Kurupt: The original record was me, Rage, Redman, Method Man and Daz. Dre was taking credit and wasn’t doing nothing, wasn’t coming around. I did that.” Tupac like, “That’s your stuff?” From that situation, that’s when he and Dre started fueding. ‘Cause I happened to be walking by the studio like, “That’s my beat. That’s how the whole fued started between Dre and ‘Pac. flossing like, “I got a beat with Method man, Redman. They had taken his verse out and kept the background ’cause it sounded good. He was at the end – “I.N.S., the rebel…” Just his voice. Kurupt had brough Method Man and Redman over to my house. So he pushed out at least two to three songs a day.įeaturing Daz Dillinger, Inspectah Deck, Kurupt, Method Man and Redmanĭaz Dillinger: We did that song at my house. And I think he had a three or four… I’m not sure what kind of album dealk he had. ‘Cause he didn’t want to be on Death Row Records.
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He was a little wild muthafucka, full of life. We don’t go in the studio and wait on nobody to make a beat. Nate Dogg: That song was done in 10 minutes. We were having so much fun, the song just came out. It was the same as it always is: A little liquor, a little weed, we aiight. It’s like, “Damn, everywhere we go, we see the same girls.” And that’s how the song came about. We were at a video shoot, and it was so funny how, if it wasn’t Snoop that knew the girl, Tupac knew her, or I knew her. Nate Dogg: It was me, him and Snoop, and we were talking about all the girls that we had seen before. That’s the hook – we’re talking about video hoes.” Every other video…” I’m like, “Nate, I know you gotta be fucking playing.” They’re like, “Nah, man. Next thing I know : “Every other city we go.
Nate Dogg, Snoop, everybody sitting around on speakers, doing their thing. Johnny “J”: That was one of the most hilarious records I’ve ever done with Tupac… I used Cameo’s old school cut. They laughed their ass up in there and all the way out. I don’t know what the fuck y’all are doing.” They was just playing around. They were in the microphone booth, and they were fucking up, and ‘Pac said, “Y’all gotta get the fuck up out of there. Then them muthafuckas did something where they fucked up.
I did the beginning : They were gonna do something at the end. The only thing crazy was, the Outlawz niggas – Fatal Hussein and Yafeu Fula – were gonna get on the track. Whatever day he landed in Los Angeles, two hours after he landed, he had his first verse laid.įeaturing Dru Down, Hussein Fatal, Nate Dogg, Snoop Dogg and Yaki Kadafiĭru Down: It was me, ‘Pac, Syke, Rage and a couple of Outlawz in the studio. He didn’t even wanna chill all he wanted to do was get on the mic. ‘Pac wasn’t in the studio for any more than 45 minutes before he had his first verse done and laid.
I came a little bit later, and when I came, Daz already had the beat started. Everybody at the studio at that time were up there. The word went through the office that ‘Pac was home. Kurupt: First day he came home, “Ambitionz Az A Ridah” – that was the first record that he did. Came back to the studio, and it was done. So if you listen to Pee Wee Herman, I just put the gangsta twist on it. He really had a real vision of what was going on, and he wanted to get a lot done in that short amount of time.ĭaz Dillinger: The idea came from the me sampling Pee Wee Herman. And you could tell he was really one a mission. He was very hyped, very focused, a lot of energy – mad energy. I seen them give him his Death Row medallion that same night. He went straight to the studio like he was on a mission, and he recorded “Ambitionz Az A Ridah” and “I Ain’t Mad At Cha.” Tupac came in, and he was fresh out of jail. The day he got out of jail, he didn’t go to the clubs. Dave Aron: That’s the first song I ever did with Tupac.
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