DJ Quik

This week DJ Quik joins the show and discusses his early influences, his journey as a producer and rapper, and his impact on the R&B genre. He also talks about the importance of representing the West Coast and staying true to his roots. Quik shares stories about his first beats and songs, his experiences with sampling, and his collaborations with artists like Tony! Toni! Toné!, Dr. Dre, and Eazy-E. He also reflects on the challenges he faced in the music industry and the power of controlling his own narrative. 

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Episode Transcript

Speaker 1 (00:03):
Money, ladies and gentlemen. My name is Tank Valentine. This
this the Army Money Podcast.

Speaker 2 (00:11):
Yeah what it is the authority on all things, all
things R and B.

Speaker 1 (00:18):
Yeah, it's it's it's about to get legendary. You know
when when when you have a thing that represents an
entire region.

Speaker 3 (00:33):
Yeah, when you're born and raised.

Speaker 1 (00:35):
You know what. Listen, I've been living on the West
for twenty four years. You are from the West, I'm
from here. Would you do the honors and introduce this
thing the right way?

Speaker 3 (00:48):
You? Listen?

Speaker 2 (00:49):
Listen, listen, this is this is legendary music. They try
to categorize a lot of things, especially when it comes
to the West Coast, try to do you know, they
try to put that region on us. But some of us,
we just we got it in us. Some of us is.

Speaker 3 (01:07):
Born with it. Yeah, yeah, you know what I mean.

Speaker 4 (01:11):
Yeah, some of us is way too funky.

Speaker 1 (01:15):
Some of us. You know.

Speaker 4 (01:17):
On tonight tonight we have the man himself who is it,
the super producer huh, the super Raffer, the gangster for real,
for real, for real.

Speaker 3 (01:29):
And most importantly the DJ Quick is his name, bro,
That's how I get it. He can y'all come do that.
We will be there. Man. Thanks for this, bro, B

(01:50):
Thank you. Bro got me on Rich and Black Radio
rich or Rowdy and Black is RB stand for now?

Speaker 5 (01:58):
Man?

Speaker 1 (01:59):
You never know, you never know these days and barbecues.

Speaker 3 (02:07):
We're still doing together now. So it's red and blue mixing, bro.

Speaker 1 (02:13):
And and sometimes I think it's hard to maybe frame
it yourself in terms of understanding impact and your contribution
to music. But this is the R and B Money
Podcast and for us are our a k is is

(02:37):
popular ship time? Come on, man, like it's you know
there there are moments where you you're allowed to be humble, right.
This is not this is like that guy that guy
nice guys finished last. This is that moment where found
my ship.

Speaker 3 (02:54):
I can.

Speaker 6 (02:56):
Talk it, yeah, Bro, since I touched down on this
on this soil, that's all I've heard, and I heard
it before I got here, but to see it was
just different.

Speaker 3 (03:15):
I make music for the atmosphere here. It's just it's
West Coast. It's an environment, so I make the music
that matches the environment.

Speaker 1 (03:22):
But I'm a I'm a musician, right, and so that's
what for me, took your music outside of a region.
Thank you, Bro, because musically, I was like, what the
fuck is that?

Speaker 3 (03:37):
Who's doing that?

Speaker 1 (03:38):
It's universal, It's universal than you. So I'm starting off
with flowers, from the mix to the musician ship, to
the groove, to the samples he picked.

Speaker 3 (03:53):
B Thank you, Bro tupac Win parade, Donald Bird on
the song it was called Let's Get Hired, but it
ended up being in the late night like by You know,
Don Bird wentn't clear for us, but his music was
in our neighborhood growing up. That ship was fly all

(04:15):
that blue note shit. Bro.

Speaker 2 (04:16):
Yeah, so was that your intentions early? Was that everything
you grew up on.

Speaker 3 (04:21):
I was gonna reuse it. You're fucking right them people
made me who I was, Like, I got swaggered from that.
You know, I was a virgin book. You swear I
had holes because I had the music. I was living
the music. Yeah, you know what I mean. I was
on that shit man fucking Curtis Mayfield and you know
Rick James. I had Rick James album when I busted
out L seven. I bought that myself, was six ninety

(04:44):
nine at the Sound Factory record shop on Rosecrans off
of Oleander by Matheson. I went bought that record and
played Jefferson ball and shit. I think it was that
ship as a kid, like in the room in my
badroom like this, like I want to go his concert,
and busted out L seven that said, well, I write

(05:04):
you tying to smoke. You know what I'm saying. That
we knew it was like can we smoke? No, you
can't smoke nine. But still it made he made you
want to light the joint. So that's your real introduction
into it. Yeah, ah, fucking Ohio players. Heaven must be
like this. I used to sing that to my crush
and ship when I was a kid. You know what
I think Heaven is. I think Heaven is you. You

(05:24):
know what I'm saying. She's like skinning, big old ass.
You know what I'm saying. But she's like sister in
lawn't gonna give me them. But she was a brick house.
You know what I'm saying. I used to sing them
kind of songs to.

Speaker 1 (05:35):
What we sounds like this sounds like R and B mode.
I want to say this.

Speaker 3 (05:39):
I about to say you was an R and B
singer early, believe it or not. I wanted to sing.
I wanted to come out singing because keep Sway killed
it with I wonder that was like. And we listened
to everything up into that roll running and see you
know everything that came on on dann y'all down with records,
you know sleep Rick, Dugy Fresh, the twelve inch, we

(05:59):
got all of that prison records, Biz, Marquis no white
beast of biz. Make the music with your mouth, biz.
But when I heard keep Sweat and Cheddy Rowley, I
was like, Okay, that's it, that's it. We do Jacks Way,
It's enough, That's what I want.

Speaker 1 (06:15):
Was it a combination of the temple, the musicality and
the soul that kind of all?

Speaker 3 (06:22):
Honestly, it was that pose you know whenever you cock
back and squat on the pose your record goal gang
like Michael did it, Lionel Richie did it. Anybody who
do that pose when you sit down and put your
leg up that record go and keep Swett did it?
That was it my body because of the post ship.
But the album was called hard Yeah.

Speaker 1 (06:41):
It is hard yeah, super.

Speaker 3 (06:43):
And I had it was another record that was on
Entertainment that was his label at the time. I think
he did. Did he do the pee wee dance? Joe
Skie Love I think that was on entertainment.

Speaker 2 (06:52):
The fact that you're that you're dialing up the labels,
the like, that's amazing a DJ. You really are invested
into this music, then.

Speaker 3 (07:03):
I love it too much to bullshit it.

Speaker 1 (07:07):
So let's go back to the beginn because we're we're
touching on the beginning, like in terms of the nuances
that that that kind of weaved in the fabric of
who you are. Come on, when when do you start
taking all of these stems and start putting it into

(07:29):
this one machine or into this you know what I'm saying?

Speaker 3 (07:32):
When does that begin? My brother in law recipe Bobby
Billy Coverson Bungo Bill, took me to a recording studio
when I was little and let me play around on
a landrum and big speakers like this and a console.
All you have to do is see it and you
can be it if you if you can if you
can perceive it, you can achieve it. Like I looked
at it, it was like, this is what I want

(07:53):
to do for the rest of my life. Turn these faders,
make these speakers, motherfucker, turn up and watch these people
over here do this. That's it. That's it. The music
make people dance. So he helped me get a four track,
a task Cam forty eight cassette, and I just started
overdubbing and learned how to overdub, you know what I mean.
I would hook two cassette decks up together and overdubb
like play a whole program on the cassette and then

(08:14):
put it in another cassette that can bring it back
through the mixer, and then go play another program with
the turntables with that cassette to another cassette. So I
was learning how to like multi track at a young age,
because you know, that's how I knew Marvin Gaye was
doing that shit on the fucking I Want you singing them?
How you seeing your backgrounds and your lead this nigga bad?
Then I found out he had tracks, so I started
using filling up them tracks with information. That was it.

(08:36):
I was doing that before I got to a recording studio.
That's why my album went so fast. It only took
three months to record quick as the Name, and that
shit went platinum when it came out. I was ready.
I'm that guy, I'm the shit I wanted the best
to ever do it. I agree, Prince loved me give
a fuck. Mike loved me, Janet loves me. You know
what I'm saying, Dre fuck with me. They know what
it is. I'm that guy. I'm tired of motherfucker's calling

(08:58):
me underrated. I'll fuck you up. You It's like this,
I did what I came here to do. What I've
did is been done, and what I haven't done is
gonna get did. Right now, it ain't the time to
be fucking with me early oh yeah yeah. And I'll
drink to that and fuck you. I wish I had
a drink. I could drink to that. Brother, quick as

(09:22):
you can remember, is the first beat you made in
the first song you wrote, what wasn't It was this
R and B song called make Your Move And I
played it for my boy player him at the time,
because I was trying to get on with his rap group,
the Pans Players Click, and I did the demo and

(09:42):
I was singing, I was singing a falsetto. I was embarrassed.
You know, you know you ain't sure, so you'd be
embarrassed as fuck you, Like if somebody told you that
shit was whack, you was just bust out crying. You
know what I'm saying, nigga just no faith, no confidence.
So I played that ship for that nigga. I was
shaking and ship, I'm like, man, you know, he's like player.
It's not bad, you know, but you should you know,

(10:06):
you should try rapping. You should try to rhyme it. Okay.
So I tried to rhyme it and I did. I
started rhyming shit. Uh passed me. They ball. It's one
of my first rhymes. You know what I'm saying. I
had these little mixtapes I used to make where I
was rapping with the homeboys. Well I thought they was homeboys,
but you know how that go. But it was all me.
It was always by me. And uh, I let niggas

(10:27):
come in every now and then and when it was over,
they leave. I'm still working, I'm still finishing my you know,
I'm still making my path, my path toward the future,
toward success. Yeah, you know what I mean. And Uh,
I figured it out. Stop singing the ship, just start
rapping it. He was right. Play Hamm is right. So
from the beginning you were, I wish I could. I

(10:50):
should it everything. Yeah, who else is gonna do it?
I learned how to do it at the young age.
That's what I do. I engineered. I hooked up the
wires to the instruments. I get this ship ready for
the band to come in and get down. Do some
get down. That's my whole gig. But you know, there
are times when I just produced my whole album all

(11:11):
by myself, like The Quickest the Names and Way Too
Funky's I helped. I had one of my homeboys help
with that, but like Safe and Sound couldn't tell me
shit Rhythmalism, I did that all by myself in the house.
We didn't even go to studios no more. It was
too to pop in La was too dangerous, it was
too lit. So the nigga start pulling shit in the
house and just start getting down in the motherfucking house.

Speaker 2 (11:32):
What was the mindset behind Quick's Roof? Because it was
for me. It was the first time I had ever
heard a rap album with.

Speaker 3 (11:41):
It was because I didn't The beat was so dope
to me that if I wanted somebody to rap on
it and they wasn't there, I didn't want to waste
it on me or anybody in my camp trying to
rhyme on that beat. It was just perfect as it
was so I called it quick scroove. Yeah, yeah, yeah.
Some some beats is too dope to wrap on. That

(12:02):
was one of them. Come on melody, It's like, what
you're gonna do with this shit? This is it's finished.
But because I had an s P twelve hundred on
the drums, it didn't sound like smooth jazz. I don't
play with that ship.

Speaker 1 (12:17):
Who because this is who told you you were ready?
Because because there is a there is a moment where
as you're as you're building you you feel everything. You know.
What I'm saying you personally is like I'm feeling all
this shit. I'm hot. And then somebody says, like, my

(12:39):
guy told you to wrap But then somebody says, somebody
who's been doing it, who's got the pedigree in terms
of what the business requires, in terms of what the
radio requires, in terms of what the streets require.

Speaker 3 (12:51):
Nigga, this is it. Who's the guy who said that?
Who's the guy? Uh? Courtney Branch Courtney was a Courtney
is the coolest motherfuckers in the world. Total Track Production
shout out him and Tracy Kendrick that was my first
production company, but also suged it and DLC because I
was signed with them in the eighties to their label,

(13:11):
Funky Enough Records, so they knew, you know, it just
wasn't my time, you know. But Courtney helped me get
a deal with Profile, helped me negotiating against you know, Profiles.
Let got in the ben war and I ended up
coming out with like a multi figure deal. Bro your
first deal, yeah, it was one hundred and twenty five

(13:32):
thousand dollars signing bonus for the first album. Every other
album the money goes up two hundred for this, you know,
third three hundred and fifty for the next one seven
album deal with two album options. And that was like
people was like, quit didn't get no million dollar deal.
That ain't no million dollar deal. You know, that's like
seven hundred thousand dollars or whatever he exaggerated. But what
these dumb fuckers don't know, bitch ass niggas, is that

(13:53):
I doubled the deal because I got second and none
a mirror deal and control the budget. Yeah, and when
a fuck your mama, respect me. So you tell us
what you bought. You bought dirt bikes, cars, I bought
houses for my sisters, cars for him. If I had

(14:15):
a Lexus I bought, helped my sister get she already
had the money, though, helped her get like Infinity Q
forty five and fast. Motherfucker bought the house in Cerritos
when niggas couldn't even live in Crito's doing it. Niggah
doing it. First hit record mind Born and Raising Compton,
and I knew that Tonight the record was the record

(14:36):
with Gold on the first single, Born and Raising Compton
just shut it all down. I sampled Hyperbolic syllabuc sess
with Daily Mystic by Isaac Kays off the Hot Butter
Soul album What's that seventy two Enterprise record stacks? Basically, man,
my mom used to bang that shit. I'm like, I'm
using that. I use that ship man and and and
sample some other shit off in Victor's record. She's not

(14:57):
just another woman by some ship Holland does your Howler
produce and just blend it all together, you know, put
that shit together real quick and put it out. And
the record when Gold on this first single Tonight was
just icing on the cake. That was the hit. You
know what I'm saying, I gotta tell your story. It's stupid.

Speaker 2 (15:12):
I gotta tell your story. Quick my childhood. So at
the time, me and my brothers, we have a singing
group called the Neutrons.

Speaker 3 (15:19):
Yeah, I know about y'all.

Speaker 2 (15:21):
We living in We living in Diamond Bar, and Diamond
Bar is right next to Pomona. Absolutely obviously you know
that shout out to sugar Free, Come on Pomona.

Speaker 3 (15:32):
It's all crips.

Speaker 2 (15:36):
When DJ Quick came out, it was known because before
this and I from what I'll say, people may say different,
but from what I'll say, he was the first red
rag easily rapping. That was like everybody knew. It was
a known thing. And you know, we're from the Bay Area,

(15:56):
so we're not in none of it. We're just seeing
how it's going. My brothers got homeboys, my sisters got
her friends. Everybody from Pomona, they from around that way.
They all crips pretty much.

Speaker 3 (16:10):
His music was so impactful that they had to like it.
They had lay just had to play it. Hey, and
I had crip niggas back at me. Sit. That was
the thing I wasn't. I wasn't just some separatistass nigga
that was out just trying to bang out for myself.
My thing was, I grew up in this neighborhood. My
mother was born. My mother was born in Louisiana, moved
to LA. I was born in Los Angeles and in

(16:33):
fucking Lynnwood, right. My mother lived in Los Angeles at
the time, like on the East Side, you know, eighty seventh,
then Hooper in Central So that's where we was growing up.
And it was all kitchens, so kitchen crips. So we
end up moving to Compton because for a better life,
and that shit was more ghetto and she was gang
banged the fuck out. We're better off from fucking La.

(16:56):
I can't really say that, but I'm gonna say the
fucking what the fuck I want to say. It's just
it was. She tried to move us to a better place, right,
and it ended up being cool. It was cool, company
was cool for a minute, and then it just turned
into Bay Route like in eighty two with fucking Noriega
and fucking you know, the Recognomis cocaine to the hood,
fucked everything up, you know, turn people we love into zombies,

(17:17):
had people doing weird shit. It's just strange. But I
navigated that by staying in the fucking garage buying records
are just disappearing into the music. I wanted to see
the skeleton zombie apocalypse shit going on outside Paru. I
hated that shit. Shit's up? So the music, is it? Safe?
Music got me out of there. I stayed in the house.

(17:40):
I DJ'ed a couple of parties, a couple of places
to make some money, you know what I'm saying, get
some clothes so I can look decent doing it. And
I ended up making it happen. It was a means
to an end. I got out that bitch. You know,
the hood. The best thing you could do is get
out of it, grow and then go back and help.
You know, if you really love it. You got people
there you love, you, go back and help them figure
out the way if you can hand because some people

(18:01):
don't really want to leave.

Speaker 2 (18:03):
Yeah, but you're clear, you were clearly putting, putting up,
putting your your people's on from the beginning.

Speaker 3 (18:11):
Like you said, your first deal, you did two more deals.

Speaker 1 (18:14):
Yeah, exactly. And I'm just able to make sure I'm
articulating this right. You're you're a label owner, yeah, now
you're a you're a partner. Yeah, these acts are these
actually yours? Absolutely well?

Speaker 3 (18:28):
They were signed to the label, but I had to,
you know, I had the production duties. So I was
like the Quincy Jones are that ship at twenty one
twenty two. But this is the thing, if we could
go back to who told me that I was ready?
Nobody told me because you know, just looking at it
as in terms of being a man, you know, it's

(18:49):
about how girls see you. When I was coming up,
it was nerdy ship. You know, I was nerd whatever
I was. You know, I was geek like like nerdy,
like putting bikes together and putting hooking up, you know,
fixing equipment and ship and playing music, playing records and
you know, and just chilling and bitches didn't fuck with me.
I was too square. My mixtaing came out, My mixtape

(19:12):
came out, and bitches heard my voice. They gotta start
getting pussy. That's what told me I was ready. Not
no record company, not even Courtney. It was because I
was fucking DJ, I fucking I was getting pussy, motherfucking right,
but pussy valid, they're getting holds. I was knocking bitches down.

(19:36):
You did, getting the holes, getting the whole movie. Unfortunately,
as soon as that shit happened in our era, as
luck would have it. HIV became a thing, ship hit
Playboy magazine. We all read Playboy magazine was scared. We
didn't look at the naggad, but it was like, this
is gonna. I'm non sexually active and this happens.

Speaker 1 (19:55):
I just got some pussy's over. It's so.

Speaker 3 (20:00):
But before that little eighty six to eighty nine motherfucker
Jack told you that.

Speaker 1 (20:11):
Okay, so I was about to go there with it.
Here's another question I want to ask you about that.
I think is vital too to the production side and
the producers out there when you start talking samples, because
samples were managed one way when you first started and

(20:33):
then graduated to a whole different space. I managed now,
yeah right, yeah, yeah, so you were able to in
your early days grab them samples before.

Speaker 3 (20:50):
Before they got the legislation right, and then all that
ship exactly. Yeah, but yeah, it was up until that
point there. It was a it was a it was
a great area, but samples was the biggest move. So
I had to sample. I was, you know, I was
finding like rare blowfly and you know, I was one
of the first people on Tonight's The Night God Rest

(21:10):
is Sold. Johnny J. Would you know knocking the boots,
but to put Betty right in your record like this was.
You know, these records that we heard in the people
dance to in our face. That's what we want to
put on our records because I want people to dance.
I want them to think about you know, the plight
and you know how hard it is to get a
job in Long Beach and competent no fuck that. Listen
to these records. You feel me like this record made

(21:32):
me feel good. I'm gonna put some shit on it,
wrap about you niggas because we all in the same
old fucking situation. I'm just gonna talk about what's going
on in my neighborhood, niggas. I know who am putting
it over beats that we all used to listen to,
Like I got that from Mixed Master Spade wrapping over
Genius A Love, You know what I mean? The Profile
Records version of Genius A Love with Doctor Jerko mister
Hodd who was Andre Herrel, who ended up being one

(21:55):
of my label mates. I ended up signing the Profile
Saw sixty grees separation. But fuck, it's money, we did that,
So how did did it come back around? Though?

Speaker 2 (22:04):
As far as like where you had to redo the
split on the older songs. Yeah, how did that go?

Speaker 3 (22:11):
The nigga? We was rich. Give them what they want,
give them what the fuck they want. I'm going to
go buy a Porsche, give them what they want. I'm
going to go buy a fucking Porsche or accurate intersex.
I don't give a fuck. I made it. I wasn't
even supposed to make it out of competent. I'm supposed
to be dead, and here I am buying Bentley's and ship,

(22:31):
and I'll give a fuck. I'm on my soapbox. Suck
my dick. I'm dope. And if y'all don't like it,
fuck you take my records back, bitch, see if you
get a refund. Fuck y'all. I make it just uncomfortable,
just make it really like comfortable. No words, no word.
Nobody nobody said ship the kid is rare for him tonight,

(22:53):
we're letting you get your ship. I'm just talking ship.
It's like, but think about it. You you the negga.
If Press used to kill me, like I look back
at the Source magazine. I'm the first nigga in LA
outside of n w A to go golden platinum, right,
outside of CEMW and and King T Right, we're all
factors at that point, Like you know, successful guys that

(23:13):
got labels, you know, they got major labels from right
off of Compton Fucking the Source magazine. Race is dirty ass,
low key, backhanded, backhanded compliment as interview like quick and
slick with his you know, saying talk about the Jerry
Curl and all this shit. So you see all the
endu Windo just clown to me, It's like, what the
fuck's so success? It's different if they like you then

(23:36):
if they don't, but they gotta you know, you know,
the media was playing a cold game, you know, they
was that shit was cold. So I stopped doing interviews
for a long time. I'm like, oh, I see y'all
do y'all twist up what we say, y'all take it
out of context. I had to learn that you gotta
control your own narrative, you know what I mean. So
I just stopped doing interviews, and I was imploring my
homeboys to stop doing them too, like, man, don't talk
to these people. They turn in what y'all say around.

(23:58):
They trying to lessen y'all sales on the next and
what makes you think this record is good? Did you
rush it?

Speaker 1 (24:03):
You know?

Speaker 3 (24:03):
What the fuck are you talking about? If I got
the Prince can put out five albums a year and
they're all great. This record company was like, no, we
can't market all of them, like slow down. Prince is like,
if I slow down, I'll die. My vault is for
what the fuck do you want from me? You know?
They wanted him in that deal longer exactly, and ended

(24:26):
up coming back to Warner Brothers too. It's another story.
But yeah, when you was an an r yeah, have
been Rginia's dog.

Speaker 2 (24:36):
Because I forgot to mention that when when I was
of my biggest flat Yeah, yeah, I forgot. I forgot
to mention that when I was the Black Bugs introducing you.

Speaker 3 (24:45):
You see you're black Bugs, but the black Bugs, Bunny,
you had a T and E up there, get it man? Yeah?
A lot of credit like it, let's go. I didn't
waste their money either, like we did. I did what
I was supposed to do. How long were how long
were you a year? Plus?

Speaker 2 (24:59):
Ye?

Speaker 3 (25:00):
Something like that? How'd you like being inside the building?
It was dope because I don't get to see that part,
you know, That's why it was dope. I'm always on
the outside. I'm always at the on the behind the
stage with the artists and you know, going up and performing,
be on the thing that was good, you know, next one,
But just sit back and see how people, how people

(25:22):
move outside of my circle of being an artist as
an executive. It was like, I like that made me
a little bit. It made me healthily lazy. H I
used to be a workaholic, but you got too many
fifty six year old guaranteed check care. Yeah, exactly.

Speaker 1 (25:37):
It was cool.

Speaker 3 (25:38):
It wasn't a big ass. She wasn't bigger than being
out on the road touring and making bees for niggas.
But it was cool. So let's take let's get into
the R and B. Yeah, let's get into this R
and B man.

Speaker 2 (25:48):
You know Tony Tony, Tony Sure, truth hurts Janet Jackson
like obviously.

Speaker 3 (25:55):
In Houston, co. Come on, come on, come on, come on,
you know, talk about it as we should, you know,
help the weller a little bit, D'Angelo. Uh who else
was in that? Uh? Joy Gilliam helped me on some records.
Danny boy Off Rip Juel Ye sure the fuck did?

(26:21):
I just did the things that motherfuckers wasn't doing or
was just missing. My thing was, if I'm being paid
to play a position on this I'm just gonna be
a halfback until I got to be like a corner
or you know, or I got to do a role
out pass and become like a receiver, you know what
I mean. I just want to play this position. When
I see there's a hole, I try to hit the hole.

(26:42):
So when there were projects that was missing a certain
particular record, I would just go try to produce that
record that made this thing make sense. And that's why
I was instrumental on a lot of soundtrack albums like
Life and Who Wants to Be a Player, and you know,
Minister Society and Above the Rim. I just gave them
records that just made it make sense. Murder was the case.
You know, who's your first R and B placement? Do

(27:04):
you remember first R and B placement? I think it
was it was Clasa just going in Closa, who used
to be a background dance for mc hammer. Okay, whatever,
but it was really Danny Boyd was like my first
fun R and B thing. But the real ship was
when I got with Clive. That's when I started getting
with the doing all the real ship, you know, but

(27:26):
also it was with No It was really with Tony,
who's doing fucking house of music mixing like Holy Smokes
and g Wiz and you know, I mean a couple
of the records on there till last summer and wrote
and produced you know, Let's get down. I was on
my ship to this day.

Speaker 2 (27:43):
If you're going to have an R and B party,
you're going to play Let's get down.

Speaker 3 (27:48):
That's the that's the most niggas ship I got. I
never wanted to lose my nigga the world. It's that's
because that's who I'm from. I mean, you know, if
you ever if you've ever seen a wig bag with
motherfucking powdered milk in it, you know you're a nigga.
You ever see motherfucker you know what I'm talking about

(28:09):
When the first fifteen has a distinct fucking meaning to you,
you're a nigga. So I never wanted to lose pace
with the niggas that made me who I am, who
gave me my motherfucker put the battery in my back.

Speaker 1 (28:24):
You're I don't I don't think your intelligence is celebrated
enough because everything that you're talking about, and the way
that you went about doing.

Speaker 3 (28:39):
It sacrificing was genius. I'm left handed, so I just
think I'm in my right mind. I think different than
other motherfuckers.

Speaker 1 (28:45):
It's beyond that genius.

Speaker 3 (28:48):
I need to be a vincer. I developed interior dynamics,
which was what it's called stems now, where you can
take vocals and ship out and drums. I was doing
that with doctor Dre in nineteen ninety nine and did
it myself. Dre was blown away, was like god damn,
was like you really did that. I was like, yeah,
what's what else? Woman to give me some records. I
take the vocals off where you He was like, I

(29:09):
like Drees real, buff and ship. She was gone, Mark,
you know, I like to take buff, buff and ship,
muscle and muscle.

Speaker 1 (29:32):
Not too excited.

Speaker 3 (29:34):
He's damn pam bro this nigga like Obama. He's just
one level. You don't seem mad, you don't seem happy,
you like it. Sh It is dope, that's it. But
I like people that he's that powerful. He can push
a button and just turn all the attention onto it.
Like that's power. You can do this and the lights
just come on a whole different region of the world.

(29:56):
It's gotta be fun to be able to do that.

Speaker 1 (29:58):
Yeah, tell me about that relationship you and doctor Dre Dress.

Speaker 3 (30:04):
The ship always wanted to be him, like he was
the reason that we ended up all getting deals because
he showed us a different way to make our music,
not buffoonery or not like you know, like you know,
jazz and shucking job. It was like when he you know,
cabbage Patch, he was doing these little twelve inches and
ship uh, you know, fucking uh when he was with
with Alonzo, when they was doing fucking world class record crew,

(30:24):
it was on some ship like it was it was
some undertones in them chips. Was that was gangster. They
wouldn't like soft records, you know what I mean. They
had a they had a girth, a bigness to him,
And uh, that's what I wanted to do. I wanted
to do that, and I wanted to produce a nigga
like easy because and he just made it to where
it was like a fucking bugle horn in the morning

(30:46):
you hear cruising down the street and you know in
the cars, just it just caught your attention, no matter
what race you was everybody was looking like, so I
just the way he did records, the way he even
to go in the studio in the nineties and see
him when he left, to go in the studio and

(31:07):
see how he set up his shit, How this dude
was cheating with a fucking midied out tr aight o
a the MCTR eight O eight drum machine hooked up
to a computer with MIDI. I'm like, oh, that's it,
it's over. Nobody's doing that. He was. Him and Donovan
Sound were doing something that nobody else ever did. So

(31:27):
it behooves you to think that you could play something
for him that he hasn't heard. That's the key to
Doctor Dre. He's like Quincy Jones. You got to give
them something they never heard, and they're like, they'll fuck
with you. Don't go do the same shit. They heard
every record. They know every note, they know every pocket,
they know every paradidal, every rhythm, every read them, every microtone,
they know all that shit. They know, you know, the

(31:49):
fucking even the shit in between when you mix Selodi
in the fucking rhythms what they call him polyrhythms. They
know all that shit. Just give them something that's cool,
that they haven't heard and they fuck with you me too,
becoming like them an elite, And.

Speaker 1 (32:02):
That was gonna be my next question, but you killed
because I was gonna say what technically did you extrapulate from?

Speaker 3 (32:08):
And you covered that. So I'm the guy, bro, I'm
I'm I made Apollo popular. U A D. Wasn't nobody
really fucking with them like that. Everybody was buying their
little ways plug ins. But UA D Bill Putnham Junior
got his dash motherfucking schematics and the blueprints and started
redoing all the old equipment that we all needed that
was burning out in the studio. So when he came

(32:28):
with them Apollos and shit and start getting them clocks right,
he put everybody back in. They we you know, pro
tools was cool to Apollo came out and made pro
Tools sound better, made it all sound analogue. So that's
my shit. I'm into the technology of this shit. Like
I like to see businesses boom. I like to see
him going from you know who am to being the
motherfucking sound don't sound like with the best motherfucking preamps

(32:48):
are the best interfaces or the best you know what
I mean, microphone emulators and all the shit. That shit
turns me on. I like technology, that's my shit. I
always got the new video games. I got the Penason
three d Oh. These dumb niggas didn't even know what
the fuck that was. Remember that ship Dreamcast pension when
Penasonic made they little the DVD game, we should this

(33:11):
game called road Rash long. The Dreamcast was not long.
We was working on that said some ship on on
drink Champs with my shot out Nori and e f N.
But I said some ship on dream Camps, and I
got the date mixed up and Tupac got out said
PS two, It really was the PS one. But I
had the Dreamcast at home, the three d O rather
the Penason three d oo, and I didn't want to

(33:32):
take it to the studio because I didn't want tobody
to break it because you know, they was rare anybody
shout it to anybody to know what the Penason three
d O is. And they had all the games. But
that's that's me. I was balling enough to buy any
fucking thing that I wanted, So I had all the technology,
that's all. It was.

Speaker 7 (33:48):
What he gonna floss his video you better, You're better,
his cars and he got houses before the.

Speaker 3 (33:59):
Crazy need everybody pool. I put a pool in thirty
eight grand back then in the nineties ninety one ninety two,
put a big ass kidney shaped pool in the back
of ship with a stone in. It's with a stone, yeah,
you know, kidney stone. That's how like a stone, you know,
it's safe, like a sap, like a kidney with a stone.

(34:21):
He's from East the niggas.

Speaker 1 (34:26):
You tow him up with them up.

Speaker 3 (34:28):
I was hanging out with Player Ham and Ship and Shaney.
You know what I'm saying, uh l A, Mike, all
my homeboys. But you know, niggas out there like you know,
living So I did all that ship Man. That ship
was fun. But back then it meant something because l
A was still uh La was still a factor that
was finding itself after the fucking Recognomics bro, after the
you know, after you know, the white the what you

(34:52):
call it, the snowfall, after that and when everybody started,
when it started coming back to normal, It's like l
A was, you know, right for niggas to get back
together again and do something big. Music. Music saved us all, basically,
you know, and you were a huge part of that.
I feel like I was. If you take me out
of the equation, what the fuck you get, it's gonna
be some ship. Avoid It's gonna be some ship. Even

(35:15):
when I was quiet, I was doing ship. When I
like when I left Arister Records, when I got unceremoniously
whatever fired quit, whatever you call the ship, I still
was like busting niggas ass on the fucking equipment bro
and sound designing. I was making the best sounds ever
and not just hear them on the radio and it's
like music can go on. So were you you were?
You were?

Speaker 2 (35:34):
Were you like when you said that you were making sounds?
So you were just doing more drum production and different stuff.

Speaker 3 (35:41):
With people drums. I'm saying I was doing rhythm section ship, Okay,
like the rhythm section, not just a nigga back snow.
I was making just these fucking slappy, he ass, funky
ass rhythms that people was like, hey, put this in

(36:03):
my ship. Were you're using your name on some of
the shit I was, you know, some of it was quick.
Some people was like, hey, don't give you no credit,
that's what he liked. Who the fuck tells you that
I didn't like credit? Give me my credit? So it
was like, that's why I stopped doing I don't produce
nobody now, like we just did a Trooper Copper, but
it'd be hard pressed to give me the studio. And
I don't give a fuck how rich they are or

(36:23):
who they are. You can't give me the studio with
nobody because people don't know how to put my name
on the final product. So if y'all can't do that,
then y'all don't get the y'all don't get my If
my name ain't on it, my hands ain't on it.

Speaker 2 (36:37):
People were literally purposely saying, that's what he likes, So
that's what we're get.

Speaker 3 (36:44):
It because niggas are stupid. Wow, that's what niggas do.
Niggas do nigga shit. But how can you so guess
what now? It ain't no question that I ain't on
your record because I ain't fucking right. It cost so
much money to get me in the studio. Now, motherfuckers
blow their whole budget. I don't even want it either.

(37:06):
I'll get that ship to donation. I get that ship
to charity. So what's your what's your main focus now?
My main focus is getting home and finishing learning my
new synthesizer that I just bought that was delivered to
me yesterday. What did you get? I can't tell you.
It's a secret. Come on, Tank, you know this game,

(37:26):
then he's gonna go out and run it and be like, right,
I can't tell you, bro, that ain't even nobody business.
Fuck these niggas. You got something to y'all. See I'm
drinking too, right, y'all. See I'm drinking. I ain't helping
none of y'all ever. I don't giving a funk who

(37:47):
you are the only person I'll go in the studio
right now with a Jimmy holl game. That's it. Maybe
maybe where I am. Everybody else, you had your chance.
You blew it. Goodbye. I feel like if you heard
it right here on R and B money Bitch.

Speaker 1 (38:06):
I feel like if Tank needed a record, you know,
I feel like that would be a reason.

Speaker 3 (38:12):
Then we put your name in all capitals. I was
just called your record.

Speaker 1 (38:19):
I was just a feature in Tank.

Speaker 3 (38:22):
In my credit your credit. No, but it's been it's
been a journey going back through some of these records
and getting my credits like like they're they're now starting
to well, you can only run for so long. You
can hide, you can avoid me, but you can't evade me.
I'm coming. So I've been, you know, righting up and

(38:42):
helping me, you know, find these you know these this
is yours. This is and they held it for you quick.
They didn't share it with nobody. This is your portion
of this song. Shout out to this moment to right now.
You got one of the newest cold blood of his
supercars outside. Bro. I don't even I don't even look
at him. Bro, I'm driving the fucking I'm driving the

(39:05):
uh what do you call it, the loaner I'm driving
the loaner car. But this nigga's riding around here, nigga
looking like the black motherfucking Michael Keaton. Everybody use that
nigga that. But that's he's the guy, bro, He's a
sound guy. Them niggas had the best sound in twelve
inches in the world. That's why I fuck with him,
not just that, because he's a good person and he
wants me to stop being around people. He's like, you're

(39:26):
a fucking unicorn. These people shouldn't even be in your presence.
They shouldn't even have no access to you at all.
Get away from him. I'm like, man, you're absolutely right.
So we just bought fast as cars so we don't
have to talk to more shit. But y'all pull it
up to the r V. Yeah, what you say?

Speaker 1 (39:47):
He said.

Speaker 3 (39:47):
The little work said, you're going to see the RVY.
Bundy was like, oh my god, you're gonna do RV money.
Oh my god, I suck your gig, right, Yockhams bet
she married.

Speaker 1 (40:05):
R and B.

Speaker 3 (40:06):
Rodney and Blake Radio is Rodney and Blake money, R
and Big really laughing, Nigga, I'm crazy, You're great, I said.
Crazy is a dismissive term. A lot of people just
use it freely, like you crazy, But you can't dismiss me.
Your mama crazy, your daddy crazy for leaving it in
having your dumb ass. That's how I get that, motherfucker.

(40:28):
I say, your mama niggas be shocked my mama. Yeah.
Question bag on people, Now, that's my new ship. Bag on.
Everybody give me a rarity.

Speaker 1 (40:42):
Of course, you know, in our business a one stop shop, right,
but even with being a one stop shop, there's always
something that's outsourced. And most of the time, the one
thing that is outsourced for sure is the mix you
did not outsource. You're mixed you.

Speaker 3 (41:00):
Folk with on mixes. Bro Yes, sir, I appreciate that. Tank.
You know what that it's all about. It's all about
being in the recording studio with the best mixed engineers
in the game at that time, the most competent people,
people that had references that they just mixed this record
of that record, and then going to find the technology

(41:23):
that they were going to use on the next record
and finding it before them, to be ahead of the curve,
because we all wanted to sound amazing on FM RADIOFM
stereo or our aftermarket car stereo systems. And that's what
I was doing. I was trying to compete with them.
Like when I heard the Chronic album, I listened to

(41:43):
it on cassette and I lost my mind. This was
before it came out. I was like doctor Dason, me
back to the drawing board. I had to get what
he was doing. Then he was on I realized he
was on SSLS and we were still on API and
need boards. You know the old you know the video,
the one Prince used at Oceanway. I got that one
in Get Quick as the name. That's why that went
platinum because that's the album. That's the console that nineteen

(42:04):
ninety nine and Erotic City was recorded on. Yeah, yeah, yes, yeah,
prince My, Prince Dre fell in love with Michael Jackson's
later music and wanted to know what console those was
because he had the API shit cracking with fucking Donovan.
These niggas was in there on a trident a range

(42:26):
making these big, loud records that just translated to the
It went through the console to the tape, to the
fucking albums to vinyl, the cassettes, to the radio to
the streets, like it was just this sound. Like even now,
when you listen to some of those records, they're brash,
they're like rock and roll. I mean, they're actually clearer

(42:49):
than some rock and roll records. But in most cases,
it was the Trident vibe that Dre was getting away
from and moving on to bigger and better things. You know,
he needed more room. He was he was already in
his theatrical phase where he was making film score music,
you know what I mean. So it was just good
to see him do that. And but he changed the game.
So when I heard that record, I was like, we

(43:11):
gotta go big too, So I switched over to SSL
and I started mixing, so I basically still followed him,
like there you can't. There's no meat without this nigga.
So they getting around it. People keep putting us up
against each other. I fuck with the nigga. I love you,
you know what I mean. If y'all want to make
me fight him, I'll fight you because people are just stupid.
But that's how it is. Competition. You know, we're the
only niggas that pit our own against each other. Like

(43:32):
there's no rock and roll versus only nigga versus Jordan.
And this is my most controversial shit. I don't give
a fuck who fuck with me when I leave here?
When we have you ever seen a black cop shoot
a white person? I'm tired of this shit. Look, niggas dumbfounded.
The man is a black cop gonna shoot a white person?

(43:53):
And we're like, oh man, you know you know you
know he was he was. No, it don't happen. We
live in America. Bro mm hm, fucked up. Bob Marley
did all that freedom fighting as soon as you came
to America. Yeah, a seizure called cancer and died. It's bullshit,
cho It's conspiracy. H it's all in all plain sight.

(44:15):
You hired a motherfucker. If you want to hide something
from a nigga, put it in the plane side. I'm
just tired of I'm tired of the Shenanigans. Unshananiganize me.
It ain't gonna happen, not here, not in America, Not
in America. Well, guess what I tell people all the time.
Guess what, it ain't ours? It ain't ours. How is

(44:36):
it not ours? We did all the work funk out
of here. We was the we was the indentured service.

Speaker 1 (44:44):
We was the slave labor the fuck out of here.
But we didn't know paperwork. Guess what.

Speaker 3 (44:50):
There's no more excuses. Motherfuckers is getting richest ship on
the internet and doing other ship outside. We gotta fun,
but we gotta fuck with each other. Yeah, that's the
only problem. We gotta do all the car.

Speaker 1 (45:01):
But see here's that that part too, right. We can
fuck with each other, right, and and that can get
us up until a certain point. But when the things
that actually run everything we're giving, we're giving out, Like
when we start talking about you know, the Rockefellers and
all of these things. When when it was time to

(45:21):
divvy up the land.

Speaker 3 (45:24):
They got it all.

Speaker 1 (45:26):
The most important resource in America is the land.

Speaker 3 (45:30):
Say that Ascdonald's we can.

Speaker 1 (45:34):
We can grab as many pieces as we want. We're
never gonna be able to make a stake.

Speaker 3 (45:39):
Man's talking that ship.

Speaker 1 (45:41):
So as long as they got in early. Now we
want to go somewhere and grab up some land on
one of these you know continents, and it ain't got nothing.
Do some excavations and do some you know, and and
and and throw in some some piping and some irrigation
and all these things.

Speaker 3 (45:58):
And the mule. We never get it. Yeah, reparations never
the native the Native Americans got theirs. The natives got theirs.
But here's his his his, here's the thing. So I'm
gonna be standing line a long ass time with great
hair about give us free, give us free.

Speaker 1 (46:16):
But listen, let's let's let's let's say this though. Let's
let's let's let's get this on the table. When you
start talking about reparations, know how we got here. But
it's great. And you say, when you say Indians got there,
got got there just too age. I respect they should
they act different, you know, we do.

Speaker 3 (46:39):
We get ours. We go by Lamborghinis. And Louis bags
that we can't afford in August repold, and then we
were more dead than if we were to just not
put that money, put that money into some motherfucking conglomerate niggas,
just build like a couple of apartment buildings. But we
don't think like that. Sorry, and it's it's not really that.
But when you've been subjectate and be it's held behind

(47:02):
for so long, Like I say, broke, broke, being broke
is temporary. Being poor is a condition. Mm hmmm, say
one more time. Oh well please, if you want, please,
Being broke is temporary, it's gonna happen. Being poor is
a condition. You're absolutely right, Please say that. I'm absolutely right.

(47:26):
Figure it out a long time ago. I'm glad I
didn't get to eighty. Like I tell you, I know
everything no right here, while I'm still willing and able
to share and get some young person to the promised land,
to be as free as I was, to be the
free thinker, to make the most creative left side music
off to the left and ball the fuck out to
that shit. But be smart and put your money up

(47:49):
so that you could buy land, because ain't nothing like
getting up in the morning and going back in your
backyard and you own it. It's nothing better than that,
No bitches, No watch all the Mars PJ. Fuck all that.
Buy a bunch of land, you know, and let you
let your family come kick. Get the ones that don't
tear up ship. But yeah, that's what it's about. It's

(48:10):
about owning things. It's about owning you know. The American
dream was just that, like work your ass off and
then buy a piece of land and raise a family.
You know what happened to the American dream?

Speaker 7 (48:22):
Bro?

Speaker 3 (48:23):
Are we still on that path? Do these kids know
that they didn't talk the little black kids to hate us, like, man,
we don't fuck with them old niggas. It's like we
fuck with old niggas. I love Kurtis Bayfield. I never
wanted nothing to happen to them. I fuck with George
Clinton now that nigga needed a kidney. I'll be right there.

(48:45):
It's gonna be a setting it. We just sat in
the dressing room and essence shout out your essence with
Charlie Wilson and got real game from him before you
hit that stage.

Speaker 2 (48:56):
Because like you said, we fuck with each We and
that and that's the thing for us, Bro. And I
was telling you this even before the cameras came on.
The reason why we started this. We are really here
to appreciate each other. Come on, man, and and to
really and to really say, hey, man, what you've done
has been great man, and what you're doing, it's great.

(49:17):
This nigga's writing records hard. You can count on me shake, shake,
shape your booty at the disco. And I was listening
to the Gap Band when they had women with Gap
Chief on their album covers.

Speaker 3 (49:26):
Bro, let's shout out to Uncle Charlie to serve and
for for for snoop for dog. I'm gonna call him
stupid word for dog to throw him a life vest
when he did yeah, and help shave him, you know
what I mean. Yeah, And that's what that's best voice
in the world. See the young boys see you can
blow beautiful that the young boys see this and they

(49:50):
start feeling the same way we felt about and feel.
Stop saying your old homies, because when you get old,
you're gonna need somebody to relate to. That's all you.
That's smarter than you, that's wiser than you, that got
more days on earth. Just start enjoying your older black people.
Stop calling them weird, Stop making them feel uncomfortable because
they're just laughing at you because they know you on

(50:11):
your way to go around the corner that they said.
Don't make that right. And then the ambulance is coming
because you young people don't listen. Just listen to old niggas.
They ain't all fools, like Richard Price said, because you
don't get to be old being a fool. M m.
That's it. And I'm drinking, and I think the add
to that tripping them alright, Shit, I ain't gonna lie

(50:37):
where I'm at. I just made that.

Speaker 1 (50:40):
The add to it is just the other the the
other piece of the purpose is that people need to
understand that this is who I need to call when
I need to do X, Y and Z. This is
who I need to reference when I'm trying to do X,
Y and Z and.

Speaker 3 (50:58):
Hearing people try to make records like me, and it's
cute because they don't understand game stag like I'm a
master of gain stage, like I learned underneath Bernie Grumman, mastering.
You know, I s've had a few albums mixed. Master
Bernie Grumman is a beast. He's just a he knows

(51:20):
he knows time, time offset, he knows amplitude, he knows clocks,
he knows you know, compression, you know A to D
D A. C's eighties. You know, I'm say eighties. He's
just he's the greatest guy, and he has some really
great people up underneath him. But those records like Steely
Dan Asia, when you hear these records, it's like they
just changed your life, you know. And of course thriller,

(51:44):
Thriller is what made me a DJ. But I scratched
the fuck out of Billy Jean. I ruined the record
to buy another one, But I learned. But it's something
about Big Base Brian Gardner Bro who made all these
records that were taught. They were like all the to
the East coast, like what Public Enemy was for them.
Everything that Big Base Brian did and hip hop was
for us. All that in wation, that ship was it

(52:06):
was right, you know what I mean, bad boy, bad motherfuckers.
So I mastered like that now because you know, after
a while, you know, the fruit don't fall far from
the tree. And if you you got a sense, ay,
you know, even if Bruce Lee didn't teach me how
to kick. I ain't gonna kick it. I ain't gonna
kick as hard as that nigga, but I will still
still kick a nigga through the glass play glass window.

(52:27):
If I've been practicing with Bruce Lee all day, you
under say what I'm saying, analogy. Is there anything in
this business that you haven't done? Uh? Sucker dick, well,
that ain't that ain't ship. Fuck these niggas. That's the
alcoholic the music ship like these you know. I just

(52:48):
want to make y'all laugh. Y'all can edit this ship
and all that ship. I ain't never did know, I
ain't never I ain't never wore a skirt and lifted
it up. I ain't never did nothing weird. The one
thing that I wish I probably would have did more
of was sit there and watch people cut records like
work on a lathe. You know, to lay this, well,

(53:11):
you'd have to be a lapidary to know. Like niggas
that cut diamonds like lathing. A lathe is what cuts
final records. Yeah, cuts lackers. So you can get a
test pressing to be your record, because it's just something
about recording. I only care about recordings. I don't care
about these dumb ass politics. I don't care about nothing else.
I care about the best sounded records in the world
because music will stop a fight immediately, immediately. Yeah, that's

(53:39):
to stop the riot. That's the most powerful instrument, that's
the most powerful weapon in the world is music. And
on that note, you.

Speaker 1 (54:01):
I was awaiting. We're gonna get to the party. We
got to get to the party. I got to ask
one more question, sir, if you don't if you don't mind,
I don't, at what point, and maybe you already have,
at what point does quick begin the educational process.

Speaker 3 (54:27):
The mis education and the DJ quick my nigga, I've
been doing it, so, Lauren Hill dropped there. I've been
on that ship, bro was. I was quietly working with
the best man. I probably sold more than one hundred
million records, like just being me fucking with Clive and
some of his writers and Charlotte the Big John publisher
at Sony like you know what I mean these I

(54:48):
was just back there quietly. I put baby Warren on
Warren Campbell.

Speaker 5 (54:56):
My thing.

Speaker 3 (54:57):
I did everything I was supposed to do.

Speaker 1 (54:59):
Okay, okay, now let's let's let's let's move a word
out of the way. Let's move out quietly mm hm
and loudly know where to go to get too diligit
understanding from DJ Quick.

Speaker 3 (55:12):
I got to build a school, dre and and and
fucking Jimmy Ivan building the schools. I just got to
build a school to where people learn signal flow my way.
There's there's a whole lot of paths to success. Mine
is one of them, you know what I mean. I
just got a unique path to success, and it's very
it's it's very proprietary to me, but it could be

(55:34):
learned by anybody that wants to. Like I've been in
studios with my guy, Aaron Dahl, young engineer. He's with
like if I if I don't have the energy to
mix and master a whis Khalifa song, He'll just use
my template, Like you could use this. You can turn
this up this much? Who just gain stage it this way?
And he'll be sitting up there using my game stages

(55:55):
and using my equipment and just smoking weed, you know,
smoking this Bapman just smile because he knows he's doing
some monumental shit. Because my records are monumental. I was
on our senior Hall I was nominated for an American
Music Award on my first single. Born and raised in Compton.

(56:17):
You really can't tell me shit, and I ain't jaded.
I'm fly and it just take a lot to get
to this motherfucker altitude. And I don't take kindly to
people under me, underneath my wings, trying to take my lift.
If you want it, you can have it, just get
it the right way. I'm a teacher. I'm doing school
or something. You have Touse's records that y'all don't even

(56:41):
know that. Man, Come on, man, that's me on the
collapse on fifty cent in the club. Hell yeah, it's
because I just do shit different. I'm fly, bro, I'm
a genius. I'm a fucking wizard. I'm a warlock. Now
now I'm turning to mensa like I'm i bother myself
because I'm so smart. I'll be like, nobody's even gonna

(57:06):
get this ship, and I just don't even think about it.
It's a wasted it's a it's a waste of I'm
gonna be all passionate about it, Like, look at this equation.
You guys like man wear the blunt. You understand what
I'm saying, But as Tank was saying, though, I think

(57:26):
the next phase is and just gotta come to the
DJ Quick school, y'all come to the David Blake school.
Oh there's a joke out there with these weird ass
niggas that there's two DJ quicks. There's like a duality,
like they'd be like, so I'm met Quick, So who
did you get DJ Quicker David Blake? Motherfucker, it's just
one person, the sober David Blake and the drunk David Blake.

(57:49):
DJ Quick is motherfucking step and fetch it, the one
that do the motherfucking dance and moonwalk in front of you,
dumb ass niggas. David Blake is the business. This is
David Blake. DJ quick is. I'm only DJ Quick when
I'm on turntables. If you don't see me with no turntables, motherfucker,
you're only dealing with David Blake. Say that the next time.
Ain't no duality, and I ain't talking to none of

(58:11):
y'all no more. Don't walk up to me and whole
foods and none of that. Ship. It's over. I don't
even want to be I'm too far above y'all. I
just don't want to be in no atmosphere that motherfuckers
don't really love me and expect me and and and
let me be like a butterfly. Just because you see
a butterfly, don't run and try to touch it, kill it.
Tell me cheers. And you got a whole vitamin water

(58:42):
over there.

Speaker 2 (58:43):
You don't you gotta do buff nigga, shit man, niggaga,
shit manig got Alcali water over.

Speaker 3 (58:49):
You and your dumb buff like that some reps Trey.
You're gonna finish that song man? No how that song
you got with fifty m. Let's go to gym quick,
coming to my gym. You ain't seen my jam. Let's
go in too, Jim Dre, I'm in the dreamlin spot.

(59:13):
You know what I'm saying, Doctor Dre, mean ass lifter.

Speaker 1 (59:20):
Spot.

Speaker 3 (59:22):
I'm so glad you can't on the podcast. I'm glad, man,
this is amazing.

Speaker 1 (59:27):
Shout to my brother y'all.

Speaker 3 (59:34):
I'm you know, this is really me, like I don't
really give a fuck. I tried to be in cloaked
the whole time. I'm flying, y'all, like I'm flying. We
need to school quick. Well, we just got to get investors.
We are. We if we do it nonprofit, it's.

Speaker 1 (59:47):
A thing, even if it's because right now we're in
a space where, you know, we don't need brick and mortar.
That's just that's just your information online with people registering
and paying them membership and going to that school.

Speaker 7 (01:00:02):
Bro.

Speaker 3 (01:00:03):
You know, I don't think you are.

Speaker 1 (01:00:04):
I think you understand, but I don't think you understand
like how incredible and how valuable not just the information
but the application of the information did.

Speaker 3 (01:00:16):
A billion I'm a ghetto nigga that dropped out of
school because I needed a job, and I promised my
teachers that I was going to be a millionaire before
I turned twenty one. And they said you they said,
they said good luck. Not only did it happen when

(01:00:37):
I was nineteen or twenty, I went back to the
school and did free challenge shows from because I came
in second place at the challenge show at David Junior
High School. Shout out to David Junior High. They just
did it. They're the most academic, academically adept children in
the fucking world right now. I don't know if y'all
know that, but they just wanted like to, you know,
they are the smartest kids ever. And that's the middle

(01:00:58):
school you went to. Yeah, David Junior highchol. You want
to take place one second place talent show. I was mad,
so you had to come back. I had a drum machine, Bro,
I had a two R six O six turntables, a
fucking keyboard. Not hard that shit was to get in
nineteen eighty five.

Speaker 1 (01:01:13):
Fuck it is the second place.

Speaker 3 (01:01:17):
And my Jerry craw was not wet. It was fly,
no drip, shining shirt clean. God was fly, no drip on,
no collar. Yeah, came in second place. Me in high
See my homeboy I was, he was in the talent
show together. Anyway, I went back, gave a niggas like
as much money as I could. I was rich as shit.

(01:01:38):
I was like here y'all. Yeah, it was like what
I went to. Centennial High School, did contfree concerts, took
DJ Rogers up there, Nigga doing it. Danny Boy were
up at Centennial High. They just gave me the King.
They gave me King Homecoming King Emeritis twenty twenty three
last year. Bro. Because I go back and get money back,
I want him to have a dope can playground like

(01:02:01):
you know the you know let's break up this dumb
ass asphalt and put a new blacktop out here. Slurry
this shit basketball, you know what I mean. And the gym,
what these outfits like, what do y'all need? Y'all need
fucking lunch programs. Let's pay for some lunch. Like. These
kids don't deserve to go through what we went through.
We were in a fucking food desert. That's my thing.
Feed the kids. If their stomach is full, their brains

(01:02:24):
will just be emanating all the best ideas and creatively
create it creatively that you could. But when you hunger,
you got to think about. Man, I'm gonna rob somebody.
You go to jail. It's just that stealing from motherfuckers,
fighting a nigga for a bag. Feed the kids, man,
feed them, Feed the students. We just don't need to

(01:02:46):
be a desert. Like I go to other countries, bro,
they don't. They don't worry about medicalitis. Pay for it.
The country pays for it. You know. Canada, Canda is
fucking beautiful, you know. And I say about Canada. People
here ask me, so, what's Canada like? I'm like, Canada's
like your rich bougie uncle, you know, the one that
comes to your house at certain party functions, but you
ain't never been his got he don't want you to

(01:03:12):
come turn that up. It's nice, but he might show
up to yours. He might. You gotta come flust though, Yeah,
you got make it sense, makes perfect sense. My nigga
grew up and he said, Pomona, y'all. I was over
there with the tray. They you know what I'm saying, niggas.
I was fucking with him like they liked me though,

(01:03:34):
because I came to bring I ain't came to hurt nobody,
buy no dope or be with I came to pick
up sugar free to bring him to the studio. Cause
it's like, bro, you gotta be the next too Short.
That's that's why I see him. Ass be the next
too short, your friendly player of pod. You know, I
gotta ask a question though, real quick before we because
we're on tonight. Well you talking about j Von she No,

(01:04:03):
But that's what I'm saying. Well, player Ham used to
take me downtown to go shopping, okay, and he pointed
out all the fly things like we for Rooke was
a new thing back then. But you know everybody was
onlan the niggas that was on the hood was on
my fucking Deodora t I sweatsuits, Pumila right player Ham

(01:04:28):
was on Gucci East Laurenti on and it's pronounced give
on she and it's the medium for me proper because
I'm nice, Well, I'm not nice if I try to
put that sweatsuit on. Now this my stomach gonna go pot.
I'm a bust out like James Brown with the j
on the overall with with the chest cut out.

Speaker 1 (01:04:48):
I just want to know why ain't nobody tell James
that was nigga put on it?

Speaker 3 (01:04:54):
Hey bro? That was not a leotard. That was a
Speedo spandex superhero outfit with okay bro, hey brod JB want.

Speaker 1 (01:05:02):
With a new pursuit with spaghetti straps. Why ain't nobody
tell my man the nigga.

Speaker 3 (01:05:12):
Nobody's going to tell the Emperor that his new clothes
are still in the fucking pool house.

Speaker 1 (01:05:18):
There's somebody close to the Emperor, like there's always one
person that's like they can get away with telling you
the truth. It's always one.

Speaker 3 (01:05:31):
There has to be.

Speaker 2 (01:05:34):
But I wanted to make sure that I pointed out
that because niggas didn't get on that to another fifteen years,
maybe twenty after you shouted that out in your record.

Speaker 3 (01:05:43):
What's that now, I'm out of the club. I'm feeling
fancy free, which is you know, people bagged on me
for that, you know, shout out to the nigga. You
need to get at me. He said something. The nigga said,
how you feel you feel fancy free, fancy free whatever,
spray on some zeririus which was x E R y
U s serious and putting my Givanhi givon she sweatsuit

(01:06:09):
thelure before Seann John. It was that cold gray and
burgundy like charcoal gray. Would burgundy fucking swayed. You can't
tell me I had to rap about that fucking outfit,
you know what I mean? I was owned. I knew it.
I was putting niggas on the givon she. Now it's

(01:06:30):
the thing everybody wi on she slides and bags and whatever.
Yeah no, and the family give on she This niggas
Crypt is the ship the givon she crypt looked like
his motherfuckers the ship he had in the store, big
black marble. Motherfucker would just give on she and fucking
big funt. Yeah, I loved the motherfucker. I love designers
like man. We used to get our clothes made for

(01:06:53):
us when Georgio, uh well his name was not Georgio,
Gia Georgio too. We talk about that. But Gianni Rassaci
was alive when we was getting our outfits. So he
had people designing, like, you know, tailoring us like. He had,
you know, a staff that would you go in there

(01:07:15):
and see his nice prints and if you couldn't if
they couldn't fit it in the European numbers like in
the new you know, metric to American standard, he would.
He would have guys cut us like his early bro.
You had the Lord Jesus in the silk shirt early.
You understand what I'm saying. One pubic hair on my chest, bro,

(01:07:39):
like no, no, beat the bugs naked bear, you know,
the little rib k Shawn. My nigga would fucking versace bros. Yeah,
because I knew that niggas was gonna call me gay
and all that, and androgeny was it. I still funk
with androgen I still fly my hair out, received hairline
and all my should still go gangbusters, and bitch would
still be like, let me touch it. Live know that

(01:08:02):
don't touch my hair, leave it alone. I don't know this.
This is how I feel right. There is a lot
of people, a lot of people. They don't know this. Tupac.
When he got out of jail, that nigga turned into
Martin Luther King. All his verses sounded like Martin Luther
King Jr. And I've been I'll maybe not get there
with you. I'm really standing plus plus second hand say
it's midnight. He started rapping like MLK because he was like, fucking,

(01:08:25):
I'm finna go the biggest I could go. And who
do people he's a black panther? Who do people respect Martin?
They respect their legends that die for a purpose. And
that's what my nigga did. He went out like MLK Jr.
And I'm like, I fuck with him, you know what
I mean. So that's how I'm finna go. I'm going
out hard, but going out like Prince So. I don't
know how hard you grew out with Chaffan. I'm gonna

(01:08:46):
make it happen. Let me get some of the Michael
Jackson motherfucking the suits he got on by Alexander McQueen.
When Alexander McQueen designed it for him that it was
all fucking you know what I'm saying. Look like serget
pepper lungers. I want I want to wear that ship. Yeah, Kanye,
where is it? Yeah? Shout out Kanye, Yeah he wear it.
I just like I'm happy for any nigga that owns

(01:09:09):
itself in this business. And that's that's that's making calls
and going to get his rest in sleep and see
his kids when he wants to bro and he ain't
beholding to nobody to make him do or say anything
that he don't want to do or say. Yeah, shout
out to all niggas in power. Yeah, yeah the kids.

Speaker 5 (01:09:30):
Five, Yeah, your top five five rapper Army, your top.

Speaker 3 (01:09:42):
Army, Arby singer Loot the Vandros, horry me some Marty Gaye.

Speaker 4 (01:09:51):
We ain't got to know.

Speaker 1 (01:09:53):
Comes on me so and we'll like, you know when
you shit go with.

Speaker 7 (01:10:14):
You five?

Speaker 3 (01:10:19):
Get it all right? It's Marvin Gaye, Stevie Wonder, include
the Vandross, Michael Jackson, Rick James is in there too.
That's a bad thing, motherfucker. That is the quickest ever
our pun intended ever Top five. But y'all seen me

(01:10:42):
singing about him. Well it ain't nothing to think about.
Think about the records, you're finna go by. You're talking
about five top five individuals or groups, because that's a
whole different thing, because Zap isn't. My other talk five
is Roger Trumpman's app You know what I'm saying, even
though he didn't sing that talk box about vocals, that's vocals, motherfucker.
That's as you know. Then you got oh, hold on

(01:11:06):
Casey Haley the album here am I wrong? And Jojo
Haley together they're the thing the are.

Speaker 1 (01:11:14):
A thing that will never be replicated.

Speaker 3 (01:11:18):
Rick never gets no motherfucking prop.

Speaker 1 (01:11:22):
Tell me when was again distinctive?

Speaker 3 (01:11:25):
You understand me? Of course, Ralph Resment is great, Rolph
Restaurant is great, Johnny Gill is great. Bobby Brown, everybody
bought my fucking he was the king of fucking king
of stage, King of rob We got that, but sing wise,
that goddamn Ralph kne stand the rain nigga, Hey a
jealous girl in my town? And Ricky always wait for

(01:11:48):
Rick to say, because rick always do the dancing. Whatever right?

Speaker 1 (01:11:51):
Your top five R and B songs?

Speaker 3 (01:11:55):
Oh Lord for just for radio, or it's yours, it's yours. Sure,
Sailing Christopher Cross I Want to Be Closer by Switch
mixed with They'll Never Be. They're kind of the same
record anything Luther Vandros on the Busybody album The Other

(01:12:22):
Night I Fell in Love or the First one because
make Me a Believer is the coldest record ever. Luther.
I met Luther Vandros on a flight home after we
did the Source Awards when the tobacco happened and Sugar
started to fight. I rode home with Luther back to
LA He was going to go meet Clive Davis. It
was finding in Nuclive and I was trying to talk

(01:12:42):
to Luther in first class, but I was hungover from
Hennessy and you know what I'm saying, and wrestling all
night with Sugar shit, so I can't really talk to
Luther like I wanted to. And this nigga had on
the VERSACEI shirt and a perm and I was like,
I was trying to talk to this nigga bad, No
words would come out. But Luther Vandros other side of
the world fucked my head up. As a kid, Bro,

(01:13:03):
we're talking about loneliness, you know what I mean? Wow,
Prince Adore is number one and there's another Prince record
that's crazy at Ship. It's fucking I'm gonna be weird
with this one. When you are in love and break
it on down. I don't want nobody else here to

(01:13:23):
sound like just the way he wrote slow songs was
the ship it was out here. That's one of my
favorite Prince records of all one that break it down.
The fact that he gave it to Tevin first and
then it came back and and his version was did
you hear him see the jungle love? I'm sure he did.

(01:13:44):
He wrote jungle love, but to hear him do his
version of it all I listened to right now, bro
is jungle. Prince wrote that song for him, but he
got his own version. He sings it. It was a demo.
This nigga, people come get this here, get this nigga,

(01:14:08):
just another manic Monday. Don't go chase some waterfalls. This
nigga wrote, motherfucking nothing compares to you. This nigga wrote,
motherfucking hold on, hold on. There's some other shitt he wrote,
I feel for you for uh. We know some of
these are common, but there's this rabbit hole that Prince
got that where you just had to I was thinking
Tony Tony, Tony was writing some of them songs, but

(01:14:29):
they wasn't. But then to them used to be on
tour with Prince. So they used to see Prince like
sliding off the stage the night when he go too far.
He come do the city, come out and the slide
and go too far and like fall off the stage.
You know they catch him. Yeah, Princess showman, greatest showman
of all time. Bro, Prince did it. But nothing beats

(01:14:52):
Marvin Gaye's Sad Tomorrow's and the Last Chance. There was
a couple of records that he did that came out
after he died, and his Walking and Rain all that ship.
When he was doing all the Doubt, he was trying
to be like Frank Sinatra. That's incredible.

Speaker 1 (01:15:06):
I bought a bunch of boxes from a record store
going out in business and stumbled on it.

Speaker 3 (01:15:11):
And he had the little perm and the little brown
and the brown and blue powder blue lay every day. Bro,
and that bro made me love Frank Sinatra. That's crazy
that he linked you to that music. He was doing
big band.

Speaker 1 (01:15:25):
His label didn't want him to do the big band.

Speaker 3 (01:15:29):
Barry Gordy was like, Bro, what are you wasting your
time with this Jashi for what he said, he's never
going to sell any records. We know you're going to
impress just four hundred people, like, let me show you
how to sell four hundred dollars records. Let me show
you how to go go and he and he did,
and that's why Barry Gordy is And another one reput
no hold on. Sam Cook is the greatest singer of

(01:15:49):
soul music period. You can call whoever you want. Listen
to Little Red Rooster, Listen to motherfucker you send me,
and you'll never be the same. He invented soul, soul music,
prettiest voices. Johnny Wilder from heat Wave, prettiest voice ever,

(01:16:12):
Johnny Wilder, look it up always forever, It's cool, quick,
cool quick. John Buck told me that I sound like
Johnny Wilder from heat Wave when I do my falsetto.
That's the biggest compliment you can get. Johnny Wilder's wife
didn't want to marry nobody that didn't sound as good
as Smoky Robinson, so that niggas song always in forever

(01:16:33):
to her. And they was both army. They was both
you know, in the army. So you end up marrying her.
She ended up marrying me because she was like, it's
hard to be smoking. And he got that pussy and
married because he said, just want him high ass notes.
Come on, man, the power of the pussy. We sing

(01:16:55):
for pussy. That's all R and B people. Do we
want to fuck after this song?

Speaker 1 (01:17:00):
And as a direct correlation from false settle to the pussy,
oh yeah.

Speaker 3 (01:17:07):
Oh yeah, some high frequencies vibrate that month.

Speaker 1 (01:17:10):
The first time I ever heard girls scream was off
False Settle in ninth grade at that that school school
uh program with all the whole school and I was
singing a gospel song. But something about that false Settle

(01:17:31):
send a different kind of energy that I received even
on today. Quick, let's do a vultron. This is what
vultron is. We're gonna make your super R and B artists.
We want to know where you're getting the vocal from,
the performance style, the styling of the artist, the heart

(01:17:54):
of the artist, and who's gonna produce for this motherfucker. Yeah,
let's start with the vocal. Who's on vocal? You're gonna
grab the build your super R.

Speaker 3 (01:18:02):
And br Alan Rants, the Rants Brothers, Jesus, I want
him first, and then I need one other person from
the mighty clouset Joy. It all come from gospel silent yeah,
ran sound monster. So that's that's one. Then you put

(01:18:28):
him with put him with my boy Johnny Wilder from
heat Wave. She got these too. You got this natural
this this natural guy. That's and then the woman who
I'll put with Johnny Wilder so they could just make
these these really beautiful melodies, is Minny Ripperton, so they

(01:18:50):
can have fun. It's a girl and there's two more. No,
it's just funny. Five people right, sore they come together
like the toy. No, no, no, mister quick wrong, this

(01:19:11):
nigga done, got drunk about the bitch. Now I'm missing
the whole point. It would have happened. I knew. I
didn't think it was gonna happen this, Okay.

Speaker 1 (01:19:24):
One person for the vocal, you got to pick one person.

Speaker 3 (01:19:26):
Okay, one person for the vocal.

Speaker 1 (01:19:28):
One person Sally, performance style on stage James, okay. The
styling of the artist, the drip chiffon.

Speaker 3 (01:19:38):
Mm hmmm, I don't want to do Prince early Okay,
but yeah, Prince, the passion of the artist, passion, the
hardest working man, in show business? Is Michael Jackson easily?

Speaker 1 (01:19:58):
No debate, no debate. Who's producing for this motherfucker? The producer,
the producer that makes it all makes sense, and.

Speaker 3 (01:20:08):
We'll buy the record and like it. Rod Temperton, Oh
hate me later, yeah, bitch, yeah yeah. Now I'm finna
go home and be all five of them. That's my

(01:20:29):
new VOT trying. I'm about to morphine all people don't
know how bad I am, Bro, I can really sing.
I just go through all the scales. I go moldl
Now what is that just me and you? Oh yeah

(01:20:51):
yeah huh. We don't need nobody else, Jee, Now this
was the thing. The problem told me to bring my
equipment up here so that we could really get down,
Like let's get down like I deal with like Raphael
and and Dwayne and Timothy and Lies and all them niggas.

(01:21:13):
So what you want to do, Bro? We got another segment?
Oh yeah, y'all got to shoot somebody else?

Speaker 7 (01:21:19):
Right?

Speaker 3 (01:21:20):
No, no, we just got a segment of the show
that we need you for. Which one is that I
ain't saying no names. I ain't saying no Will you
tell us a story funny or fucked up? Are funny
and fucked up. Oh you mean bad ship that happened, real, synny.
I ain't saying no names.

Speaker 1 (01:21:37):
Can't say no.

Speaker 3 (01:21:38):
That's the only rule to the game. Okay, cool, that's
hard to because I'm gonna keep it real. Last nigga,
so so you keep really just don't say to name?
What's okay? The story weird. I was shocked. I was surprised,
like I didn't know this world. You know they say
never meet your heroes. Oh man, everybody that I had

(01:22:04):
meetings with, whether I was present or whether I was
like drunk, because it's only you know, it's drunk quick
and sober quick, so you know what I mean. If
I might have been drunk and probably like rub people
the wrong way because I could be a little terse,
you know what I mean, a little bracive when I'm high.
But somebody that gave me like some funny energy, and
I was like, I'm gonna stop shut out this nigga.

(01:22:26):
I don't give a fuck who motherfuckers think he is.
I ain't saying the names. Okay.

Speaker 1 (01:22:32):
Uh.

Speaker 3 (01:22:32):
Somebody, a real famous person shook my hand and I
was like, man, I love your music. He pushed off
me and was like, I'm still the best off walked away.
I was like, this guy cocaine' and hell of its right,
he's got left that shit anyway. It was one of them.

(01:22:54):
It was like that happened to me. And then another
person told me, quick, you not high, You ain't hot.
Look jay Z, he's fucking hot. You're not hot, get
hot and give me a call. Who are you to
be a parameter or a thermostat motherfucker? And I ain't

(01:23:15):
saying no names. He just some bit shit. I was like, Oh,
he's just trying to get to me. I realize people
say shit to throw you off, just so that they
could get a head start on trying to get to
you know, your worm before the sun comes up faster
than you. Because everybody it's all about making it home
safe with all the money you can make it with.

(01:23:35):
And it's just people trying to get in front of
me because they knew the money was coming to me anyway.
Because you know, I'm not thirsty. I don't run around
chasing money. Money falls on me, you know what I mean.
And the more I release, when I take my top
and pull it back and my convertible car, the money
falls inside the car. Then I gotta hurry up and
put it back on because the wind blows it out

(01:23:55):
and everybody's chasing the car full of money. But I
don't give a fuck about none of these motherfuckers. Ain't
no living or dead, live or dead, or you know,
did something funny to me. They all get a pass
because humans to air is human. I forgive you. Don't
care about nobody making no mistakes with me. They don't
lose no sleep. Now, if you put your hands on me,
I'm gonna pick you up and I'm gonna throw you

(01:24:16):
through a studio play glass window. I ask anybody about that.
I fuck niggas up. I want to see I don't
want to see it. Keep these cameras on, don't find somebody.
We're gonna fight. And I love it when they hit
me too. Nigga hit me like like, oh you hit
like a bitch, and just pick them up and throw

(01:24:39):
them through the plate glass window. I like when niggas say,
you tripping, man, that's not fair. You had three tries.
You disrespected my motherfucking girl. You stepped on my motherfucker shoe,
and you said I was whack. That's a rapper, that's three.
Come on, he ain't gonna get three. You gotta go
through the class these people, or through the through the wood.

(01:25:02):
It's a little harder the glass. Just the special effects.
You know, it looks good. They's flying through the glass. Sorry, man,
I watched a lot of Bruce Lee when I was
a kid. Quick, we need the school man. Nobody want
to go to no d Yes, yes they do, Yes
they do. And we're gonna and we're gonna keep talking
about Listen, let me tell you right this, it's about
to go out too. I already know about one hundred

(01:25:24):
and fifty million people looking at you.

Speaker 1 (01:25:26):
Look, and we're putting it on. Notice that DJ Quick
has the information.

Speaker 3 (01:25:31):
We're gonna start that Centennial High School where Kendrek Coolio
DJ Quick Second High See we all come from. That's
where we're gonna start from. We start there where they
have like one hour to go into this room with
pro tools and the whole shit's a studio. This ship
look like Hollywood. We're gonna call it Compton Wood and
you know Hollywood, hear me, yep? And then the motherfucker's

(01:25:55):
going there for like an hour. The good kids, the
ones who like all straight A's are doing shit and
you know, student teacher like you know what I mean,
like they most likely to succeed. Give them the key,
Let them go in there for a hour when everybody
else is going out to lunch and recess. Put them
in that studio for an hour and just let them
record on the best microphones, the best pre amplifiers, the
best dacs, ad c's, you know, the best, you know

(01:26:17):
what I mean, all of the best clocks, and the
best fucking audio recording equipment, and the best engineers, like
your guys, because I love the dude that just came
and make them speaking. Shout out to motherfucking Ruben. But yeah,
if tank, if you, if you, if you come up there,
them girls gonna be they young girls, Bro, they impressionable,
and you buff and ship. You know what I'm saying.
You can be the handsome guy at the little high school,

(01:26:40):
you know what I'm saying. But we put on a suit.
We can go in there.

Speaker 1 (01:26:44):
You put on the suit.

Speaker 3 (01:26:46):
But if you do a concert up there, they're gonna
lose their mind. Because there's nothing more beautiful than teenage angst.
You know, that's what made Nirvana hot. Vanna is the
greatest rock and roll group of all time. Y'all can laugh,
and I know guns and Roses, you know, shout out
to Steven Adler, that's my brother. But Nirvana was teenage
angs Bro. They named their first hit after deodorant. Bro

(01:27:09):
smells like teen spirit. You know. That's what kids are
feeling right now. They're ready for their breakthrough. The one
thing that run DMC helped us have our breakthrough. These
kids need. Kendrick is letting everybody know that you can
have your breakthrough whenever y'all want to, because I just
bought you all time, you know what I mean. I
just made it to where y'all have a blanket of

(01:27:30):
time and passion and money and love and everything is boom,
you know what I mean, And y'all got shine. He
put the light on them, fuck the light on me,
you know what I mean. So that's what I'm saying.
It would have to be at the teen and then
we hopefully would do it like at the at the
Hollywood school, like the one that Brandy and all of
them went to and Patrunce Russian but she went to

(01:27:50):
the lock But you know, the Hollywood School was Highland
and Sunset in Hollywood High School you do it there too.
You know you have a nigga like me, Come up
there without the juice, no tequila, because right now I
had a bad day, y'all. My pool, my jacuzzie didn't
get as cool as I wanted it to because it
was a warm day at my house. So fuck my jacuzzie.

(01:28:14):
You are. Yeah, I gotta put some ice in it.
I'll be back tomorrow when cool off and go getting
that motherfucker.

Speaker 1 (01:28:19):
Ladies and gentlemen, first of all, my name is Tank Valentine,
and this has been an episode that you will never forget,
ever ever ever forget. The information is coming and flat
out this a bad motherfucker with some respect on his name.
Man all the time, one hundred percent of the time,
or it can be problems. Play glass window, you know,

(01:28:40):
I don't. I don't want you to. I don't want
you to go through because.

Speaker 3 (01:28:44):
I'm gonna go to jail and i'ma have to sign
autographs with motherfucking charcoal that niggas made and be holding
in their booty. I don't want it's weird in there.
I'm gonna make your bible out of some soap. Get
the fuck away from me, and that's what we don't want. Ladies,
gamin I meet niggas assy, prissy gook mhm