people. Really? Yeah.

For me, it's one of the most important years. from black people in American history. Listen to look back at it on the IHeart radio app, Apple Podcasts, or wherever you get your podcasts. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th.

You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be.

Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone, correct? I doctored the test ones. It took an army of internet detectives to crack the case.

I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alesspian, Michael Maranini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Ameriopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. You started out DJing and doing wax, wax master seat. Oh, not to cut you. I stray like Trump.

This is Rabin' Old Central, man. Go in, go in. So I called, when my mom said Premier sounds like the one, I called Stu and said, what do you think of DJ Premier? He goes, that's it. I love it. Talk about Stu, man, because I've heard, like,

a lot of stories about wild. I mean, you know, Diamond, the don't want to make a pitch as wild, all that. Like, what was he like as a businessman? And what was that first gangstar deal like? For me, even when we met my first manager, Patrick Mock, who started payday records

and Empire Management was our management with Patrick I remember when we went to a partner and he goes, yo man loving the new gangstar record first thing we got to do is get you off that small label

and I looked at him like you're about to ruin our stuff because Stu was so cool like we got along well and like I said with a husband and wife label guru's the one that used to go through the shoebox of demos

that got sent to him and he heard my demo and hear of Lord Finesse's demo. What's the label? Wild pitch. What was your demo at the time? So, I was in a group call.

We were called MC's in control. You know, M.C., MC's in control. It was me, my MC Topski, Sugar Pop. Big Sugar?

No, no, sugar pop. Oh, sugar pop. Okay, I didn't know if that was. They all from South Dallas. Shot the old cliff and all of that. So, you know, so they all went to, we all went to school together.

And then there was styling. tea. Styley tea was our flavor flay. You know what saying? I mean, I mean, he was just, I mean, and not only that, he's not acting like that. This is really how he is. You know, and

when I just went on the prom tour two years ago when I went to Dallas, I saw all of them and we all still talk to each other, call each other texts, and they come to my shoulder. We still call each other like it's a regular thing. They're not mad that I took off and continued because they couldn't really afford to come to New York. Me and Top

were in New York shopping, the I got to credit Carlos Garza because he's the one that got me a job at Soundwaves record store, which was the store in the hood in Houston to go to. If you're from the streets and you want to get anything, you've got to come to Soundways. So all the players and the pimps used to come in there with the furs and this is in the hot Texas. With gators on and everything. Hey, everybody, you got some of that Lattamo? You know.

Not Lattermore, a Lada more. Not a moat. And plus we sold Zidicole music. A lot of people don't know what Zytoch music. Yeah, that's huge down in Texas. And so I, and you had to know your music. And so what it was, this is how I got the job. I actually used to, the price tags were easy to peel off.

And they had like $3.99 or 12 inch. So we were putting the $1.99 ones on. And Carlos saw me doing it. But he didn't confront me because I was with Top. And Top was a very cocky. do you go fuck all that man you know ain't nobody gonna be be too front on us you know that's how he that's how top is what years is this this is probably like 80 this is 84 85 yeah so uh so when we get to the counter and i got a stack of 12 inches Carlos is the one that puts the prices on it because he's the

12 inch buyer from the warehouse he's the one that says hey give me 10 tone lokes give me 10 mili vanilla vanilla's girl you know it's true stuff like that so uh when he saw what i what i was buying he's like dude these prices are wrong and you know me I'm acting tough yo man it's a dollar 99 that's what I'm paying but they're 399 I'm the one that price those I'm like well whatever's on there is what I'm paying for it if you're

going to change the prices you're going to put it on next time I buy a record you know I was like you and I was like you and as Shane you know so so from there I came back in the store you know maybe a couple weeks later and he was just like yo man yeah I saw what you bought

you know you had so you picked a lot of high records that I just got in, you know, how you know, all that stuff. And I'm like, well, I'm moving to New York. I'm from here. And, you know, I'm going to work on getting a record deal. He's like, yo, you want a job here? I was like, yeah. And then I met with the owners and everybody.

They gave me a job. And from there, me and Carlos are the tightest friends. That's how I ended up beating the odd squad with Devin the dude and drug mug. And, you know, all of us got cool. I met Scarface. I met Willie D. So we go way back, way back before I had a day. Hill. And then from there, the Billboard had just started having a rap category in Billboard magazine,

a rap chart. So Carlos became the Billboard reporter for Houston for the South. And then they needed, they said, do you want to be the 12-inch buyer? So now I took over as a 12-inch buyer. So I'll call South by South, I mean, Southwest wholesale and say, hey, I need a, you know, a hundred wild thing, tone Logan. They're like, are you sure you need a hundred? I'm like, yo, it's moving because people coming in the store going, yo, we need wild thing, wild thing for the weekend, you know, and then we can move them. They got to a point where they trusted anything,

I would say order. And then that's when the base and the cars was like a new thing. Holden out here, it is what totally got us into the sound system era for us in Texas. Holden out here, my man, uh, uh,

uh, uh, uh, that is a loud. Rick Rubin always mixed the shit way louder than And what it was, there's a guy named Otis Curtis. He was part of my rival DJ team, DJ crew that we were rivals all the time. It was Chris Garrett, Tony Tapscott, Daryl Tapscott, RIP. And we all friends play football, everything, but we also, enemies. Not a bad way. But rivals with the turntables because we were like, yo, but you ain't got this record,

but you ain't got that record. But Otis was the first one to have the big woofers in his truck. And I remember he came pulled up. He goes, yo, I'm about to put on this song by the Beastie Boys. We had already heard like, Brass Monkey. We heard Beastie Gru, but didn't have no 808, and this is one in the old Purple Def Jam.

The Latin Rascal type of snare. So then I remember this is exactly what he said. He said, yo, when this record beat drops, you better duck. And we're like, why? He said, watch. And you know, it starts off with just holding now. There's no, you know, dear, dearie, dear. He goes, get ready to duck.

And as soon as it said, Tuck-to-to-doom, and I'm a chill with it. And it just said, boom, boom, boom, boom, boom, boom. We were like,

God damn, that's some pace. And after that, everything just started coming out. It seemed like after that, just everything was just boom, boom, boom. And then that's how I got really into Molly because Molly didn't follow the every kick pattern.

His would just be just like, boom, boom. And we were like, yo, look where he's plays, and his shit. So that blew me away.

And this is even before you had even started making beats. This is just still, you're just studying. I wouldn't even making beats. You want to know something hilarious? So your moment of realization with like, this might call me to the culture was Hold It Now Hit It? Yeah. You want to know something hilarious?

So the initial printing of Hold It Now Hit It when Def Jam did it, put the acapella on the A side. Right. Oh, really? Right. So when Lady B ever played it in Philadelphia, we never knew there was drums on the shit. She was just playing the Acapella? Not until we brought license to ill and I'm still mad, even to this day when I play Holdenow and hit it like on my mixes,

I play the Acapella in Philly. Wow. It was, because to us it was like, yo, they are so dope. they don't even need drums to it but it don't need no words who don't need no music I mean we never heard an acapella before

so this was number one in Philly for like all of 1986 we never knew there was music we never knew there was drums so we never knew we never knew that so like

and only later I found out the initial pressings of it like I think Murro took in Japan I brought a 12 inch where holding out I don't hear it, the Acapeo. They call it Acapulca.

Yep, that's what it says, yeah. Was on the A side and the other version was on the B side. But yeah, never ever. I never do it. It was an Acapulca. Yeah. And that's what, that's really what's set off as far as the 808 sound for me. And then from there, that's what I was like, man.

But when it came to Mali, that's when I was like, I want to learn how to make beats. It was just everything, his, when I heard the bridge, you know, I remember Run DMC and Dana Dane came, I, I, college to perform. And during the break, you know, when they're setting up the equipment and everything, I just remember I thought it was called the brakes, because it was going, it sounded like it was going, the brakes, the break, the break, the break, the break, the break. The break, the break.

And I thought that exactly the thing. The bridge. And then I remember, like, that was around time I met Carlos and I was like, yo, there's a song called, it goes, the break, the break. He goes, no, it's saying the bridge. He goes, I got it right over here. And it said bridge records and it just looks so plain, but it looked in New York. Like the label, I was like.

Like, again, labels, the way they look. They, you know, they just make you bug out based on no label. Now you'll see a label with some weird shit and go always, I know there's something on it. So what was, was general hip-hop culture in Houston derivative of New York culture? Like, okay, we see Run DMC doing that. So what's up, homeboy? Like, did real... Everybody was at that point?

Right. Because there was low... Was Southern, when did Houston establish their own thing? Like, okay, we don't have to be New York or L.A. We could be ourselves. It's got to say the ghetto boys, you know, because I go back to knowing the ghetto boys when it was Johnny, you know, when it was waiting for Face. Rittery.

Yeah, before Ready Reddy Red. Oh, wow. Jukebox and Johnny C. and everybody that, you know, this is, you know, when FACE came, he was a DJ action. You know, so even Bushwick Bill wasn't in the group. officially yet. So then Reddy Red came in late on like when Def 4 and all of them came out and Rahim.

So during the first record that came out was called Car Freak. That was the first ghetto boys record and we were like, wow, they got the dope Phila suits on and they got the fat cables like, where are they getting this in Houston? Where are you finding cables at? You know what I'm saying? They had the big dukees ropes and

it was like, wow, you know, they got them already. And everybody knew Jay Prince because we had a club called the Rhinestone Wrangler, which was the tunnel back in the 80s. And Jay Prince was one of the owners of that club, and then

RP, the one that taught me out of scratch, was working there on at nights. So that's why, yeah, so he would always get me in. And this is when he's playing. He's not really playing. You know, yeah, you'll play Carfreek from the Ghetto Boys and play Captain Jack, who was a local DJ and radio

personality. And he had a record called Don't do it like that baby. Yeah. So back then, people go, yo, don't do it like that baby. That was like a saying. So he made that as like an anthem. Before the Fat Man Scoops,

this was, Don't Do It Like That Baby was the anthem. So that got played. And then, you know, Steve Farnier and all of them was a major part of Houston. But in the club, if it wasn't ghetto boys, it was Stetsasonic.

Nobody beats the biz. Make the music with your mouth. The bridge. Like, it was those types of records in Texas. No bias against, like... Nah. Nah. Not at all.

And I was there. Okay. I mean, because it was the same for us, like, in North Carolina. Like, it was, you know, when we were young, like, New York, I mean, that was it. So whatever was coming down. Whatever hip-hop was out. Yeah. That's what it was.

Yeah, it wasn't, it hadn't become regionalized yet. So, like, at the time, so you're still... Are you DJing at this point? Or you at the time when you... By 84, you know, into 85, once... I was already doing parties, but I just knew how to blend. Oh, okay. I didn't know how to cut.

I didn't know I'd do nothing. I was just very... And I used to sit down and just spin. I wouldn't stand up. I would just sit there. Do crowds rocking. And I would just sit there and go... Fader over.

And everybody's still rocking. And I always had just the hottest stuff. And then, and then... How many crates are you bringing into a party. At that time, probably like 10, 15. What the hell? What are you? Because everybody, you know why? Because everybody helped it was a place called the Memorial Center. And then we also spun at a place called the Newman Center, which was part of the church I went to. I used to go to Catholic Church. I was

an altar boy, all that stuff. And so the Newman Center was the place to have the jam. So it's the spot. And when we spun it, we had the Newman Center. And at the Memorial Center, everybody wants to get in. Because, you know, you've got to pay to get the, getting the They were really strict like that and know how you got to pay. You know, it's probably a dollar then and I was like a big, no, you ain't got a dollar. Yo, people always help you carry the crazy in and they're not there when it's time to go home.

Every time, you know what I was saying? No one's there to help you. Yeah. You know, out of 10 people, it would be two people to help you. So, and that back then we had our own equipment, recipes to theater, Archer, we call a meatball. He and I had a DJ crew. My mom made just a little cards and, you know, it's, well, we, we, we,

We were called magic sounds. My mom named it. I didn't like it. Magic sounds. I was like, ma, because we had Magic 102, which was our hip-hop and R&B station. But back then they played, like I said, the Mixo show played, nothing but predominantly

in New York hip-hop, because that's all you really had. That's all you had, yeah. But then we had Egyptian lover. For the West Coast, you had Egyptian lover. You had Mix Master Spade. Ice-T wasn't even out really like yet. He had a record called Cold Wind Madness. A lot of people don't know that he has a record.

It's on a blue label. Is that the Jimmy Jammin Terry Lewis one? Yeah. Yes, it is. Yeah, the Coldwyn Madness. So right before Just Be Good to me, Jimmy Jammer and Terry Lewis would make a little instrumentals and that blue label. Yeah.

And it did bad times, you know. Captain, I can't stand that. You can't stand that. That was Jammin'Lew. Yes. Yeah. Yeah. Wait till their episode.

Yeah, I know. I'm waiting for it. Was that before? So that was before, you named Egyptian lover. Egyptian love was a big deal. Two show was just on, because now I have West Coast friends who I met in college. This got Stevie Steve. He used to be like, man, you're on all that New York stuff.

Y'all always put it on plus two. We put it on plus eight. And I was like, so he said, yeah, can we cut faster? And he's always had that attitude. He's like, let me show you what we could do. And he put on the Al-Nay fish from Hashim, it's time. And he's like, wow, he's doing it's fast. He's like, yeah, stick to your plus two.

That's all our death. I will always remember him saying that. Yeah, stick to your little plus two. Because he would always, every time he'd get on, he'd go, can I get off him a little while? He would just slap it down to plus eight. You know what I'm saying? Shout to Stevie C, wherever you are.

Shout to John Twine. These are guys, John Twine, man. He was like the pretty boy from the West Coast. But they taught us how to do the dance called The Guess. Because I used to dance back then. I was in a B-boy crew, everything. That's what, you know, I had footwork. everything. We used to battle

the legend. He used to play for the Rams. Oh my God. Harvey Williams. He used to play with the Rams and he played with the Raiders. We used to battle him and his brother, Darrell Williams, and they used to wear the tuxedo jackets with the white capizios

and the white gloves. And they were moonwalk. They were the first one that I saw Moonwalk, where it looked like they were literally floating on air. I was like, yo, these dudes are nasty. We got to kill them in the next battle. Wait,

all right. I'm mind-blowing right here. All right, you're listening to the Quest Love Supreme or Pandura. We're here with Team Supreme and our very special guests,

DJ 2 plus. The Larry Love, the Larry Love of Houston hip-hop dancer DJ premiere. Yeah. So,

I'm really shocked because the only inkling that I had that Houston even had a culture was when Chuck D. shot it out ghetto boys on fear of a black planet. Like, it really wasn't even occurring to me that... Way before.

Hip-hop was... And the guy that's like the, quote-unquote, Melly Mel of Houston, his name is Kay Reno. Oh, yeah, Carino, yeah. Yeah, Kay Reno, if you asked Faye's Bumby, any of them, like, who's your... Who's the guy?

The guy you look up to from Houston. They're not going to even go, I was, they're going to, I mainly say Kay Reno. He just released an album called The Big Seven. I just posted on Instagram a couple days ago. He just released seven albums all in the same day. Just came out. He's just a militant angry.

Yeah. It's a militant, angry, just fuck you all type rapper. And he can spit. He's actually on the NYG's album on a song about, it's called Introduction to Manhood, which is pretty much about how many youth black people. kids go to jail to be learned to be a man because they don't really know until they hit a consequence where they got to go

to jail and really face real men. So it's all about that. So it's K Reno, YGs, and Lilfame from MOP. It's a real ill song. The beat is crazy and it's very serious beat, but it sounds like, you know, running high the hoodie music, but

K Reno bodied it. I mean, just, man, he's yeah, K Reno, man, big up to him. He's the, you know, he's from South Park. that's south side he he's the south park general so you know it's really north sides and south side and houston yeah so and most and then you got most city which is missouri city so you know so at this rate are you thinking like okay this is a career for me and or is it just now how did you because you're not in the original gangrenation of gangstar

no i'm in the third generation actually surprisingly neither was guru yeah i'm the third generation The first generation is guru, Shug, and Shug's brother Swab D. That was the first gangstar. They named Gangstar when they were going to Morehouse. You know, Shug was hustling out there and, you know, the guru was going to college. And they were called the gangsters because, you know, Shug wanted to keep it. You know, we were keeping their heart. You know, Shug was heavy in the streets at the time.

So from there, they said, you know what, let's call it gangstar to kind of not soften it, but just having more accessible of a name and having catchy. So they originated the name, Shug, Swab D, and Guru. Then from there, Shug got incarcerated, did a few years of time. And then another MC stepped in because it was only one MC, but now it's two MCs. It's Damo Dyski and Guru, but Guru wrote all the rounds for Damo. Damo would rap with Guru.

And then the DJ, his name was Mike D, but his DJ name was DJ Wanna Be Dan. But he spelled a DJ 1. 1. 2, the number 2. B, the letter B, and then down. So it was DJ 1, 2, B down. But if you say it all in one. And if you listen to the first 12, he goes, yeah, DJ want to be down on the wheels, you know.

So, yeah, DJ want to be down. Mike D.S. Mike D's brother's name is Gangstar T. So that's another addition of the name, but even though they had already started Gangstar already with Shug. Swab D and Guru, but Gangstar T was a known guy in Boston. And again, Mike D is his brother in the group. So that's how those affiliations happened.

And then when it got to the point of Guru staying in New York when he's living in Brooklyn, and he got with me, he was like, man, if they're not going to come up here and help, you know, get us to a point where they're only showing up with their shows and money, I'm not going to have them be in the group. It's just going to be me and you. So I was like, well, that's on you. And that's when that beef started where they were like, well, we're going to be gangstar posse. And, you know, that's when little Shab, who's from East New York, he was friends with J.

Ruther the Damager. And then that, they kind of angry that guru kept running with the name. So they started that. But then, you know, that got shut down quick. We were doing disc records and stuff like that. And I didn't know them, but I knew whoever it is, if it's to that degree where we got to get it on. I was always like, not was. I am still front line.

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How did you and Guru even meet? Because you signed this in the wild pitch, he, Stu Fon finds your demo. Right. Well, Guru really found the demo. It says Stu, check this out. Oh, it says Stu check this out. So how did you and him actually meet? So Stu said, you know, I should put y'all together.

but I want to student sign the MC's in control, but now we had changed our name to ICP, which was in a circle posse, but there was a reggae group called that. That's, yeah. I was like, why does that sound familiar? Yeah, okay. So with that, we were just like, we're just ICP,

you know, and we'll say in a circle posse and our, in our rap, it's same place, too. Wow. What equipment were you using? Then I was on, Carlos had an SB 12 that he had bought. and 12, the purple of the blue ones. So you couldn't save the sounds? No, well, I bought the drive, you know,

you had the big, big flat square, you know, the one that's like a 10-inch disc, you know. Save like one there. And when you saved it, go, tit, tit. So, but then when you saved it, and you load it back up, and it's all like, you know, it's not playing back the same, but I learned how to truncade do everything,

and I would just make it and go directly to my cassette decks because I'm like, damn, it's not saving anything the way I want. So if, you know, I can't reload it up to play it again. Save the sound on cassettes. Yeah. That's your Marley Moore. Real. And then when I got to New York with a, you know, shout to Gordon Franklin,

they went to Prairie View as well, so that's how we all met. So when I told them I was coming back and I wanted to get some demos done to hopefully get a gang start, at the time, Stu was like, well, I just don't like the way your guy rap. He didn't like the way Top rapped. And because the demo me and Top did is what got us to Stu wanting to sign us. So that's what I'm like, I'm not going to leave him

and you like the demo that we cut. Yeah, that's what got me in the door. Yeah, we had one call, we're fantastic. We had one called Up Another Level. We had let my DJ get hype, which was him rapping about me, and I was looping people who make the world go around from Michael Jackson, and I just kept just boogoo go boogoo boom

because my man Skeet, who was our neighbor in East New York, taught me how to work a four track. I was like, wow, so I could just cut this for like five minutes. Now I got that, and then I would just cut the from the Milton, I mean from the Mill Jackson version. Right, okay. The yellow cover with the birds. I cut that over it.

Then that was the beat. Let my DJ get hyped turned into DJ premiere. in deep concentration because he said let me get off the mic and let my DJ get high. Kip, Kip, Kip, Kip, Kip, Kip, give the man behind the wheels. So all the cuts that I did on that became deep concentration once I joined Gangstar. But I, and I found my demo tape that I gave Stu and Stoo gave it back to me. It's in great condition. I'm about to transfer it because I, you know, and digitize it because that's, you know, sacred stuff.

How old is that? I'm like, man, man. You gotta take that to the Smithsonian. Yeah. No, for real. I'm not joking. Dead ass. Even the writing on it and, you know, just looking at it like, wow, this is.

And I found the Lord Fanness demo. Lord Freness wrote his own, he put Law Fenness, the funky technician on it with his own handwriting with the nice, you know, graffiti style handwriting and everything, you know. And that's how I met Lord Finesse when he became our label mate. You know, that was the first person I ever produced us outside of Gangstar. But yeah, when my partner, as far as how we separated, Top, Stu even said,

look, I'll put y'all in the studio. Maybe you need a professional studio. Maybe I'll like them. Put us in the professional studio. Next thing you know, we do a couple more demos.

He's like, I still don't like your guy. So I said, I can't join Gangstar unless I'm with my dude. Time passed. We cut them more demos. Still no work. We went to every label.

Still nothing. Top said, yo, man, if we have in the next couple of months, if we don't get a deal, I'm going into the military. I was like, nah, not you. That's not even his.

He's so street. It's like, that's not even leaving you. Man, we got a knocking a door. We all, we're living with Gordon's family now. You know, hanging out in the basement, living there. Me, me, and Tom, and I dance at H.L. Rock, shout to H.L. And next thing you know, dude's at the door, and he's like, you know, in the uniform going,

hey, I'm looking for Theodore Campbell. And I'm like, for what? He said, he's leaving today. You know, he's, I thought he's. he was bluffing. He said, yeah, he joined the military. I'm like, yo, top! Yelling down in the... I was just explaining this at another interview.

I was just... And he comes up the stairs with his bags already packed. And I'm like, you're really leaving? And he was like, yeah. And he said, this rap ain't working. I was like, now is I leave me? Like, I'm stuck in New York without you. Because I really thought we were going to make...

He was going to make... And he's like, yo, and he said... And I thought he enlisted for like a year. I was going to wait. Just be like, when you come home, we'll do it again. He's at nine list for four years. Dang.

I'm like, now that's a lifetime in rap music. Called Stu back and said, yo. My partner just left. He went to the Navy and he's like, so? That's when I joined Google. Was he like a captain now? He actually got discharged, but he's doing well. He's got a beautiful family.

We're homies. We still see each other. Like I said, I see everybody. But we all always calling each other, texting each other. everything's good and good with everybody. So no hard feelings. So in the vein of third base, this is almost like an arranged marriage.

Yeah. Yeah. That worked. That was, or did it? Both. And I told Guru at the beginning, I said,

listen, I still want to produce other acts, you know, so please, you know, if you got a problem with that, let me know, he's like,

nah, I'm cool with that. Just, I want you to DJ for me or whatever and, you know, make the records for me too. And I was like, cool.

I said, well, the group with you but I'm gonna still produce outside of that so no more mr. nice guy I read I think it was nothing of you said that album was done in like 10 12 days yeah that I wasn't really nasty yet as far as being being competent to say I am a beat maker producer that really was me guru this now is SB 200 you know this is me guru and slow mo sun and fell and we were in Brooklyn at such a sound studios and uh I see king of chill they all the time like wow it goes king of chill you know like my outland you know like I was such a big

fan and and I didn't really know how to work a s950 yet in a kai s950 sampler and me and him got cool and he's like yo if you want to come to my mom's house I'll teach you how to work it's I used to go to crown ice take the train and bought me a 950 in my own and he taught me at his mom's house with no drum machine attached so I didn't have anything to trigger it he just taught me how to loop and everything and I used to always go to king of chill's house and learn all of that so once I got that master Then he said, man, you could buy you like a little basic device that can MIDI up. You know, I was learning this whole MIDI thing. And he said, and you can trigger all your sounds.

And once I did that, I started going, oh, okay, I get it. But I didn't know how to do chopping until I met Showbiz. Because now that Lord Finness is our label made, he's like, y'all want you meet one of my homies is from my projects. He's dope. He's named Showbiz. You know, Showbiz was in the street. But he was nasty with the beats, and that's how I met Diamond.

And that's how I met the whole DITC. I'm at Fat Joe way back before Joe. It's like 89? Yeah. So even back then they were active. Oh, yeah. Just waiting for their time. Waiting for their time.

Waiting for their turn in the wins. And Patrick really liked, you know, showbiz was doing everything on his own. I ride a trunk of a car. Patrick liked showbiz music, so that's why he was like, yo, let's sign him the payday, and that's how we all got together.

Yeah, the runway slate of the show and the job. But when we did no more Mr. Nice guy, we were all on the drum machine together. Like, we'd be. side by side. I'm like, I'll hit this. You hit that, and Sloan was like, well, I'll hit this. They all like bombs on style.

Oh, so y'all were, really? Yeah, because if you hear the production, it's not. But what songs? All of them. Because I was saying, everything was so, wait a minute. So, on cause and effect, that's someone doing the hi-hat. Yo, for the long, dog. And you've been trying to replicate this.

For the longest, I was like, yo, is there a discrepancy in the high-hat programming? That's just that. Like, there's more point. It started getting slow. Yeah, because I didn't understand. Yeah, because I never liked to quantize. So I like it loose. And once he told me, I was like, how can you make you do it where it's almost like you're doing it?

He said you could turn the quantiles off. I thought everything is just 116. So when he showed me that, I'm just like, you know. Oh, yeah, it's sloppy. I got to hear this for one second. This is causing effect by Gangstar. You ain't living right, punk. I'll have to school you.

Not rule you. But I'll say, yo, you. Fool yourself. When you try to deny, defy it and lost. This means your cause has flaws. That's all, and we would have five each other because we're all, we're doing it. Yeah. Like, he might go, you know, like, that's how it was.

Like, we really. But you know what? I'm not, I'm really not mad at that at all because what, you know what, Marlon Jackson said. on that off-the-wall documentary that sometimes mistakes and the human element makes the song breathe better. Absolutely, yeah. Yeah. And, you know, like, I really didn't know the importance of quantized until, like, some DJs started complaining that they can't blend their stuff. A roots record into it.

You know, then I was like, all right, all right, I'll do a damn click track. But, you know, like, I would have. Okay, now this, a lot of this record is making sense to me now that I realize that you guys were just doing it live. Triggering live with your hands. So after that, when y'all do know him, it's a nice guy, how do you make the transition from Wild Pitch to Chrysalis for... I try to give it up to Spike Lee and Brand for Marcellus.

Oh, yeah, that's right. Jazz thing. Yeah, because we had done jazz music. Spike saw the video towards a manifest. I thought Guru looked like Malcolm X in the video. That prompted him to buy the album. He bought the album and heard jazz music, and it was during the time he was doing more better blues.

So when he was doing more to better blues, he reached out to us, and plus it's Brooklyn. You know, he was saying Brooklyn, there's Brooklyn that. So he, you know, he's very pro-Bro-Brooklyn. And he said, I remember he called us and said, yo, man, I love that song y'all did, shouting out all the jazz grades, but y'all left out a lot of people.

And I was like, well, we actually did that for our grandfathers because they were in jazz bands and we did that to dedicate to them because before my grandfather passed, he said, we want you to do a record about jazz grades if you really, you know, respect, you know, the music of the past.

So we did it as a tribute to them. We weren't really, like, really focusing on it. It's the only record on there about jazz. You know what I'm saying? Everything else is other subject matter. You know, battle rhymes and ghouls always like to do battle rhyme stuff anyway. Next thing, you know,

they said, well, we want you to do a better version of what you did, but we want brand for ourselves to help you do it. And he said, we got a poem by this guy named Eric Eli, and it didn't rhyme, but I remember Guru looked at the right and said, it's don't rhyme. And Spike was able to do it and do whatever you want, but mention those names that you didn't mention. Guru just said, you know, Charlie Ming is such nimble fingers, you know, just little feelings because he had all the names and it was pretty much a done thing.

He wrote, guru writes fast. Done. And we cut the vocal. My original version was the one that's in the video. The pooling the gang. That was the demo I presented to say we should do it over this. With Bramford and them, they were like, no, we need instrumentation and we want to make it a broad, big thing for the soundtrack.

So we did that. And that's why that version on the soundtrack is very well. It's like a big production. When it came to the video, Spike was like, yo, I want to use. used your version for the video, which he was like, cool. So we did that. And then all of a sudden, shout to Duff Marlowe saw the video. And I just reached out to him on Twitter.

I just shout him out and all of a sudden. Now me and him talking again, you know, he's doing well. I haven't seen him in years. And he's the one that said to get a sign and we got signed to Christmas. So then when y'all did the Step in the Arena, which I don't know if I told you this, that's the first CD I ever bought. the long box and she was like $18 fucking dollars.

Bought? No, actually bought right. Fair question. I have a, I have a reputation for stealing. Yeah, for stealing in my early days before I found Jesus. I used to steal claws.

Oh, wait a minute. Whoa. We weren't. We skipped that part. We just went to the musical. We were all about stealing the stereos, you know, so and then, but then my own friends

who used to steal got me. I never get... I remember when I walked out and saw the hole in my door, you know, because we knew what it was. You know, I used dim pullers and all that stuff. We used to do all that stuff, man. And I was like, damn, it got me from my system because I used to put all the systems in my neighborhood in people's cars. So I was nice with it. And I was just like, man, it got me.

Even though I, you know, got another one. Yeah, but... Yeah, I had the dope system. Yeah, man. Damn. You know, yeah. So it's stepping in a... Shout to all the thieves that I used to...

I used to rock with and, you know, I won't say their names. But, uh. So in stepping in the arena, what was, um, because that was, I remember buying that one. Well, I didn't buy it. My grandmother bought it for me. And, um, I remember. She stole it for you, right? No, no, no, no.

She actually got it. It was like from, I think we got it, I think I got it like at a, out of Walmart or something. But, um, but, but yeah, that was, uh, that was my first CD. And so with that record, from what I could tell, it sounds like the production, you were starting to get a better feel of it quickly. I wanted the sound to be like the Jungle Brothers because they worked at Calliope. This is what brought me to Colliope for this album.

You went to Kalibi? Yeah. Who was your engineer? Laulete. L-L-L-E-E-T-E-E-T-E. Yep. L-I-L-E-T-E. I remember reading it.

Yeah. And it's so crazy because whenever I wanted to do something off and lay it down, he had this thing called the Russian Dragon. so if you're rushing it'll it'll tell you if it's rushing and if it's dragging it'll go dragon but it's called the Russian dragon

had a dragon on the front of the thing it was all these lights that it's a light that's in the middle that's green and if it's rushing it'll go red and if it's dragon it'll go yellow would it line it up for you or just let you know if you put it on a track and run it through that track

when you turn the dial it would move it for you you know it's called the rush Dragon. What are you here for, Steve? You know what I mean? That's incredible. What year was that?

That was going into 92 because we were working on Daily Operation but as far as this is where, well prior to Daily Operation, yeah, Stephanie Arena was all out lead except for just to get a rep, which was still done at Such a Sound and Firehouse which is

Yoram Vazahn who was partners with Shlomo and they started two studios. So now it was such a sound and fire house and that's when king of chill started just be feed he ran firehouse pretty much and that was still a such a sound but we did just to get a rep there and we did uh say your prayers there and we did uh uh what is it um boom do do a street ministry street ministry yeah yeah yeah there it is that's it that's it that's the russian dragon that's it yeah we need that so so and i never i was like what the hell that but he was like this is how you can move your your track either for

or backwards to get it if you wanted to be a little more off. So from there, I finally got an Alessus drum machine that could trigger my sampler. And the first beat I did was, you know, for Clivey, I did step in the arena because I always wanted to loop that, the horny horns, looped it up, guru wrote that right away, we cut it, and then from there, everything just started flowing, man,

and I started just getting better with understanding. Because like I said, now I learned how to filter better with Pete. And I already knew Pete and them and a large professor. They taught me how to filter and do all of those things. And Showbiz taught me how to chop. And he was like, oh, if you put it on the same output, it cuts the sample off and you can do it. I'm like, wow. So then I'm taking all these tools from Showbiz, Lars Professor, and Pete, and then applying my way with the Marley mentality and the scratching mentality.

And I said, I want, and I always scratched like I did because I want to DJs to be like, you hear what he cut? Because I figured a lot of MCs are not going to really care about the cutting part. Nah, we care. You know, you know, it's not going, yo, he cut this line. So I knew DJs would be like, yo, he's killing it on the cut. So I did it for DJs.

Now, you were, well, it's funny you say it because as MCs, for me as a kid listening, it was always dope to me how you would take parts of different songs. but like, you know, it was almost like a collage, you know what I mean? It was like you would take all these things and put them together. And I remember hearing, I mean, you know, like with mathematics, where you took the cut in to do your math part, I was like, I never would have thought, oh, unbelievable with the dark out.

I was like, what the fuck? Like, why do you do that? Who would have thought? It just comes to me like that as a DJ. It's all DJ oriented. Everything for me is DJ oriented first, you know, even from what I do as a producer, everything starts from just DJing. Like if I had to pick out of everything,

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Okay, not that I think you will confirm this question, but for the sake of quantizing stuff, do you think, all right, do you think, have you ever just, especially if it's a sharp cut? Right. Just what I call pulling the, a Dr. Ice,

a U-TFO, like, cut it via your MPC or your three-year drum machine. Oh, no. So for you, it's your... Oh, yeah, and he'll tell you... I'm hard on myself when it comes to laying my scratches. No, yo, listen. We were doing cuts for the breaks,

and he was doing, well, he was doing, we wasn't doing shit. We was watching. But he was doing, you was cutting... Once again, back is incredible. Yeah, yeah, yeah, he's cutting. And I did it with the actual record. Yeah, he wasn't, it wasn't, it was the real.

Yeah, the real, the real Public Enemy 12 was done in Serato. Yeah, why not? And I kept going, I kept going no again, again. In every tape, we'd be like, you were like, that was dope, that was done. Like, nope, it was just a little, no, no, no, no, no, no, no. No, no, no, no, no. No, no, again. Well, you were going, oh, man.

We all, we were like, look, what? And even, you were like, okay, let me just go to Pro Tools and move it, right? No, no, no, no, no, no, I know. I know I was about, yo, okay, and I was saying this about Prim too. I didn't even know people did that. I believe you, but I'm just saying that. I didn't know people even did that. No, no, he still mixes like he's on tape.

How do you run it through? Okay, so they would run it through. See, I, I, when you're saying, I'm looking at you like, how? I've seen. I mean, someone taught me how to cut, like I would load whatever I want to cut and scratch on stuff. Right.

Or on 2000. Oh, you're loading into the drum machine. Yeah. And then hopefully 2000 up to. But how do you scratch it? But how do you scratch it though? I mean, there's, there's, I mean, you won't get the ziggas, zika, zigger, because sometimes you'll hear product.

Like, okay, for instance, like, if you would do like, step out, step out, step out. Oh, no. Like there's. I have to do that. Because I want people to go, yo, look how he's cutting. Like, that's, like I said, it was a DJ thing where I want DJ to go. I've seen cats cut via the drum machine. I've never seen that out to all these years.

Yeah. No, he's still, like, even when we were doing stuff, like, Primp, he still works. Even though it's all digital, he still works like he's on tape. So, like, it would be nothing. I'd be like, yo, so Prim, like, you know we can go in and just, he's like, no, no, let me punch. Oh, you're going to punch all.

I'm a punch. I'm a punch. I'll punch. Yeah. If I go step up, step up, step, I'll say take it from step and then go step and I'll go up. Yeah, yeah, that I'll do. And it's that precise.

I'll be like, y'all, I'll do that. But I have, I'm always literally on the feta. All right, so slight admission time. This is my confession. For real, for real. I'm still going for a week. This is confession time. Game plan from stepping the arena

So back in the early Square Roots days back when we were busking on South Street We This would be one of our Like we didn't write our own material We were just like Do you know

All right do tribe next Do da da do not But for some reason We used to do a routine to It's a game plan Wow Which eventually distortion static. Oh wow, I never even knew that.

It morphed, yeah. Guru's one that said, yo, you gotta chat this group to Roots. Like he brought you all to me. Word. He was so into y'all from the gate and him and Rick met. You know what I'm saying? But he was like, yo, they're for Philly. They did have band?

Because we only knew Stets of Sonic as the hip-hop band. hip-hop band. Right. So, you know, he's like, yo, they dope. And, you know, y'all just, man, y'all have transformed hip-hop into its own planet, man. Thanks, man. I want to know.

Now, right now, you're in, like, your second year with guru. Yep. How are you guys, because this is an arranged marriage. Mm-hmm. How are you guys gelling as a unit, as a unit? Like, you know, is it like he feels that it's... It's more his band and you're visiting or, you know, like, are you guys friends offset? Are you hanging afterwards?

Like, what's in the first two years of Gangstar? What's the relationship playing? Both because we live together, because we live together from the, from No More Mr. Nice guy, all the way to hard to earn. We lived together. Y'all lived in Brooklyn. Well, we lived in Brooklyn. The first we lived in Brooklyn. Then we moved to 183rd Street in the Bronx

And that's how I met Panshee And Melichada Knuckraker Yeah That's how I met Melichol Knuckraker Smiley Yellow Child That's how that whole connection from the Bronx happened on 183rd Street Because we lived on 183rd in Andrews

You know And that's when I used to see Ski I see Dame Dash walking his dogs That's when Jay Z was around a lot You know Running with Dad So you know

This is where that transition See and Chubby Chubb all the time you know, so we all live in the same era, but area. But we fought from day one, but it would be of a nonsense, but it never affected the greatness of the songs. Like we'd be fighting, and then he's fighting with my dancer. You know, and they're fighting in the hallway. We're in a grimy building with crackheads all on the same floor,

and they're like, come on, let's go, let's go. And they're tearing the room up or tearing the hallway up, And then next thing you know, we're like, yo, I love you, man. And next thing you know, we're in the lab making another bang. Okay, so I'm skipping the head. I'm skipping the album a little bit.

Now you're mine off hard to earn. Was that him about you? Yeah. Oh, wait, what? Yeah, even though it's basketball as lingo, we had just gotten to a major fight. This is right around. Exclusive.

At daily operation time, we got into a major, major, major fight. It was very bloody. very messy and we had already gotten hired to do the song for white men can't jump soundtrack so you know the check is already in so last thing we want to do is not the record so i remember i remember guru walked into the session bandages on his head and everything like that and he walks in and go straight to the booth and he looks right at me you know because the way d and d the way it is with the vocal booth it's just a slight look to the left and he's right the The booze right there. He looked at me and just said, you know, dude, get there wrong.

You never have the skills like mine. And he's just looking right at me. I'm looking at him because we still have a little tension. And I remember when the vocal was done, he goes, you good with that? I'm like, yo, it's dope. He goes, and fuck you. And walks out.

You know, a couple days later, it was back to it. How did you even know that, Fonte? We had talked about that before. Yeah, that was a good. I miss that, brother. I miss him so much. And then not only that, I mean, you know, he had a big alcohol problem.

He used to flip a lot where it's not even just me. You could, I mean, so many people in the industry and fans are still coming to me and go, yeah, I was with Drew. He was drunk. He was, he was cursed. The first time I met him, yeah, he was lit. And I didn't know. And in fact, he was.

Yeah. And there's so many stories that are similar to mine. So it's not like just us. This is fans and other artists that have witnessed the same thing. But one thing is that it, and, you know, so dope. Even when he would be pissed or in one of his moods, he would go, well, there's just one thing I will say, I'm one of the nicest. And he would always say that. Or he go, one thing is for sure, nobody can out rhyme me.

Y'all don't care how ugly it was or is. He would always make that his last thing. Hip-hop fights. Yeah. I thought it would be over like food or a girl or whatever. Just so many things, man. And, and, but we'd always make up. Do you think he just had issues because you guys kind of came into your prime when this was really a young man's game?

I mean, at least the perceived, you know, I mean, you're, you're said as ageless anyway. But I'm just saying that, you know, most people get ushered in when they're like 19, 20, 21, they're young boys, you know, that sort of thing. I mean, well, I was that age at that time. I was 23. What's the different? He's, uh, he's older than you? Yeah, he's older than you. me calling me.

Yeah, so even though the age line happened for several years, you know, which I already knew what his age was, but I just didn't... Is it significant? Like, what was he? Was he?

Was he five years old? Wow, that's significant. I never knew he tried to hide his age or whatever. I mean, he just had such a cool, I mean, gurus, I mean, for those that, you know, are too young to even remember that time period, I mean, guru's voice was probably,

Probably, I'll say definitely, the top five most unique voices. Absolutely. Absolutely. And hip hop. Uniqueness. I mean. Absolutely. Just as far as delivery.

Like, you know, I put him up there with Snoop's voice, Tips voice, Be Real's voice, even at Rock's voice. Absolutely. He just has a very unique sound voice. 100% correct. You know some crazy, I didn't know his real age either until we went back to Boston to go do promo for one of our albums. and the L.O.G. and the Bulldogs were shooting.

I got the habit video in the back of the store. So they were like, yo, AdO.G. was there. And why don't you come in? Because we knew the awesome, too. Everybody knew gangstab by that time. But we went around the corner to be in the video, which were in it. And a kid walks up and goes, hey, Mr. Eelham, remember me? And I'm sitting there like, why is this kid calling him to Mr. Eelham?

So I'm like, why are you calling him to Mr. Eelham? He said, he was my teacher. Wow. I'm like, I'm like, oh, man. On blast. What grade did he teach? Yeah. That's when I was like, just tell me what age you.

So I know, even if I got a lot for you, I just want to know so I know. You know, and then we all got our story straight. 43. When did y'all start? Okay, so no one missed. Sorry, not no one missed. I got daily operation. I remember that follow-up.

That seemed to come kind of quick after. after Stephanie That was during the time where you come out with an album every year you do an album, you tour come home and get the next budget and so with that And the budget is kept

good Well wait a minute Because this is one thing though You guys didn't Because by this point you're with Patrick Moxie And I know his MO Is tour Right

Because You guys were the only people I ever saw going to the same places that the roots were going up. Because our radio play shit was down and we weren't on TV. Management was like, yo, we got to go on the road.

And so we got a lot of our gigs based on the acts that wouldn't go. Blah, blah, blah, blah, cancels to do that. But you guys were always on the road. Yeah. But Patrick's friend is British, even though he speaks American English

so he doesn't have an accent, but he's British and all of our staff. staff, Neil East to be who all, you know, top executives now, shout to all of them. They were all part of his team. So that's why I knew so much slang. Like, even to this day, I still go, fucking hell. And I'm so used to hearing that in the office so much that that's normal for me to respond.

And certain things, like, are you serious, man? Fucking hell. Like, it just rolls off the tongue that natural. Speaking of tour, you must give the QLS listeners. The Gangstar Father MC DJ Quick tour story. The towels. Ooh, I can't wait for this one. Oh, my God.

I never heard it. This is the most gangster shit ever. All with the towels. Oh, my God. EPMD asked us to tour. Where years is this? It's 91. Okay.

Yeah, EPMD asks us to tour with him. This is when Jessica the rep was very hot. And because Jessica, the rep came out 90. If you look at the 12 and it said 1990, the Stephanie Arena of the album came out 91. EPMD assets to go on tour with and we was so ecstatic like, wow, I drove my own van with my MPV.

It was me, Dap, Gordon, Guru, and we had a 9mm and a whole bunch of beer. You know, we were hynicking freaks back then. In the van? Yeah. The premier van? Yeah. The one we all used to test.

So you weren't renting of, you were taking beer van? We couldn't afford it to get a bus yet. You know, that was big, big paper, and we wouldn't get tour support at that time. We didn't get to a support until, the second until a daily operation then we get into a support all the time. Tour buss.

Do they still do tour support for all this? Probably not. Well, now it's 360 deals where they just pay for everything and you pay them. And you're fucked. Yeah. So go ahead. So it's DJ Quick. He was brand new. He's like the first blood rabbi ever seen because I only knew Crips.

So it was DJ Quick. Father MC. Mary J. Blige Blas was with us for a little while as a backup singer, you know, with Father MC because they were all label mates. Chub Rock, that's when Polk was just the DJ before trackmaster. Yeah, and Gangstar. So we're on the tour, and Father MC used to always be late to the gigs where he would have to, because DJ Quick's supposed to go on right before you PMD because the markets we were in,

he was bigger, you know, so the lineup goes in the order of how pop-popping you are. So obviously, even PMD was the big. biggest but you know so father them c was always arrived late where quick way that to go on so that it doesn't keep a lag in the in the show and then uh father c's closer to the headline got to a point where everybody was getting frustrated with it where it was like yeah we got to say something to him and uh you know words was said where it was like oh if you don't keep keep coming late we're gonna have a problem you know flat out so it got to a point where once he uh he started he started coming on time and everything was cool, but Quick, but Quick was like, all right, let me, let me show this cat, this cat, how big my strength is because every show after Quick would get off stage, he used to do a meet and greet.

And, you know, meeting greets were really a new thing for us at that time right after the show. And then plus Quick was so new, you know, for us because everybody knew EPMD, everybody knew Chub Rock at the time. And like I said, we were popping with our records. but man the line for Quigg was that crazy to just get the glossy promo

picture sign and he take a picture with everybody this is backstage okay but after the whole thing with Father C got out of hand where they were like

yo you know this has got a stop and again he started coming on time but just to get back at him Quick had his security guy security team buy a whole bag

like garbage bag full of towels like the little ones that you twirl at football games and stuff like that. So all of a sudden, Father MC goes on stage, and there's like a big ruckus in the crowd, and everybody's like wondering, what's going on? And you look at, you know, because we've already performed, so we're hanging out, and we're watching, and we look,

and DJ Quick is wiping his jerry curl with the towels and then passing them to the girls. So they're, you know, so that's distracting everybody from watching Father I was waiting for it. I was waiting for like the whipping. Yeah, no. He was wiping his Jerry curl and pat. So girls like, oh, I got his grease.

We got to be quick on the show. And he'd wipe his face. You know, he'd wipe his face, you know. And his security team was all from St. Louis. He went to a show in St. Louis. He went to a show in St. Louis and loved the way the security team was handling the crowd. They hired everybody that worked at that club.

So they shut the club down for that period of time. While that whole security team went on tour, he got him a RV of their own, and they rode in that RV with the security team. And they were heading, like, because he was having a lot of problems with gangbangers and stuff. Yeah, I was going to say, the whole Denver's just like Compton thing. It was heavy, yeah. A lot of people were like, fuck quick, fuck quicker and stuff like that. And we were riding with him because, you know, he's part of our tour, and we're both, we're a family.

So we, you know, and then everything turned out cool with all them. See, we were always cool with him anyway. It was just stop coming late, you know, just because you want to, you know, you slide a different. But everything ended up being a cool tour. Everybody got along with Father MC. He's a great dude and big up to him too, you know. Can I ask you because, I mean, you're one of the few luminaries that has pretty much been privy to and active in every era of postmodern hip-hop touring.

You were there for the night. early 90s, right when like MTV Raps was ramping up in America and a whole new thing, you were there for like the alternative tours. You, again, you hit Europe and all those other spots. You still toured to this day. When you think of, ah, those were the days. Like, that's real touring. Where does your mind instantly go to?

From those days? Because you, I feel like you've toured more than the average. cat in hip hop. And in various, you know, on your own or whatever. Yeah. Like, do you have, is it fond memories when you're

in the van driving? Or is it like, oh, when we got tour buses, that was the time? Or is it, like, what are the glory days for you? Like, peak tour. Really, really for us was when we did London because we were told it, you know, London is the New York of Europe.

Well, not even cities. I've just been like era. Oh, 92. Daily operation. Really? So early? Yeah. That's when we brought J.Rue and Dabb.

And I even seen J.Rue dismantle a guy that pulled a gun in the audience. And he was able to dismantle him and take the gun and the guy and got it from him. And we took it on our bus and we're like, I got old video footage. I got video footage. So you're documenting. Not footage, footage. Oh, yeah. We got hundreds of tapes.

What you're going to do with that? To be continued. They're safe. They're in a safe place. That's the good thing. From daily operation on, like, and then what y'all hit hard to earn? When was the hard-to-earn kind of like the pay dirt moment for y'all? Like, was each record kind of going up?

Now we're the headliner. And it was gangstar M-O-P, Nause, and, gangstar, M-O-P-N-J-W-R-R-D-J-W-J-Rab because J-Roo was popping and M-O-P was really popping starting to pop with the first album. They didn't even have the second album out. But we took them on tour because we became really close friends. And then, Nas was only on the tour for like three shows. And then his manager, who was L.L. Cool, Jay's manager was like, you know, Nause is too big for y'all. And we're taking them off the tour.

And we're like, what do you mean? And he's like, hey, he's too big for y'all. We were pissed. This is after I'matic. Yeah, no, this is when the oldmatic had just come out. We was pissed. I got footage. I thought you meant he forgot his lyrics or something.

Nah. Not playing. I have footage. But it was like just like, yo, how are you going to do that? It's not, it's not the management. But it was just like, you know, we just felt like that was a slap in our face

because we asked Nas to be on it and we were like, yo, this is going to be a good look before he does get getting ready to do his own thing. But, you know, we weren't even salty at him. It was just his manager. So he did three shows. I got all the footage of the shows.

He tore it up because that's when New York State of mine had just bubbled in the street and it was heavy. And having him open up to, a big deal. Can I ask, okay, before I start the Dwick questions, because I feel like Dwick was the real turning point of you guys blasphemed to it, you know, for the group. However, you guys are also on Nice and Spooze and a Damn Thing Change. Right, Down the Line. Down the Line. Did you produce Down the Line? No. Did you cut on Down the Line?

Yes. Okay. Who produced it? Greg Nice. Greg Nice makes dope beats. Here's the funny thing, though. Because I always felt that Greg Nice did not know who you guys were as you were doing it. My man gang star. Yeah, exactly.

Yeah. Yeah. So. That's actually how I met Keebler through Greg Nice. Really? Oh, wow. Yeah, so we got old history. But what, this is what happened.

Or did he just not correctly? This is what it was. That's what he used to work of power play. And everybody knows, you know, Payton Full was done there. You know, I saw I witnessed large professor do a Wondadda Live Cool G-Rap album. Yeah, yeah, yeah. I was there to watch all those sessions. You know, I was just like, wow, look at G-Rap and.

he's always goes hold on i got to spit and he spit and then you mean literally yeah i thought you may have some lyrics and i spit on the ground and then he would and then he said punch me in and he would boom just go go go go go go you know yeah i was going to say what magical what sessions have you witnessed that you were there for

like that had been alive really shot the um you know polo would be there and uh drew um oh man oh my god he lives in Texas now um Drew

uh what's his DJ name uh he's part of the the early ex-men um oh my god what is Drew's name

uh damn now it's killing me uh Drew's name is he'll come back to me um but just being there

to see that go down And, you know, one of that allows, one of the dopest coo-dew rap albums ever, every song, every song, you know, so. So you were there to witness the whole process? Yeah. Were you next door to them, or was it? No, a large festival and, you know, we all hung out. So large, like, come with me to the sessions.

You know, Eric B. walk in with the big cable, and we just like, there he is. There he is. There he is. Was it easy for you guys to get initiated in the, And, I mean, well, no, actually, you know what, Chuck D did make y'all part of the extra-stringed-prosy. Like, Chuck D's thank yous on all public in the albums are like the best in the world. Like to be the extra strength of process. I used to love how they come with the fold-out paper in the cassette. Right, exactly.

So, I mean, how long was it before you guys, were you guys just instantly, like, welcome wherever you came in? Oh, yeah, yeah. I remember when we couldn't get into clubs and also when Manifest came out. those same security guys like and they would call again they called Google Gangstar Gangstar come on in you know

yeah and you know but they knew we were both gangstar but they would call him gangstar but we now we're getting into every hot club that's hard to get in it was automatic we were like wow and we'd be like 30 40 deep and everybody got in wow so yeah

unless it was Patrick's Club it was Patrick's club at the powerhouse which was the big club of that during the early 90s And we were 100 deep, we got it. Yeah, I always think of that because soliloically of chaos. True story. I imagine. Because he's so descriptive with it.

True story. And it's so weird because you guys are, at least what you represent musically. And I know it's street. I know it's true to the bone. But there is a mellow kind of calming, non-aggressive. about gangstar. But you guys were like... We were wild.

Five car lose deep. Yeah, we were wild. We were really wild. I mean, our house was literally like a frat house. Easy Mobee will tell you. Jizzle will tell you. Rizzo will tell you. They were there.

Really? Yeah. Like, our house was a wild house. Rage. I remember when Rage wanted me do her demos, and she was like, loop up this Michael Jackson. I'm like, no, you need to do hardcore. And she was like,

Like, you know what? Ain't nobody help me out here. I'm going to, I'm going to find Dr. Dre. And she goes, I'm going to move to the way. And we did a stepping in the arena tour. And we did L.A. at the Palladium, the same palladium off sunset. And she was doing security with the yellow jacket that's security on the back.

Wow. You know, and she was like, yo, I met her with Dr. Dre. He started a new label called Death Row. And he signed me. And I was like, for real? She goes, yes, we're about to go. She's going to watch. So she was in New Yorker first?

Yeah. Yeah, she was running with Nikki D. She used to sleep on the couch at Chunkin. Yeah, she didn't have a place to stay. So she's born. She's born in Virginia. She's from Farmborn, V-O-A. Yeah.

So what you got to say? Yep, and it was her, Nikki D. And Nikki's sister, he's called a terrible tea. And I met rage because Nikki D, you know, was the first female on Def Jam. We went to their release party for her. And we knew we all, we all knew each other, but they need a ride home. and I had the MPV. Yes, you did.

And we just got the step in the arena test press cassette to make sure it sounded good. We didn't have to see these weren't ready yet. And, you know, to test those out before we were, before we go into put them into production. And I had precisely the right rhymes, which was my jam, where I used the brethren drums, and I had that 50 hertz, 808, which is it b-oh. But if you have a nice woofers, you get here. You're right, right. I'm giving them a ride home

right when they get in the car I said y'all mind if I listen to some of mine my new album that's about to come out and they were like yeah go ahead and play it when that when that bass said raves goes ooh I turn around like

she goes that 808 I said what you know about 808 she goes oh play that again you know almost like it was making a horny and she'll tell you the same story she'll tell you like yo She was like, ooh. And I was like, yo, but how do you know about that?

She goes, I work at Chung King. He said, you know, so I'm always there, you know, seeing him do the process. Was she trying to engineer or like, what was? She just wanted to get, she wanted to be engineer and an artist. But everything she wanted me to, she wanted me to, she was like, Luke, Luther Vandros, and I was like, no, you need hardcore beats. She was 10 years ahead of her time. Right.

Remember she got with Drake. She was doing that. She's out of a bad boy. As soon as I heard. this should be played a high volume. In the residence in the neighborhood. Brant. Brant-d-d-d-k.

She's going to let me kick off dust. I was like, that's her! You know, and even though it said it on the cover, it said late in the end of the death row inmates, it was a real little block in the bottom left corner. I was like, that's her. And then she was on everything. So by the time you did the record for her album,

that was, I mean, way late. Yeah, that was way late. But it started. Death was already in shambles at that time. Can I ask you something? Since you brought it up. Ask me something.

Be super honest with me. Don't be politically correct. When the chronic came out. Yeah. September 1992, what was your initial reaction? Blown away. Be honest. Blown away.

Yes. I knew the answer. I wanted him to hear it from you. You want to see egg on my face? Really? Like, yo, every song tied in, you know, because it was blown away like shit got there. Because I remember you telling me you said like after the chronic came out, that's what made you step up the Sonics. Yeah.

Because even though he samples, I mean, we'll replay stuff. It just, and plus again, I'm from my era. I'm from boombox and drive and I drive all the, sometimes just getting the car and just drive and just listen to shit. So that's still my mentality. And that's how I grade, like shout to Tori Wolf. We just finished her album on my, on my, I have two labels, year-round, which is my street shit. And then I have TTT, which is to the top with my manager, Ian. We put our alternative stuff, R&B, whatever, just as long as it's not the gutter, gutter, we put it on TTT.

So the Tori Wolf album, I just finished. And even though she's a single songwriter and all of that stuff and the style of music I did for her is so different, I still, when I went to mastering, and shout to Tony Darcy, who's been mastering my stuff since the early Gangstar days, soon as I got there, he said, I, yeah, the first thing Tony said, he's still doing it the cassette way,

I say, yeah, when I sequence, I say side A of a cassette, side B of a cassette, and, you know, what would start when you flip it over, the flip over part is the most difficult for me, because getting it going, you want to put some bangers,

but you still need to put some bang, on the other side. Yeah, and you got a kick off side B with a bang. And I just, I just sit there and just play the ending of the song in my head. Like, when I look at the list, like, damn, would that run into that? And then I'm really meticulous about the spacing. You know, some might run into it on one, two, three, and boom. You wonder, does it? Does he really?

Yeah, he sequences everything on the one, like when you listen to his record. Really? Yeah. That's because I learned that from him, too. I like stuff. I hear it. like that. You want

that's the first person I heard do that. Wow. See, I only said that because... I think I saw you say something about that before in an interview

or something about the chronic didn't hit you right away. Dog, I'm saying like, because you mentioned straight out the jungle to me, and all right,

figure out the way that you did take a personal. So you take skull stamps and you took... That was SP-1200. Just that one song. Really?

Mm-hmm. Because your weapon of choice by now is still the 60? No, I used it in Renaissance. No. No, no, no, no. I mean, back in 90.

Because my engineer Eddie Sancho, when Lyle was doing the Russian Dragon, he was like, it was taking too long to do it that way, man. He said, you know what? And he said, I'm watching how you're doing your beats. Because Eddie Sanjo was the engineer there at D&D. He's like, you should use the MPC because the tracks are laid out, you know, one through a million. And he said, and the thing with that is it's like,

he says it's like a tape deck without being a tape deck. you know a tape machine I mean so he said that's all you just don't have the tape machine but just the way you could layer and mute and do this and I was like wow so then when he taught me how to work it I was like he said you know I'm about to get rid of mine you want to buy it I bought it and that's when I got

hooked on the MP what was the first thing you did on an MP well all of XRO was the LSIS so the MP I would probably say it's on daily operation around that time it would probably be it would honestly around that time that was around

Dwick okay so because Dwick was a B side it wasn't on it wasn't meant to be on the album the only reason why we did Dwick was to give nice and smooth a payback to down the line they were like what a payback because they were like hey because we all did that together bugging out and we was like well do one on our on our record but the album had already been turned in all right So we did Dwick. And I remember Don Barron was there from the masses of ceremony because he was friends with nice and smooth.

And Dub C, who's been coming to New York since, you know, D.J. Aladdin was battling in 89. I've been friends with Dub C. Recipes to his brother, Crazy Toons. We just shot a video for my year-round label. Me and MC8 just did a project called Which Way is West that I executive produced. I produced three songs. And he has a producer. named Brink Sinatra from Austria who...

I know Brink. Yeah. Brink did a remix two couple years back. So he produced the rest of it, but the mixes were everywhere. So I told, hey, let me mix it, give it to me. And if there's any hooks or nothing that's tight, I'll scratch on it. So I scratched on every song. Mixed everything, had to get all the vocals in order.

That's why it took me so long just to do it. I'm not used to mixing somebody else's stuff. I used to mixing my stuff. Got it tight. We turned it in. We're about to release that. We just shot the video four days before Christmas. So Toons was with us, and that's why we dedicated to him.

So we're about to release the video in about a week or so. And Tunes is all in the video. And then at the end, we give a special spot to him showing him, just throwing it up slow motion, you know, just saying RIP to him. And, you know, it was just even going to his funeral was ill, C and LL there and Chuck D there. And almost every West Coast artist you could think of was there. Yeah, I never got a chance to meet Tunes, but I heard nothing but good stuff about it. He was more than a homie.

He was a friend, you know. So the first song, it's not even the single. We did the single, which is called Compton Zoo. And then I knew eight from back then too already. That's how we've been so cool. And so all of that's going to be coming out, you know, Prime 2, Tori Wolf, MC8, the NYGs, and my band, the batter band.

So we're doing an EP, and we're about to go on the road too. 2%. That is the number of people who take the stairs when there is also an escalator available. I'm Michael Easter, and on my podcast, 2%, I break down the science of mental toughness, fitness, and building resilience in our strange modern world.

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I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get podcasts. So what is your your creative process as far as you practicing? Are you a get up at 8 o'clock

and treat this like my real gig thing? Do you listen to records on Sunday for five hours uninterrupted? Do you like what's your, because to be as good as you are, we're cut and scratching, looping. And you, you know, even though I know the evolution of your production style, from your earlier work where you're just straight looping four bars to the point where you're chopping stuff and... Or looping one bar. Right.

Right. So what is your, what's your preparation like? Like, do you have, do you just do like, okay, I'm just do three hours a day of... That's how it was. Well, not now. Like then, like, maybe all the way up to maybe 93. That's what I always do. I get up, just start practicing cuts and going to Ogu.

Then you're not going to go on goo. I'm going to go. Goo, check this out. And I said, we're going to use that for this beat and stuff like that. So you practice cuts? Yeah. Because you know more, even when you were DJing on the radio, I was shocked that you play the street version,

and did the reverse. and not I was like why don't he just play the radio version because the first time we ever came to your show you played the the uncensored version of Brooklyn Zoo now in my opinion I like his his vocal performance on the radio version is better to me right right

and I was like and whoever was in the studio I was like yo why does he play the street during when the clean version is way better like it's a better vocal performance And it's like, yeah, he always does. You know, he, like, that tells me you study the song, too. Yep. I'll listen for all the curses and just write the curse word on a piece of paper.

And the minute it comes. Two words it comes before. So this is enough to make a nigger go crazy. I'll put make a, and I'll put in. And then put a line. I don't know why. I won't even put a line under it. I'll put this whole scratch a little.

thick, the scribble line under that end word. So it'll make me just be like, you know, so I'm willing to look at the paper. But you're willing to take that risk. So you're taking that risk

on like a big-ass radio station. Right, right. It became normal. Who does that? And Flex used to call me because I was on from 8 to 10. Flex was from 10 to midnight. Flex is calling,

yo, what is that? What is that? What is that? That's how I broke Shook ones part two because I'm on two hours. Yeah. Yes. They came to see me.

First of all. First, because I worked with them because a large professor on peer pressure and did the remix, and we shot a video and everything. So the shook ones, part one, had been out. They were already on loud. I saw them at D&D in the A room, and they were like, yo, man, we got to get you our new record. Shook Ones for when you go on the radio this weekend. And I was like, and I already got it. He said, no, this is part two.

He goes, this is some other shit. And Havings, like, wait until you hear this one. And I was like, okay. And then they brought it to me during commercial break. And as soon as I just heard, word up, son, where I said to all of them, I was like, I was just like, oh, man, out of commercial. It's just like I never heard no beat like this. That one became more popular, right?

Oh, yeah, that was the one. It was on like a tape. I had like the, the, the, the single or whatever. And part one was whatever, but two was the one. That was it. But, man, talk about, because I mean, by this time, so talk about J-Rue and Group Home, because as you had told me before, like, they were kind of, you know, they were kind of, you know, the red-headed steps. Like, Goode just kind of passed them off. Like, yeah, work with them.

Well, no, what happened was, I'll bring it down to you. We, we knew J-Rue and Dap once I even joined Gangstar because a guy. named Gusmo was around guru all the time. Me and Gusmo got mad, cool. Yeah, and so he started bringing them around. So, and then they just started growing more people, more people, more people. I always kind of kept my distance at first just because I was so new. You know, I didn't want to, you know, people start jumping on.

You don't know what the vibe's going to be. So as time passed, you know, me and Dap and all this guy finally cool. We're all cool with each other. At first we had a little tension because it was just like, You know, we're with the, we're with the MC. You're, we're with the guy. You're just the, the guy. So it's a half-old McCoy thing.

Absolutely. Like your crew versus guru's crew? Pretty much. And I didn't really have a crew. You know what I'm saying? My friends from college and that was pretty much it. And, you know, my grandfather had already passed. And, you know, I didn't really have no friends.

I knew Vic Black who was still down with me because when I lived in East New York, I knew Fat Gary. I knew, I knew. Big Black. Is he the one that's in the Justice Get a Red Video? Yep, yep. So he's him. So everybody from that side of East New York,

we always call the Jay Rune, them the other side. Because there's another side of East New York across, you know, Liberty and all of that. So on that side, and Livonia and all that by the train tracks, on that side is predominantly Spanish. But it's very wild, very shoot them up. So we always said, you know, we're on this side

because I live right next to Lindenhousers, which is very wild projects. So I'm right there. I'm near Pink Houses. I'm near, you know, the drama drama. So Jay Rue is borderline of Brownsville and the other side. So it hit where he lived in Grace Towers, separates that part of East New York.

But where he lives is wild too. So we started being cool with both sides. My friends, you know, which is Fat Gary, a lot older guys, you know, Black had a label called Black Magic Records before I even got a deal. I wanted him to sign me. And he was like, it's not what you think just because I have a stack of records in my car and all that. It's independent. I didn't understand what independent labels was at the time.

Black had his first artist. They were called Spider-Man and Freeze. And they had a record call. Wait, wait, wait, wait, wait, wait, whoa, whoa, whoa. Spider-Man and Dr. Freeze? Yes. Wow. It was called, I'm too much.

Yeah, they were a group. Spider-Man and Freeze, yeah. Yeah, like they were, this before, they got to do them poison. This is early, early. So, I can't even get a sound effect. All right, I got one. I got to the man trans for that one.

Wait a minute, seriously? Yes, it was called I'm too much. I have a stack of them at the house. Boom, brown, round, round. It's called I'm Too Much by Spider-Man and Freeze. Oh, God. They're offering the same projects. Okay.

Yeah. So they're from work. So I used to hang out with them and everything, again, is before I was in Gangstar. So, you know, hanging with them, that's how I got cool with so many real live dudes in East New York. So I was really around real soldiers that put it in, you know. Black is a former Tomahawk, you know, one of the biggest gangs during the Warriors era. During that era. Yeah, Tomahawk is a real, you know, certified.

gang in Brooklyn so he was a tomahawk so he goes back back and uh so uh when it came to that that stage of it i've seen them grow to where it finally got to you know them doing poison and color me bad sex you up all that stuff yeah dr free really yeah yeah it was dr free some of the biggest gangsters a long time doing the softest arm B doctor freeze and spider man okay i have a question about j rue the damage okay okay I consider that. All right. The first album?

The Sunrises from the East. I consider that entire record, your greatest troll and your greatest victory. Now, I mean, what I have to know is, I want to know your attitude. I think I brought this up to you maybe 20 years ago backstage at the Beastie Boy Show. But what is super notable and very much troll-y-law. about the J-Rue, the damage of record, is because now it's, it comes out in, uh, 94. Technically 94, yeah.

Even though Come Clean came out in, uh, 93. So I consider this and his entry in the hip hop in 89, the, the, the new Renaissance era. Okay. Again, with the large professor, uh, Premier, Tip and Ali, Pete. in other words they're not doing the conventional means of hip hop production whereas you know

again using breakbeat linens drunky drum ultimate beats and breaks and all that stuff right break beat beat beat blue right break be Lou right so here's the thing though every

every drum every drum track used on sunrise from the east at that point when I'm listening in 94, I consider it extremely taboo. In other words, it's like if Ray says, hey, let's take mental stammer.

Billy Jean ain't the first thing I'd grab for when I'm thinking of drums. I mean, now as mature, you know, anything's up for grabs. Like Eddie Murphy. I saw that. literally dude like you took

uh what was the static like it too for static is is a renaissance cat thinking okay let me go to

all them be some breaks and take fungalithics you'll like it too or the bitches was uh

all night long literally even the original even the original what is the original jungle brothers user on the run on the run

even even using cool his back for come clean so after when I listen to the record which takes us to we'll talk about that later

yeah right already even when listening to the record by the time we got to with the exception of knowledge you can't stop the profit that's because of showbiz showbiz say yo

when he did catch wreck I was so addicted to that record I was like yo I'd love to do the shingling right right that was shingaling And I was like, yo, man, I would love to use those drums. He go, I have two copies.

He said, didn't do your thing. I was like, yeah, but I've never taken a drum from somebody else. That's not, that's like, that's like, wrong. It's taboo. And show is like, nah, because I know you're not going to do it the same way I did it. And he said, I can't wait to hear what you do to it. And I remember he said, I remember he called me and goes, boodle loop.

I was like it. He goes, this is crazy. Yeah. I'm not even on. No, when I found that sample, I was like, yo, I hated you for that. I just found it like, yeah. Shingaling.

Like, like four months ago. Yeah, shingling. Yeah, the drum, but I'm talking about the sample. Oh, okay. I was like, I was coming on from a gig. And I was listening jazz. I was in jazz station. Yeah.

I was like, that's the crusaders. And then it came on. I was like, yeah. But my point was that the reason why I said, this is either your greatest troll or your magnum opus only because I feel as though you said either

all right let me do his record and all right let me challenge myself and use 13 backdrops of drums that no one else

would even touch now with the exception of old de Billy Joel which was still not in the lexicon of hip-hop drum producing, whatever. Why did you

perp, I, like you could have used the same drum, you could have used skull snaps, I mean, which, I mean, was relatively new. Yeah. Why did you use the most taboo? I would never touch that in a million years.

Right. None of your contemporaries would touch it. Played out might have been the term. Why did you do that? That's still my approach even now where I'm like, you know what? I've never used a what, not drunk. and I'll go

let me do a version of that or I'll go I never use the what's the voodoo Afro Lafayette Afro

Lafayette Right Same thing It's like damn You know It's been out And it's run No one's really touching it

Let me Would you have done that To a gang star record Yeah Yeah You know what it is This is This is the thing

Now This is you understand First of all When J-Rue became part of our crew. I remember when we, Bramford Marcellus left a drum set

at the Brownstone. So I used to play it a lot, you know, and that's where I started getting, you know, because I was decent enough from when Travis Scott's father taught me how to drum. So Dab used to love the drum because he'd be like,

let me get on it, how you do it? Dab caught on quick. So we used to have little battles just bugging out and we didn't doing little different rhythms and stuff like that. Next thing you know, you know, you know we always it's always all of us together in this brownstone just smoking, drinking

and a trillion girls in the house just party party party party party party party party party party party party party party party party every day even when we went on tour and come home there's 20 people there and it wasn't like what are y'all doing here get out of the house it was more like hey what's up everybody we're back and there's a home oh they'd be in the house waiting for you.

Yeah yeah we leave people in our house Did you lock your room? Yeah I like mine. Okay Trust me. And they'd be like, yeah, locking his door, yeah. You know, but. Cass used to break in my room and steal my record still.

Who's that? I'd be like, oh, I left my passport and see my room open. Cass going through my records already. A kilo, half his record collection is. But that's how the foundation even started, because we used to just bug out it downstairs because that's what the kitchen is where guru's room is. And one day we all just, you know, I'd be playing the drums, everybody's kicking the verse, and all of a sudden the dab goes,

his little dab on the mic and we were like yo dab's rapping because he never rapped in front of us it was it was always just yeah yeah yeah son yeah let's get a minute you don't get them niggins you know that was that and the malacca's just missed it won the box okay so mal yeah so was it true that you that you went to court for him and signed him out or yeah and the judge was like yo you know he had two gun charges under 18 and you know at that time they were very strict on gun charges in new york still And, you know, he really wanted to box. And we told the judge, Judge Bamberger,

thank you, Judge Bamberger. She was a mean little white lady, about this tall, but with an attitude. And she's like, you know, I don't want him boxing because he's violent. He's always getting into violent stuff. He's always getting arrested, getting arrested because Melica loves just to get down. So she was like. But how tall is he? He's short.

Yeah, like. But he will stand up to the biggest, the mean. You've seen him fight the? He does. not give a fuck ever. He still doesn't. I just spoke to him another day. He just came home again.

You know what I'm saying? That's my baby, man. That's what I call him. I said, baby, he'll call me, hey, baby. Hey, baby. You know, and that's my, that's my bro. So he, but yet, if it's on, he's ready. It don't matter what it, he'll pop it, he'll do whatever.

But he's a great little soft-hearted, kind guy to you. He's very, very cordial. but if it's a negative situation, he's ready for it. So just stay on his good side. He's on his good side, he loves you. He'll be like, Chris, and he'll talk like a child. He'll, I can play your drums, you know. No, man.

All of a sudden, not right. But he wanted to box so bad and he was nice. So I was like, Judge, why don't you let him box? Because if he can make a profession out of it, that's a positive thing. She goes, no, it's violent. She goes, have you heard the word remand? I remember she said that. She said, I'm going to remand him.

She goes, you're in music? Make him make a record? So he didn't want to rap. He would be like, I don't want to do this. So he would always disappear. So that's why what you got is what you got. How long did it take to make the group home album? That was the most heaviest task in my entire career.

Wait a minute. That was a sigh. I wasn't ready for it. Let's rewind that. It was just a lot of just push and pull to get it to be that right because it is a great. album for what it turned up to be. Yes. And this is what it was.

When J. Rue used to do his demos over at Black Scrib, it's black, big Shug, and Groupon wasn't even rapping then. They were doing their demos over Blackscrib. That's how it led to Guru saying, yo, we should start Gangstar Foundation. And he said, we should both sign three artists. He said, I'll sign three and you sign three.

I said, well, who are you going to sign? He said, I want J.Rue, Group Home, and Shug. And I was like, all right, well. I don't have anybody yet, but eventually I'll get somebody. So let's start with them. He said, who do you think should go first? I said, Jay Roo's the one that's ready. He's got the voice.

He's got the cocky attitude. You know, he used to call himself. He was a real fat guy back in the day before he started doing the martial arts and got really in shape. And he was like, he used to go up to girls going, yo, what's up, baby? I'm poor kid the pimp. You know what I'm saying? He wants to date.

He's still doing it. Oh, yeah. He's good. Oh, yeah. Oh, yeah. That's you? Oh, yeah. And ask you in front of the girl.

Y'all together? Oh, yeah. Keep it, been around them. Porky to pimp. You know, you want to date? And he said, I'm the fat Mac. And you say, matter of fact, Guru says that. Oh, there goes, my man, the fat Mac.

Oh, no, take two a pass. Yeah, you know, so like these are the things that really happen. And so I was like, Rue is the most ready. Let me do a demo with him. And I remember L.L. Cool J and Chris Lidey had just left my apartment that I was living at at the time to work with some LL stuff. but it never transpired. For what album?

That had to be... Ninety-two, 14 shots? It had to be 14 shots because it was 92. Yeah, 14 shots at the dome had pink cookies, right? Yeah, it was around that time. Damn, you could have saved that record? I remember L.L. was like, yo, smoke a little bit of that good stuff, and maybe that'll get you, you know what I'm saying, working on something hot.

You know, I got some joints, some LL joints. I'll play it for you. I got some joints. Oh, word? Oh, yeah. But then they're in the vault. But in the meantime, since Jay Roof seemed like he was the most ready, that's when we said, well, let's put him on our next album, on Daily Operation,

and that's what we did on the man. And that came out though, so we're like, yo, we got something. You know, these guys got a little something. So that's why I was like, well, since I specialize in the beats, Google, let me do the beats. We still split everything down the middle. All the deals, we still 50-50, even if he doesn't, anything on the album.

I still make sure Guru gets his half. You know, people, these are spread rumors of not even knowing, like, he, Prima was getting more than him. And saying, no, everything was split down the middle. Still is. Initially, J.Roo was going to be called the Dirty Rotten Scoundrel and...

Dirty R&S. Then the R&B group came out. Yeah, D. They came out. The first concert. You witnessed me. That was your first concert? My home is.

Then intro. You went over there for somebody? Intro. Okay, thank you. Oh, my God. I mean, Jay Roo was mad about that. Like, yo, that's why he said, on the original.

He goes the original don't sing no R&B. He was throwing a jab at them. But where we rule, once we started doing, once it come clean popped off, I just wanted to attack it, just taking drums and stuff

that I knew would would not really be used by everybody. Nobody's going to take with Billie Jean and take that and just boom. And just trickling, you know, and Roy Ayers left to sample. The brim. Yeah, yeah, yeah.

And, you know, everything was just rolling. But it wasn't, like, everything's going to be just break beats or taking your like it to and not like that. They just... It was just so taboo, though. They were just coming. Just coming. Man, I don't know. Again, it was...

It was so taboo that at that point, then I realized, like, oh, I feel like that was the first time I realized the value of flipping. Yeah. Because then it's like, because when I, when I love mental stamina and I was like, damn, like I never considered Billy Jean breakable. Right, right.

It's that you have to take the whole thing. Like, I know there's isolated drums there, but he actually made it work. So now I got to, I got to listen to all these records all over again and figure out how to re contextualize and make it breakable.

My moment for that was the, My unbreakable pre-moment was when I heard Ten Crack Commandments because I had that record, which I don't want to snitch. Yeah, well, Leslie Nilsen, Naked Gun. Yeah, yeah. I liked that. I had that Nessley-Dilson, Naked Gunn out. I liked that.

But, no, I had it, and so I used to just play that song. You know, the original, not the drums. No, no, yeah, the original joint. Because those are just program kicks and stands. And so I would just play that song like in the morning, getting ready for school or whatever. And so then when Life After Dep came out and everybody was like, yo, it's the 10 crack joint. That's the one. That's the one.

So, you know, we get at school and we're in the parking lot and my man is playing it. And the joint comes on. You mad as shit. I'm like, dude to do you. I'm like, yo, that's. And I'm like the only one. I'm like, no one else. Because the way that it's looping is the way I was scratching it because the drums are already relayed.

and we were doing a promo for Angie Martinez. It wasn't for us. We were just doing a promo for Angie. That was a throw? What? Wait a minute. Listen, it's called, Angie Martinez used to have a,

this is when Angie was like the new hot thing and she was brand new, everybody loved Angie. So everybody was doing promos for it. That were dope from Wutang to Onics, and they were just so incredible. So J-Rue was very popping at the time. And we said, we're going to do one because she loved J-Rue's damages.

And so when we were doing it, she had a show called The Hot Five at Nine. Yeah. That's why I'm only scratching to five. Oh, what's your five? It goes, one, two, three, four, five, six, eight, nine, it's nine o'clock. And then after that, I'm just going, one, two, two, three, three, four, five. Went back. One, two, two, three, three, three, three, four, five, I don't go past five until right before the verse.

One, two, three, four, five, six, eight, nine, eight, eight, nine, eight, eight, nine, it wasn't no ten. So that was in this. The ad. Angie Martinez demo. Yeah. It's called the hot file. I have the song. Jesus Christ.

All right. You're listening to Questlove Supreme. We're taking a quick break to pay some bills and getting to our final hour with special guest DJ Premier right after this. All right. This is our final hour of fanning out with DJ Premier who just revealed to us that some of of his throwaways are some of the greatest things on earth. That seems to be a common theme on this show.

Yeah. From Crooklyn. From now, I'm not, I'm just going to work on a shit for two minutes. I'm going to check. God. I had a. Oh, not to cut you. So when we did the high five and nine and it, and how I got to big, because Puff was on Hot 97,

and that particular day she played the promo. And, I mean, she had played it many other times. You know, you should mix them up, but then, you know, you still hear somebody else's promo a couple weeks later. He heard that. And my boy Danny was like, yo, he hit me on my beeper and was like, yo, that's telling you to call him on Hot 97. I'm like, for real?

He's like, yeah. He's like, turn it on. He's talking about other stuff. And, you know, now they're deep into their interview. And then finally he goes, Prim, call me. And then I called. And that's when he said, yo, big, once that beat. And I was like, all right.

But, you know, now I ask Jay Rue, is he cool with it? He's like, yeah. And J.R. Say, yo, that's hip hop. It's all good. And then I gave it the big. So I just muted the, it's the Caliente, Cinco, Al-Nueva, on I'm 97. With Andy Martinez.

Was that two tracks of the sample? Because I tried to do it at once and can't. In other words, do, do, do, do. Because you're using three tones to it. Did you do it on two tracks or straight one track? track, but then I put it in my sampler and just made sure I had it had a trigger. So I scratched my, now that time, yes, that's the one time. The one time.

I knew I wasn't, I knew I wasn't crazy. Because when you're doing it live, I was liking it so much that I was like, it has to sound just like that. And I went on Pro Tools yet, you know what I'm saying? I was still on Taurus. Because that's so hard to just that first. So I just made, so what I do, I used to click, I still do this. I click in my head and just be like, and imagine it's the same tempo as the way I wanted to be.

And then I just saw that when you hit the record on the sampler, I could go, and then, yeah, I programmed that. That way it's so loose. It's like I'm doing it by hand, which technically I am. Is it true that for, why we're on Biggie, is it true that it was his idea to put the R. Kelly sample? Yeah, unbelievable. Yeah, he was on the way out and he's like,

yo put that unbelievable from Mark Kelly. I was like, yo, it might not be in tune. And I'm very, I'm very key conscious. You know, I'm like, I know you're, I'm sure you are over. I was wondering the decision behind that. Like, it works, but. Yeah. Works but it don't.

Oh, my God. I always thought that was a woman. That's crazy. That's archa Kelly. Oh, yeah. Did you not? Did you not? Your body's calling.

We're just one of my favorite songs. No, that's, yeah. She was 12 at the time. When you were. So was I. That was a hit, I had the Kassingle It wasn't like

It's a big featuring Archali Dots I was like Okay, so can you confirm Can you confirm that that's Patrice Russian? On what? Unbelievable. Unbelievable?

No. Okay. Wait, wait, wait, wait, wait. Are you unwilling to confirm or is this is not? The stabs, I know. And I just pitched it. I was told.

that the stab was from remind me yeah remind me yo I thought you're excuse me I'm just asked student question I really thought stabs was just like a slang term but that is a real technical term when it comes to like

it's an anamata pia bam okay just that much of a sound it's an audio adamantapia when the horns goes bha it's a horn staph

yeah that wasn't that wasn't patrice Russian no back to square one you know what it is you see if when I hit it has a rattle it goes there's a little rattle. And so back then, before I could play bass notes on a keyboard,

I used to just pitch everything on the 950. So if it needs to be boom, boom, boom, boom, boom, boom. I just boom, boom, boom, boom, boom. And just put them on the same output so that I could cut them. So I was just going to bump, boom, boom, boom, yeah. Ta-p-da-da-da-da-da-da-a. Are you going to reveal what that stab is? I can sleep tonight.

Come by the studio. I'll load it up because I found a, I found a, I found it. I found a this. Dude, if you feel I'm there, no, there's a Luis 5,000 dudes

that are like, just tell us what it is. That's behind the scenes, but come by. So can he come back? I have everything already, when you load it up, it's automatically on the pads and everything.

So when can he come back? And I'll even let you, I'll even let you, I'll film you even doing it yourself. Oh, shit. Fabo. You all know. I'm a friend of a minute. And in pieces is just,

We know that. We know it's impeach, yeah. But, yeah, man. And even that looked like Impeach again. Because Impeach came from Big going, calling me going, I was like, Big, I don't have time to do a beat. And he's like, yo, I just need this one for the B side of my single Juicy. And I was like, I don't have time.

He goes, man, you could do it impeach. I don't care anything. And I said, okay, does it come by? Came by. And because I remember I had, remember the Legion. Yeah, that was, jingle jangle jangle. He goes, in other words, I'm a big mother, and I had it going, so he was going to go, boom, boom, boom, boom, I'm a big, I'm a big, I'm a big, I'm a big, I'm a big, I'm a big, I'm a big, I'm a big, big, big. And big, I'm a big, big, big, big. And he was like, no. And then they're going to jamming, jamming on the one. And then he, that's why he came up with the, yo, use the Arkeling. And then that's how our Kelly got cool

because Al Kelly loved the record because we had to go through him to clear it and then then they started doing the everyday and night out break and then you know big just on everything then after that. That's dope, man. Do we have any Nause ill-mannered questions?

No. Is there anything about your ill-manic discussions that we don't know? Hmm. Do what is there? Like, did it? You know what crazy. Wait a minute, whoa, bo-bo-p-bo-bo.

I have been ready to die question. Okay. Because the original version of, so you want to be hardcore. Yeah. Yeah. Why? Even though I like the,

I live for the fuck I thought the version that's on it. Why didn't that beat ever made it? You like that? You like that? Guess what it's called? It's called I don't like this remix. That's what it's called. I just gave it to a fact,

he just asked me for it yesterday. because he says he's coming next week to New York and he's like, it's anywhere I can get that because he's only got a radio rip and it sounds horrible. Yeah. Yeah, no, I'll give it to you. I got the instrumental.

Wait, why don't you like it? I just thought it could have been better. You know, it's big, you know, and I think everything I've done prior to that is better than that. Well, in that case, what three beat of yours are you like, that's like a staple to us? I don't like that.

I don't like memory lane. What? Nause was like, yo. I can, this is. I'm kind of with them on now. Knows was making fun of the Ruben Wilson cover. Because he's like, look at this dude. Yeah, you know, he looks like.

No, they're laughing at it. You know what? It sounds like, but this is the thing. All right. It's a synesthesia thing for me because it's like when I hear it, it feels like winter. It feels like it's something about that loop that makes it feel like it's winter outside. Right. Like there's certain loops that make you see some shit.

the same way that I saw that fun house on for better for worse without far side I see him sitting on a park it's winter

like it's like I don't know if it's a woo-woo yeah but yeah but for one with memory lane I never liked it because I thought

New York State I wanted to just do New York State of mine represent even represent that's a remix the one that's on the album is a remix

word yeah The original is some bass line jazz sample I use. I got the original version. I can hear that too. How did you switch at the last minute? Well, it was the first record we did, period. And after I heard what was yours.

I was there at that session. Pete did all them scratches in one take. We were at that battery. Then a Q-tip met up with us and paused mixed, the Heath brothers and brought the cassette to Nause because I was giving them Nause a ride to meet. That's a pause tape. He didn't tell us that shit.

That's a pause tape. I was there. I was there when he made it. I was there when he brought it to give to Nause because I was giving Nause a ride to meet up with Puff. And I'm giving him a ride and we met up with TIP and he gave him the cassette and if you had the cassette, it's going, boom, do-dun-dun-tun-d-tah-tun-d-tah-tun-d-tah. Yo, man.

Yo. So you're just like, what in the fuck is this? Because I didn't know who the Heath Brothers was at that time. And it's just like, and he's going, you know, some of them are on. You know when you pause things. Yeah, yeah, you can get four bars tight and then you'll be a little off. And now I was like, yo, man, this is crazy. Jesus.

Yeah. So I was like, yo, man, I got to change mine. Because New York State of mine, I was happy. I was like, this is what we pause and make. I just, like I said, I love when the streets have something that feeds their pain and anger and stuff. So that's why I like it just as gutter as possible. So even when it's melodic, but so with memory lane, I was just like, when Nodz was laughing at the cover, he was like, yeah, he's like,

this dude looks funny and then we hear that do, no, do. He was like, yo, that's it, that's it. I'm like, nah, that's too happy. He said, no, I hooked that up. I'm like, nah, I need some hard stuff. But that's the thing though, like I feel like you'd be trying to match, especially like in later Atoe P-Shit, you gotta be as gutter as them. Yeah.

But if you think about it, some of the most menacing sound in hip hop is when there's a contradiction. Yeah, there you go. So that beautiful loop over how he's delivering it, it works, even with shook ones. I'm about to say shook ones, yeah. Because P and then they're not, like, I thought Onyx was the pinnacle of hardcore. Right. And then they come with this like Robert De Niro deadpan shit. Yeah.

And it scares the shit out of you. It works that way. Yeah. Nah, man, it's like the beautiful shit works with... And I put the drums to it, and he was like, that's it. But when I heard him spit, I rap for listening, there's blunt-hast, blah, they're everything. I was like, wow, this is kind of cool. But I still was not crazy about it.

Then once I heard one love, I was like, I'm changing my represent. And so I gave Nause the new remix, and he's like, uh-uh, no. What? I go back to the... How did you get it doing it? I just pushed and push and push. Like, come on, please, Nas, like, let's run. row with this one. This is the one.

I'm glad he took a fight. He was like, no. He totally was like, no. Okay, before we wrap up, one more client. Hove. Okay. Your hove process. He, for reasonable doubt, yeah, for reasonable doubt, he would just call me and go, yo, I got this song, and he would do the rhyme all for the phone and be like,

yo, and I want you to do this, dear, God, I wonder, can you say me? I can't, you know, I can't die. I can't die. I can't die. All that stuff. Oh, man. And I was like, all right. I'll meet you down there.

He got there. I had, he's like, that's it. Goes in and does it. Friend of four, I was just, because I make my beats on the spot. You know,

I'm known for that. That's how I've always, that's always been wrong. You make it in front of a person. Every time. Every time. I never be like, yo, here's 10 beats pick one.

I sit there and make it right there. Isn't that too much pressure when cats are watching you, though? It's the only way I know. I thought that's how you did it. Oh, shit. You know something? First time I ever met you?

You were making MC Zach. Like they don't know. Oh, man. I totally forgot. Fucking, um, we were with, we were with the beat miners making the silent tree remix. The, the, the, the, the, the, and they were in the A room. Right.

We were, and then I kept hearing this bell going off. And I was behind that door watching that shit. I totally forgot. You were like making that beat right in front of them. Yeah. And, oh, the Rwanda, the Nazzae, old manate, Shan Nicholson, who did. The Rubble Kings, about all the gangs in New York. He was a guest on my radio show, and he said, he said, yo, he said, I got a crazy story for you.

He said, we met before. I'll me tell you the story when we go on the air. And he said, yo, he said, you came in to give Nas the memory lane debt to let him hear the final mix at Chung King. He said, and I was an intern there, and he said, and on the way out, and he introduced me to AZ, all of them was there. They had just done life's a bitch. They played it for me. I met, I was his father. I watched the father go in the booth and do the horn part in one take.

Well, he did a couple takes, but the one that he said, this is the one, that's the one that ended up on the album. But I remember, he said, on the way out, I said, don't forget, when the answer machine goes off, whatever you do, say, I chill. He goes, okay, got it. And, you know, but for him to be an intern, and he said at that time, it was like, what is it? Because I said, no matter what you do, that's what you got to say at the end of the phone messages. And he said he got hard to earn and heard I-H-N, plus now that starts it off. And he's like, wow, that's what he was doing. Oh, shit.

Shout to Shan Nicholson, which is a dope documentary. Yeah. You ever seen, never seen Rebel Kings? Check out Rubble Kings. It's an amazing documentary. Can I ask this a Christina Aguilar question? Sure. I'm just saying.

Yes. I just, oh, do I do it now? I just need to know because I feel like you haven't done but so many R&B albums. and the full thing, like how that happened? Because I know she called you up first, and what made you go, yeah. Well, I was a fan of her, you know, I wasn't a genie in a bottle, you know,

it was a cute pop record and it is what it is. But when she did beautiful, even when she did dirty with Red Man, I was like, man, she got Red Man in her video. And even though she had to, she was wearing the skimpy chaps and showing her butt and everything, you know, I was just like, you know, it was a daring little chick and everything. So when it came to them reaching out to me, Her ex-husband, Jordy, got to get a lot of credit because he put her on the group home album and she was really into the group home album.

So when I met her, she's like, I love the music in this group home album, the structure, everything. You know, I want something like this and that type of a vibe, but using more jazz type samples or whatever. Yeah, back in the day, it was like. Back in the day was the first song we did. Oh, wow. Why was that release? I love that song. I love that song.

I love that song. And she cut that in D&D. No, when she came to D&D first. And then I played it to be because I was like, I got to have something ready. So I got there a little early, cooked it up, did it. And then when she got there, she was like, I like this one. And then we went to record plant in L.A. And cut it there.

I remember Madonna was in run room. Macy Gray was in another room. Then Biscuit was in another room. And Evanesson's was in another room. I remember cameras were all outside because they had heard she was getting married and they were waiting to get paparazzi so, you know, I'm with her all the time. And I would even see pictures saying with her, such as a derangeveter and bodyguard. And I'm like, I'm not the bodyguard.

Oh, I would go out to the car to go grab something out of the car. And they'd be like, that's Christina's bodyguard because, you know, I guess it's the way my statue or whatever. And I'm sitting there like little does ain't know I'm the one making the be. But back in the day was the first one we did. She did Kara Di Aguardi big up to her. She wrote that right on the spot. She was sit there with her little dog, with her little chihuahua,

and she would do it on the laptop. Boom. They would go in the room and just vibe together because Christina has to be involved with the structure and everything. She's real meticulous. And she cut her vocal real quick. Because the shout-outs in that song are real like...

Yeah, she said, do your thing. She said, do your thing. I'm skipping moment of truth. I know we, I know. But I got it, like, in my mind, I'm like, I got five questions, but there's one for the owners. No hi-hats. Dog, you started this madness revolution of no high hats.

What made you even think to go there? Because... And did you constantly say no more high hats? No, because in a review, a guy said, Premier used the same high hat all the time, and I was offended by... More than Germain DePri? And I was offended by it. So I was like, you know what?

I'm not... It's the same thing when I started. I started, stop using jazz samples. I was like, because everybody keeps saying we're jazz rapping. It's like, we're not rapping about jazz. Which is why Guru always said, I'll do the Jazzmataz project to protect Gangstar

from this category. Because we're rapping about regular stuff. So I said, I'm going to start using weird sounds to show that I am a versatile beat maker. So I did that on purpose because I couldn't take criticism at that time when somebody would say. It's weird because then everyone, while soup and just threw the hi-hat away.

This guy says he used the same high hat on every single record. And I was like, so that's why I started going, all right, now what? And that was before the internet. But it's just like, so I purposely did it on some spite shit. But even with skills, though, I remember with skills, I first heard that Tony Touch it played it.

And the rapidabas, nabber. I was like, yo, like the fact, those drums, that was kind of like on your day. It's not a regular point where you take it. God, like, yeah. And again, I do that for people like yourself to get it. Like, I know Quest Love would get it. I remember before, we had already met, but we got more cool when I started hanging with DeAngelo

because DeAngelo had just gotten signed to Chrysalis. Because the rest of the development was our first label mates outside of hip-hop. And then DeAngelo came. And I remember when Lindsay, who was A&R there, whose mother owned Sylvia, he was like, yo, tell me what you think of this guy from Virginia. And so when I heard it, I was like, yo, this dude. dope. So we had to go on a lot of promo together. They'd already signed them. They were saying, dude, he's legit. I'm like, yeah. And me and DeAngelo got just super duper cool.

And then he used to always say he's getting with you. And he'd always be, and we get with Jay Diller, too. You know, God bless him. So I was there at that session when you were leaving, when I was about to do Devil's Pie, you were just, you was on your way out from doing how does it feel? Right. You would just laid all the drum parts. And he was like, yo, I'm going to be naked in the video. I'm like, He's not even thinking. He said, yeah, I got a trainer. I train every day. He's got me. He's getting me in shape.

He said, well, I'm going to be cut. And when that shit came out, I was like, damn, this motherfucker is ripped. And, you know, because he's on regular shirt. Yeah, yeah. Came out of nowhere. He was up in the sea room literally cutting all these stuff for devil's pot, like, to see it made. And me and Dilla are there. He's the reason why double trouble exists when things fall apart.

Okay, okay. Because they were all just, like, playing. each other, shit, knocking each other out. And I hadn't had nothing to knock each other out. So that and I was like, I need a song, God damn. So Doltoe love my life. Wow. I got a question.

I got a question. You use a lot of vocal samples. Do you have like a book with just like everything where you just have it all up here? All up here. Like, because you just seem to be able to find the most perfect vocal sample for every song. Based on either the rhyme or what the song is about or the title, any of those. stuff will just come to me going, oh, so-and-so said that.

And then sometimes it won't work. The drums from the sample might be forced it in, because sometimes you can hear the drums from the original sample come in and it won't fit. And I call it the thing I call force-fitting, like, you know, let me see if I could force-fit it. And if I could force-fit it, where it doesn't sound really messed up,

like with MasterPiel, with the youngsters remix, you can hear all the tic-tik-tik-tik- Right. Yeah. And it worked. I just said, then I'll take it all. There's a blog dedicated to every acopella he ever cutting his career. Wow. It's a block.

Really. And it's not even called In This Business of Rap. Wow, really. I'm sorry, Fonte. Oh, no, no, no. Okay, okay, so guru. So where were you when you found out he passed? And what was the relationship between guru and solar?

Like, and, you know, that dynamic. Like, what was that all about? Because it just looked weird. Very weird. I won't talk about him too much, but what I can say is just because he's not worthy of the energy. But for one, when he passed, I remember I had just seen him in the hospital, which I got to thank Guru's nephew. And both of his nephews, Justin and Denzel. Denzel is his young nephew.

Denzel is the one that's like, yo, I just went and saw him. because there was a list of people that couldn't come in there because the whole health care proxy and stuff assigned to old boy. So when it came to, I wasn't going to go see him. I was just like, you know what? I just hope he pulls through. I hope he pulls through because I'd already spoken to his father and his father was keeping me up. I wasn't even on Twitter yet. Buster and Q-tip were the ones that were on my behalf tweeting, yo, just talk to Prine.

That's not true. He didn't have a heart. He never had a heart attack. He had a cardiac arrest from an asthma attack. And he induced him into a coma to prevent. him from dying. He just did not recover from that because you have to send signals to the brain to get your nerves cracking and there was nothing but silence in the room every day. And people that would, they said music, voices and things that he loves will trigger his brain

to get him, he'll snap out of the coma and go back to normal. He never woke up, ever. So all that, I'm up and to my fans, that and that didn't happen. No. So when it came to going to the hospital, Denzel went because they're family members and they were they were they were guru's father was able to override the the legal people of the hospital because he got the power and you know he's a Supreme Court judge and he got that to happen where they could go in

you know so when Denzel went Denzel called me and was like yo you need to go to the hospital I'm like dude how am I going to get in he goes I don't care this is a young kid he's like I don't care but you need to be there out of anybody else you need to go and the way he said it and I go And I still was like, nah, I'm good, man.

I'm just going to pray every day. Everything goes good. He goes, preem, find a way. That's what he said. And the way he said it, I was like, all right, I'm going Monday. And I called two of my guys and said, two of my guys had already seen him through certain circumstances when they took Justin up there. So being that he got in there through the right, you know, he was allowed in,

and he got to see him, and he was telling me what he looked like and all that stuff. Now they came with me just in case, you know. So I was like, let's see if we can get in there. We got there. They stopped me and was like, yeah, can I help you? And they were like, where are you going? Because I was already told what in room? 268.

And I was like, 268. And guru's father said, if they turn you down, ask for a health care, I mean, a proxy advocate. They can't deny you. And then they know you're on your shit. I said, and so I asked for a proxy advocate. Because at first of it, when I said, you know, what room going to? They're looking at a list. So, yeah, you can't go in or whatever.

That's what the proxy advocate is. It was going to be a half an hour to an hour. I said, I'll wait. Wait it, wait, waited, wait, wait, wait it. Get into the point where I'm getting restless, where I want to go in. It's not working. This dude, this black guy rolls in in a wheelchair and starts, he starts cursing at the information desk. I want to see my doctor right now, and he's causing a ruckus where now no one's really kind of paying attention.

I go around the back first because I'm like, man. maybe there's another way to get into the side. This dude's out there, he's taking a lunch break, black guy. Taking a lunch break, he works in the morgue. And of all places, guru's allowed. This is before he passed. Dude's working in the morgue sitting there, and he's like, I was like, yo, man, you know who I am?

He's like, yeah, yeah. And he's like, is there any way you can get me in? You know what he says? He says, if he listens to my demo. Wow. Wow. Wow. You know what I said.

I will listen to your album. I will listen to your album. Just whatever you could do. He said, well, you got to be back in a certain amount. He said, I'll be back. He said, but he had to give me a minute. Man, he broke out when we were waiting. We're like by trash dumpster entrances and stuff.

And he's like, he takes forever to come. And now my gut, which I always tell you, you got to go with your gut. I was like, man, this is to where I'm just going to say forget it, but I'm not really a quitter type dude and give up. but I was just like, man, I got to just do it my way. And he's taking too long. And I told Black was with me and my homie Eon. And I was like, yo, if a dude doesn't come by 15 minutes after

and I'm watching my clock hard, I'm going to do it my way. And if that don't work, I'm out. Because they had already gone in to see him and they got by. You know, so that they got to see him, see him. This was Eon's second time because he came to hold Justin down just case there was any problems. So when I go back in, they're doing construction on the bathroom in the entrance so being at the construction and the bathroom was being worked on.

You had to go, you have to pretty much be let in if you need to use the bathroom. It was the hospital. They got it pretty much honor that. I was like, I really got to go to the bathroom. And anywhere I can go, she goes, listen, you go around to the 11, go all right to the end of the hall. But I'm going to be timing you to come back. She said, so go to the bathroom, come back. Right when I'm going to the bathroom, there's the gift shop, you know, you buy flowers, all that's stuff for people.

And the elevator is right there. As soon as I look at the elevator, I see. It's going four, three, two. And I'm like, I got to do this because they're so busy with that guy. I still yelling. Even after all that time I went outside to the dumps and everything, that guy still, I want to see my doctor, you know. He's still doing that.

Boom, next thing you know, a family of like five or six people, big family, like football player size all come to the elevator. And I'm like, you know, I duck behind the, because the guy's like at least six, five. And, you know, the wife is a big girl. He's got like three or four kids and they're all kind of big. So I kind of go in with them and he goes, what floor? And I go to two. He goes, oh, we're going to two.

I was like, good. Because now they can block me. Soon as we get on the floor, the nerd, you know, because they think I'm going to the bathroom. Soon as we get on the floor, we go, I follow them. And I'm just thinking 268, 268, 268. The nurse comes up and gets up and says, excuse me, can I help all you? He goes, yeah, we're seeing such and such and such and such. And he goes, we're at room number.

They said 269. Wow. She goes follow them. See, you just bring it in? Yeah. So she, 268, 269. She goes following me. So I'll let them walk, and then I go, and I back up and then slide in the room.

And I had my moment of truth CD and my gangstar shirt. And I went in there, you know, pulled the cover down, because I wanted to see what he looked like if he's been kept. Because, you know, when you're in the hospital, either you pay them to clean your fingers, wash you up and all that, or you got to do it. I even asked, is he on the thing to be cleaned up? They're like, no, the family members got to do it. So, you know, once I saw he was dirty, you know, nails, all, you know, just not clean and all this stuff.

I'm just like, and he's just laying there. His eyes is open, but they're just, and he's on the ventilator, yeah, so it's doing a, you know. And, you know, so that's going on. And he's just, he's looking up like he's awake, you know, so. But he's not, he's, he's already brain dead, you know, so. So because maybe it was, what, almost three weeks after I seen him. And so, you know, I just, it was just me and him. And it's crazy because I talked to Dr. Dre about this.

Like with the easy thing, it's almost like that same type of thing, man, because I just talked to him, put the shirt on him, saying, yo, you know what this is all about. And, you know, I'll forever rep this. And I wanted to put the CD under his mattress. But then the nurse walks in and says, hey, you're not supposed to be in here. you got leaving. I said, ma'am, listen.

And I showed her to the cover like, look, this is us. This is the reason why I just wanted to come in and see him. She goes, look, you got five minutes. And she let me have my time. Say what I had to do. Kissed him. Walked out. Never saw him again until static selector called me.

Like six in the morning. And he's like, please don't say it's true. Because we had already been getting, please don't say it's true. And it was false alarm. So this one, when I called his sister, and she was like, I could see hearing her voice like, don't say anything yet. I can't confirm that, you know, because we were all in touch with each other now.

And she's just like, I can't confirm it yet. Let me get back to you. I'm hearing the same thing, but I don't believe it. You know, and I was like, all right, I'm going to just wait for you. And then it got confirmed. Plus, the great thing was his father, you know, was able to obtain the body, get it back to Boston. And he was like, he gave a funeral key was there. The whole Gangstar Foundation was there.

All of us met up and came together. And he had a private funeral. It was probably maybe a good two, three hundred people maybe. Yeah, we had it on the campus. You know, two hundred people, the clocks and the Eelams. That's both sides of the family. And his father called me and said, I'm running everything. And, you know, Judge Elling, you listen.

He's a stern dude. I knew him when I used to stay at their house, way when we were just on our first album before stepping the arena, staying at the Eelom's house and all that stuff in Boston. So I've been around around. And his father said, I need you and Shug with Sugar Bear back in the day. He said, I need you and Sugar Bear to speak. And when he brought us on stage to speak, the first thing he said is, I don't care what my son went through ever.

All I know is him and this man and Shug was the best part of his career. He said, that's why they're here, and I want them to speak, and we spoke. And I told Crumph, little jokes, I had everybody laughing, you know, just crazy stuff guru used to do. You know, he's to steal my clothes. And since he's so small, since he's so small. He's real skinny. He's real skinny. So, like, you know, I've seen him in no clothes.

He's a bony kids. But very well, athletic, he built six-pack stomach. He got the physique and everything. But he used to wear sweatpants, you know, the cotton ones. And then so you wouldn't see the sweatpants coming out the bottom. He would put rubber bands around the ankles so that they would stay held. And he would put my pants on. So I'd come back to the house and be like, where's all my pants at?

And he'd come in later on from work and stuff. because he was a caseworker as well. And he's got my shoes on my pants on, my jacket, my shirt, and then he would always go, all premier shit. All premier shit. Word up, man. Like, that became a regular thing. That became a regular thing.

But, yeah, but as far as when they connected, it was close to when the owners happened, shout to Black Jesus, who really is where the connection came from, because they were doing work together. And things, you know, we all. always saw the strangeness too but we always ignored it you know it was just like I some you know we when guru did ill kid and uh uh uh ballhead slick project he always had a string of producers that would do to do beats for him so we just figure he's just another one of those guys and then it just got to a point where as time built i mean you really noticed that the the the us being around each other was very very minimal you know what I'm saying the the same

people that you pretty much saw all the time was around us, around us, and we didn't travel with us, nothing like that, except one time, to Colorado. By the time, the owners was doing, like, so that was, owners was 04. 0-3? 0-3? 0-3?

Can we on tour with Tala Kuali? And, yeah, Tala Kuali, no, it was Kama'i, electric circus tour. I remember that. He came by a station. Yeah, and Kuali opened up, and that's when Kuali was bringing Kanya, and we were like, why you keep bringing Kanye to the tour? He said, because he gave me

my first hit record and he didn't charge me for it. So now I'm bringing him because he's in, and then Kanye told me that day, yo, I'm about to start rapping. He said, I'm about to do an album. It's going to be called College Dropout. He said, premiere is going to go double platinum. I was looking at him like, man, that's a cocky thing to say, but I ain't doubting it. I hope it does.

I'm going to be bigger than you one thing. And, you watch. And man, it happened. College Dropout just popped off. But yeah, we saw the strangeness and it was weird to all of us. So it ain't just us, it's everybody, you know. And then, you know, even just people just spreading stupid stuff about, like, we were hating on the situation. It's like, no, everybody's grown men.

Whatever you just say you choose to do is what you choose to do. Just tell the truth as far as what's going on with how you represent yourself. But as far as, like the gay rumors and all that, that part I didn't believe. I never believed that either. Nah, that part I wouldn't worry about it. That was all just nonsense because everybody. But I understood why people were like, well, this is a weird relationship. But that part I never was like, well, damn, maybe he changed.

No, he was still goo just in a different mental space where he, that wasn't him. You know, the way he was looking, the way he was dressing. I know Goo had his own style. I started seeing the similarities in dress and everything. I was just like, this is not my dude. So even when people post certain pictures of him, I'm like, that's afterwards. I don't acknowledge any of those pictures and none of that stuff. By the time, by the time when him and Sola are working together,

was Gould getting clean at that time? I heard that he was kind of laid up on the drinking. He's gotten cleaner several times. And one of the first times he got clean, you could vouch for this, was when we were in Seattle, and he spazzed out hard body on stage. It was the second time he did it, because when the first time he was flipping,

Rhode Island. Yeah, Rhode Island. But the one that he filmed, and we showed Guru on the tour bus, this is how you look when you while out. And he's, I remember he kept, we all playing cards and we used to play cards every day and be, you know, bugging out laughing. Some people watching movies. Some of those playing video games.

And gurus is still staring, watching what he looks like on stage because he's never seen himself that wild and out, you know, in that, and the next day he quit. He quit drinking. So even if he, and he relapsed, yeah. But he would still, he still quit again. And they started back, he quit again. So when Katz is talking about, yeah, yeah, we got him clean. It's like, no, we got him clean. We watched him, watch that tape, you know what I'm saying?

And he would not stop rewind, and this is not DVD. This is like, where you got to go, you know. Yeah, this ain't DVD era. And he kept over and over watching. He was whaling that day at that show. It's crazy. You know, shout to Goldie. He got to a fight with Goldie.

It's one of the craziest nights ever in Seattle. And anybody that was there, even common will tell you that was a crazy night, and we got it all on tape. So that was the day. The next day, he stopped drinking from that day. That's when I was like, man, now Katz is claiming they got them well. No, we got them well first. And that was why y'all were touring the owners.

Yeah. That was the owner. Yeah. So by that time, y'all's relationship, y'all were doing them too good. But we're rocking because we always would have drama for some nonsense. Nonsense. Never nothing like really, really substantial. Nonsense.

And even then, it's like, this is not worth it. You know, because I'm always this, it's not worth it, God, because I don't want to fight and beat up my boy. That's my dude. And he's not my size. He's not, he'll throw it. He throw down. He will knuckle up.

And he doesn't care what size you are. But I don't want to fight him. That's my partner. But all the fights we've had is always went to love. I love you, my nigga. Let's go. And that's his line. I love you, man.

I love you. You know, let's go out. And we'll go out and celebrate. Get drunk. And come back. But now he's the happy drunk, he's the best. I'm the nicest. Oh, no, no, no, that's what you're mad.

And you're still not bad. It can't outwrap me. But, yeah, but, yeah, it's like, the thing that really touched me the most is when his father said, I need y'all there. I need the two of you there. Not anybody else, you two. And that was a big deal. Even when his father died, his father wanted to make it to his 91st birthday or his 90th birthday. I think it was 91st.

It could be, it's either 90 or 90th. He was doing really bad after the guru passed and he said, if I can make it to my birthday party, even the doctors told him, no, don't do the party. You're really not well. He said, no, if I can have this party, I'm ready to die. And so the day he passed, I had to go to Switzerland to do a festival. And when he passed, they were having the service the following day. And I asked his sister Trish, shout to her.

She's a soldier, man. Trish, I asked her, hey, is that any way? I could go to the funeral home and go see your dad before I go to Europe because I don't want to miss the funeral, but I really came back out of the gig because I had already canceled one when I had my knee surgery, and I've never canceled a gig in my life, and they would let me, I don't want to be one known for, you know how I guess. When artists don't show up, they start to say, oh, yeah, do a video showing that you're here because we want to make sure. But I did a full video showing that my knee. I just had surgery, and they said I could have a blood clot and had a heart attack on the plane

because it was too close to my surgery. So when his father passed and they were having the service the next day, she said, I'll call on your behalf and tell him it's okay for you to go see him. She said, you and Shug. And so I called Shug, and I said, listen, my flight's the same day to go to Europe. I'll catch a quick shuttle to Boston, see him, and then fly back to New York and then get on the plane of Europe. And that's exactly what I did. And met Shug, she picked me up at the airport.

We got to the funeral home, and they were like, hey, we got them to a point where you could see him. went and saw him. First thing I said was thank you so much for giving me your son. And, you know, we stood there for a while, just talked around him and, you know, rubbed his hand, gave him a kiss. And then I went back and got on the plane, transferred to another airline and went to, went on the road. But I felt like I got that.

That was a certain part of closure I needed. That's why, you know, and again, I wanted to thank him even in the, even though his soul that already left. I was like, I got to touch him. Well, Primo. Thank you for making our dreams come true. Right. But, I mean, just the chance to fan out.

I mean, there's definitely enough for it. Two episodes, yeah. Jesus Christ, we need to get to the half of your production work. Yeah, all the remixes and the remixes. And the breaks. It's shout out to the break. Oh, yeah, yeah. The brakes, man.

And it says I scored it all. I've seen them all. Well, thank you very much. I got a shake. Yes. I appreciate your work. Thank you. DJ Premier, ladies and thanks for having me, everybody.

Thank you. And my respect to both of y'all, y'all have accomplished artists that I'm a fan of. You know, I'm a big fan of both of you, Quest. You already know. And we've been able to work on records with this man. I'm like to, oh, my God. Yeah, and, yeah, man. Shout to Dan Charnas and Seath Man and all the cast, man.

Yeah, man. Antoine Harris, everybody. Antoine Harris. Tiana. It's so many. Tiana Taylor, too. She's good. Yes.

Yeah. All right, one love y'all. All right. This is a superstar group home produced by the great DJ premiere on Quest Love Supreme on Pandora. About to end. Born in the ghetto, it's hard to survive. Some have achieved that many brothers try, but I realize which life to choose. I want to make money, so I got to pay dues.

But there's no rules, and you only have one chance. If you fuck up kid, you face the circumstance. At night, I used to scream and shout. Living in the ghetto Trying to get the hell out So I would try As I watch my friends die That was a superstar

Shout out the cameo Uh Dog Now that we're in reflection time There's so many questions That I forgot To ask him Man

I have mostly samples I Man The freaking Unbelievable sample Yeah I hate him for that, man I'm gonna have to go

Yeah, I don't know what that is. You just gotta go to the studio find out what it is and report back to us, that's all. I think even then he was like, he'll give me the stab but just won't tell me what it is. From which it came. He's so old school with it.

He said all the pads are laid out right there, so you just gotta go one after other and you can find out what the sample is. I just want to go to sleep at night. I don't want to redo the song. You don't have to redo the song. Just go and hit one pad in the next pad,

And then you'd be like, oh, by the third one you should have it figured out. I still believe that it's you remind me. That you remind me. If you think it's you remind me, I would say that you've got to recreate it then. If you can recreate it off of you remind me, then. Challenge. You know, yeah, get you tap on. But, you know, he said it ain't you remind me, so that's it.

Well, you know. Right, yeah, this was on tape. You can't own no loops, man. You know what I mean? But no, man, Prine, like, dog, he's so, like, just working with me. He does, you know, he does, you saw them old school. Like, he is very old school. He still very much operates.

Like, it's still 95, in a good way. You know what I mean? Like, it's just... Well, he's true. Man, I just realized something else we forgot to talk about. What? The Limp Biscuit record. Oh, I forgot about that.

Yeah. I was like, why wasn't it... I just hope he got paid very well for that. Because that beat was too crazy. Are you going to front or it was too good for him? It was too good for Lent Biscuit. It should have been a Methamand solo record. We could...

Oh, man, we forgot. Well, not forgot. but the blackout peas. Oh yeah, yeah, B-P Empire. And I forgot to ask him about in this business of rap. So we still haven't figured out what that sample is, what that vocal sample is?

I don't, half the acapellas he does, and it's not like MOP or, like, where are these records coming from that the acopalas? You know one that's always also bug me? It's not Primo, but it's high-tech The Sun God. The Common Record, Common Sense, Centen a ghetto in Chicago.

Like, that's too perfect for a common record. Too perfect. Somebody made that one. Yeah, I don't know. I don't know that. The one, I know for the one he just did the record with, oh, God, the Dre record, the Animals,

on Compton. I listen to that album once. Animals is the one. I'm with you. Animals is, that one is dope. I like this, dude. He chopped up. You like,

No. Okay. This is Questlow Supreme. But no, he chopped up some, it's like some guy from Detroit. Like, he samples a lot of, like, indie 12-inch, like, sandbox automatic. Right, right, right, right.

Like, he does a lot of that. But I just want to know what his filing system is. Like, he just listens to... I don't believe that he's got it all in his head. I can. Because it's like he has to take time to figure out loops, figure out drums.

Right. And now figure out a cappella's. Right. And practice scratching them shit. That's... It's like four extra jobs. I can believe it because knife is like that to a degree. Like knife will pull like vocal samples and stuff like, you know, cut.

He would, I think sometimes it comes to them as they're making the beat and it's just kind of recall. You know what I mean? Like this would sound good with that. Steve, any memories of, because you engineered. For some of the people that don't know, Sugar Steve was a full-time engineer at Electric Ladies Studios during. the time of DeAngelo's voodoo album and some other things. Actually, you did two Primo songs.

Did you track for Common? The Sun God one he was just talking about. I was there for that. You were there? Oh, that's right. High technology. That's right. By that point, we were just, you know, everything was getting done in electric lady. But you also for the six cents.

Oh, yeah. You were there for that and you were there for Devil's Pye. I'm actually on the skit with you right after the six ends, or right Right before the six. With Angie and him. What is that? What was that before the six?

Did you dis-retrospect me? Oh, did you just disrespect me like that? Yeah, yeah, yeah. I was like going, I'm the worst at making skits. And, of course, I even said later, you know, someone called Prince Paul up to do these skits correct. Because, you know, I was a lasting on my mind. But do you have any memories of a Primo, like? Well, yeah, the Devil's Pie sessions are very memorable because I had never seen any.

anything like that, you know, being done by even amateurs. I remember a stack of record. Like he had his stack of records, like, it was at least 100 deep. Mm-hmm. And he was just going through stuff, nope, nope, nope, nope, nope, nope, nope, nope, nope. And after a while, like, I'd, after 45 minutes, then I just went into the break room. And are you talking about for, for when he was putting the vocal samples? Yeah.

Yeah, yeah. I mean, yeah, he kept coming up with the slice and the pie and the, you know, like, trying to eat. Yeah. And I just never seen anything done like that, you know, by anybody. And then... And we were doing it on two-inch, right? Yeah, we were doing it on two-inch. So it was just the amount of precision that that's when we realized.

That's what I realized, like, oh, dude's not normal. He's really, no, he's not. He's really not. And it sounds, even though it sounds simple, it's really hard to... Damn. Now, I'm thinking of all these things now. I wanted to ask him why he uses deep snares instead of crack snares, with the exception of coming for that ass, which...

It was Blinelli. Yeah, like, that was a departure for him. But it's like... Next week. Anyway. Anything else we want to... Wish we could have asked him. Man, I think we...

Well, I want to get into... Jay Rue's second album, Rath of the Mind. Physical stamina. I did not like physical stamina. I appreciate physical stamina now. Do you know what it is? Do you know? I don't know what it is.

I don't know what it is. Okay. Okay. So, you know, when I remember that album and I love Half-Life came out the same day. And we were on tour together like in 97 with J-Rue and us. it didn't hit me like the first record. Nah, not at all. I'm not saying it was a bad record,

but it tested my patience. It tested my patience. The moments on that record were like high because like fucking invasion, that shit was hard. Frustrated nigga? Frustrated nigga, fucking cowboys. I didn't fuck with cowboys.

Because of the disband. And what did you call it? What was the other joint? The one, fucking whatever. Never. He redid the Esther Phillies. Oh, oh. Right, right.

Do, do, do, do, do, do, do, do, do. Oh, my God, man. That was the one. I was like, you know what? I didn't like, I don't think I like, I felt one day was half cooked. I can, yeah. First of all, it was like an interlude,

and it was released as the first single. That was the first single? Yeah, dog. And that's back when labels were sending you by that point I was in a few DJ pools so it was like you know

sticker new Jay Rule the Damager one day and you know there was like there was like bus sheets tip sheets on there with the DJs of the country like oh man he's going hard on you know on Biggie and Foxy Brown and you know

and I got it and I played it and it was just like there was no hook Yeah And it was kind of I felt it was very convenient How he just tiptoed around When hip hop got to the West Coast Yeah

Right And then it got to the West Coast I was like hey shook night And I got a plane ticket home And that's a And he took a home that night One day Yeah he did kind of

Yeah Damn that was the time I didn't realize Because the first one I heard Was you playing yourself Which was Well yeah one day It was like a white label

Preview And then you're playing yourself came out. And damn, I never got to ask him. What was Biggie's reaction to your playing yourself? Oh, man. Because, I mean, obviously, I mean, when you feel some sort of way if... Absolutely. Like, yeah. Yeah. Yeah. Yeah, no, for real. For real. Well, what is your... All right, closing out, what is your bill, uh, boss bill? What is your... Desert Island premiere.

Album or single. Song. God. Can you come back to me? This is hard. Pardon me. He wants to say Mass Appeal, but then there's... All right, non-single.

Non-single? Yeah. Desert Island, one song is all you get. Non-single, primo. Non-single? So Crickland Dodgers is I'll give you three. Fuck, we never even

asked about Crooklyn Dodgers too. Yeah. So, so does that count or no? No, nine single. So nine single. All right, non-single. Give me whatever by J-Rue. Give me whatever.

Mm-hmm. Whatever. Whatever. Whatever. Whatever you want to do. It's whatever. I got to do my thing. I got to do it.

Oh, y'all crews, whatever. That's the Phillips John. Off the second J-Rue album. Give me that. Give me, um. So you three. Okay, three, give me that. Give me above the clouds.

Was that a single? Technically, it was a B side, but I'll let you have it. Okay, give me above the clouds and give me, man, shit. And give me X to the next. Okay, that was a single. Damn, that was a single. Fuck, it was a single. Okay, all right, non-singles.

Okay, give me, um, hmm, give me. Take to him pass. There you go. There you go. I'll take that. Well, on behalf, this show does not care about my reflections whatsoever. Yeah, ask Steve.

Is this the second week in a row we did this? Steve, we got a minute left. Give us your reflections. I liked what are you saying about the labels on the records. They're hypnotizing their magic. I agree with them about all that. For me, it was soul records, the two circles, watching them go around. Yeah, that's a good one.

I mean, I had the same experience growing up with the delight and streetwise and Bell records, if you've ever heard of them. Yeah, Bell. Yeah. And now it's the jazz records, the CTIs and the ECMs. The labels are, I think, an underrated part of the record experience. And then his whole thing about taking the turntables apart and really being in love. with how turntables work and then

you know just how something that that he was so enamored with when he was so little became his entire career and he'd be you know really took it to the next level and all that it's just incredible that's cool was true honey buns and single no was it was a video yeah

you know it's weird and another reflection I had I did it yo yo here is scientific bit I dated the

person to whom true honey buns was directed to? Yes. And it was kind of a J-Rue versus a mirror moment also. Exclusive. Anyway, anything else, Steve? Nope.

Well, on behalf of my ear, boss Bill Fantigolo, thank you again for me. This was Coach Love Supreme on Band Doer, and we will see you guys. on the next go round. Thank you. West Love Supreme is a production

of IHeart Radio. This classic episode was produced by the team at Pandora. For more podcasts from IHeartRadio, visit the IHeartRadio app, Apple podcast, or wherever you listen to your favorite shows. 2%. That's the number of people who take the

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