April 21, 2025 • 47 mins
Too $hort was back on The Cruz Show to talk about his new album, he also revealed that this album is part of a 3 album rollout + he revealed he has a plan in place for his last album. Too $hort also talked about the NFL, NBA, Bay Area Mt. Rushmore, his relationship with Lil John and the "Blow The Whistle" Origin story & more. Cruz also asked Too $hort about why Mexican fans love him & the biggest mistake someone can make in the music business. It's a great interview with a Hip Hop Legend!!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Oh my god, is that nicolas nigga? Don't act like.
Speaker 2 (00:05):
That's why I don't call the what's my favorite word?
Speaker 3 (00:10):
Why they gotta say it like short?
Speaker 2 (00:12):
They can play on my court, making.
Speaker 3 (00:26):
You quick as hell.
Speaker 4 (00:27):
You need to toilet paper. Don't ship on yourself. You
see me bolling in lux break. I won't fuck, so don't.
Speaker 1 (00:36):
She wants me to. And then if you let her go, I.
Speaker 3 (00:43):
Can give you some games.
Speaker 1 (00:45):
And why you use it?
Speaker 4 (00:47):
That's all you need is a fiction and some funky music.
Speaker 1 (00:52):
And when you like.
Speaker 3 (00:53):
It's too short, the guy's kind of fucking.
Speaker 4 (00:55):
I make the beach for me and at your pot
and split this game. Then you here for a minute
complain about you can't spend it because you ain't got it.
You got boy that jakes, but not enough to get started.
I met this girl. Her neighbors jumped.
Speaker 3 (01:11):
She loved the way I walked through.
Speaker 2 (01:12):
The mic I jump talk.
Speaker 4 (01:16):
She was just off on my thought.
Speaker 3 (01:19):
I thought you knew I'm still rapping.
Speaker 4 (01:21):
I thought you knew I'm still mag a cruise show.
Speaker 3 (01:26):
Unreal ninety two three is.
Speaker 1 (01:28):
On a cruise show. Let's get it too chezy? What
up with it? Man?
Speaker 3 (01:32):
Well, damn I never been impressed by a too short
mixed like that.
Speaker 1 (01:34):
Wow, yes.
Speaker 5 (01:37):
By Nico Blitz right there. He's so excited. Your hearing
dog is crazy. We all are, but he's from the
bad You fail me.
Speaker 4 (01:43):
So that was just you know, I'm in the mindset
of production and DJ and and MC and and you know,
and that was a lot of mathematics for a really
short clip. Yeah, yes, sir, A lot of thoughts of that,
a lot of effort, a lot of work into that. Sure,
listen to it for a minute or two and you
think it's just like, no, that.
Speaker 6 (02:00):
Was no right, But you know what, I'm not gonna
lie though I've done artisan introals for the show a lot,
but that one, I gotta say it was the easiest
because I've just been a fan of you forever, bro, But.
Speaker 3 (02:10):
I thought you were gonna lie and go you know
what I made that shouldn't one taken? Like, I'm not
gonna lie, but I just did one take.
Speaker 1 (02:22):
You know, Jackie's his fiance, They live together, they work together.
Speaker 4 (02:25):
Right, That's why you were looking at me like that. Yeah,
She's like you like the next one, no words for her?
Speaker 7 (02:33):
Man, You I'm gonna have to deal with that.
Speaker 1 (02:37):
No, that's right, right.
Speaker 5 (02:38):
So the process of making this since drawing, I mean,
can you talk about it, Jack, be honest, I'm.
Speaker 7 (02:42):
Telling you he was talking to himself like he was
trying to I thought he was trying to ask me
for advice. I was like, oh, yeah, He's like no,
I'm just talking to myself. I got it. I was like, okay,
my bad.
Speaker 4 (02:50):
Like it's a lot of mathing today. You gotta add
it up tempos and you know, breaks and where you
can do it.
Speaker 5 (02:57):
Man, two shortest here, one of us on the show
has your phone number?
Speaker 1 (03:01):
Can you guess who it is? You know? I wish
I did. I do not have it. Could it be Jackie?
Could have been Nico?
Speaker 5 (03:08):
Could it be Jeff Garcia sports dude? Could it be
Jordan myself? Cruise one of us has your phone number?
Who do you think it is?
Speaker 3 (03:13):
The Cruise Show?
Speaker 4 (03:15):
Yeah, you guys are like looking like, look at short
who has your phone number?
Speaker 1 (03:21):
I'm the Cruise Show.
Speaker 3 (03:22):
It would be The Why and the Wind?
Speaker 4 (03:26):
And take a guess that guy.
Speaker 3 (03:36):
Why or how he has like the Wind.
Speaker 1 (03:38):
I'm like, yeah, by the way, I have no idea
how I have it.
Speaker 4 (03:43):
I got it for me.
Speaker 6 (03:43):
There's a number.
Speaker 1 (03:44):
You know, Garcia is a legend out of here?
Speaker 6 (03:46):
Dog?
Speaker 1 (03:47):
Is that is that the is that a running number?
That's my number?
Speaker 3 (03:52):
That's right, that's my number.
Speaker 1 (03:53):
That's right.
Speaker 5 (03:53):
Oh yeah, show it to the camera, to the people. Dog,
let's go. Man, too short, hotline? You feel me? Yes, sir, Yeah,
Garcia you know you've been around man. You know Garcia
is a radio vet man, you know what I mean.
Speaker 4 (04:05):
So I'm sure looking, I felt like this guy's kind
of another shorty in the corner to like, I've never
seen this guy before. So God, too short, Volume one,
freaky tales.
Speaker 5 (04:22):
Yeah, let's get it, man, congratulations on the produc zero
in on the volume one.
Speaker 1 (04:26):
Volume one. I know, I know there's more on the way.
We're short.
Speaker 5 (04:29):
I mean, listen, you've never you've never just dropped an album.
It's always been an event, right, and it's album after album,
it's quality after quality.
Speaker 4 (04:37):
So this this one is sort of making up for
lost time. You know, I haven't been as motivated to
like rush out studio album after studio album just because
of the.
Speaker 1 (04:48):
Mean, you were in that mode for a long yeah.
Speaker 3 (04:50):
Yeah, just every year, every year now stopped like clockwork.
But you know.
Speaker 4 (04:54):
I have been working though, even though it might not
have been an album every year since COVID or something,
I've been working. And I feel like when I hear
people say stuff like, you know, empty the vault or
just give the spoons. If you're not gonna put them out,
just give them away, Like I feel that same way.
Why make a bunch of songs and leave them on
your computer in the studio somewhere and not share it
with the fans.
Speaker 3 (05:14):
Let them decide if it's a good song or not.
Speaker 1 (05:15):
You know? Yeah?
Speaker 5 (05:16):
No, I mean sure you know you were You know
you know this better than anyone. You were giving a gift, right,
so why hold back on that gift?
Speaker 3 (05:22):
Yeah? And I can't stop recording.
Speaker 4 (05:23):
It's just something about rapping and producing and DJing, like
you know, even like graffiti artists, like whatever those hip
hop elements are. It's hard to just say I quit.
I don't do it anymore. You know you have, we
haven't grown out of it.
Speaker 1 (05:36):
Do you record at home? Is there a studio at
home or do you have to leave the house.
Speaker 4 (05:40):
I have a studio everywhere I go. Everywhere I go,
there's a setup, and you know, whenever I hit power.
I just need to be able to work. I said,
too easy.
Speaker 1 (05:49):
Yo, Is it tough to record with a child the house?
Speaker 3 (05:55):
No, because I still have the same technique I've always had.
Speaker 4 (05:57):
I write songs in the early mon in the middle
of the night, like like well past like four or
five am, that that you know, when nobody's doing anything.
Because I have a lot of distractions in life from
the time I wake up until the time I go
to sleep. So I usually like to sneak these little
few hours in. I roll over in the middle of
the night and go, let me just get up and write,
and I write to the sun come up and make
me go back to sleep. But and in recording, I record,
(06:21):
like when I actually record record, I record like like
job hours, like like literally give yourself schedule, Like literally,
I never go in the studio anything other than between
twelve noon, twelve noon and eight pm.
Speaker 3 (06:34):
And I'm like, I get out of a PM.
Speaker 4 (06:36):
That still gives me opportunity to go somewhere, socialize, you know,
go home and watch the game or whatever it may be,
whatever it may be, go to dinner for life. And yeah,
and then twelve noon, I don't got to wake up early.
I'm not on any like like pressure. I'm like gonna
wake up Eastern breakfast, find my way to the studio,
work for about six seven eight hours, and the call
it rap. And I just I've been doing that for
(06:56):
years because I started off on the Graveyard shift. All
of our first sessions we used to be like ten
eleven pm to the sun came up and after doing
that grind and then you make it, You're like, I'm
not working graveyard anymore.
Speaker 3 (07:10):
I'm the manager now.
Speaker 5 (07:13):
You know what I was thinking about. Two is nothing
has been the same since the Ghetto, meaning what like yo,
once that like oh yeah, you mean to come up?
Yeah like that the ghetto once that stuck. Nothing was
the same with me.
Speaker 3 (07:27):
It was the one two punch of that album.
Speaker 4 (07:29):
That album was short Dogs in the House, and the
one before that was Life is Too Short and Life
is Too Short had the song life is Too Short,
and I went on easy brought me on the n
w A tour straight out of Compton tour, and you know,
I was on the I didn't make the movie, but
I was.
Speaker 3 (07:44):
I was there.
Speaker 5 (07:45):
I know the tour made the movie. Yeah, but exactly,
but that was you were on that tour as well.
Speaker 4 (07:50):
It was a lot of groups on that tour, but
you know, it was a great experience, man. It really
that really jumped my career to the next level thanks
to Easy E you know, l R I P.
Speaker 3 (08:00):
And then I followed that up with The Ghetto and
it just went woolf so.
Speaker 4 (08:04):
Out of here, two platinums back to back, and then
followed with a handful of more and it's life is
And you.
Speaker 5 (08:10):
Know, you know Oakland obviously, right, that's your heart, right,
you spent a lot of time in Atlanta as well.
Speaker 1 (08:14):
When he went to Atlanta, things changed.
Speaker 4 (08:17):
Born in La came up in Oakland, went to Atlanta,
shift gears on him, start working with Little John and
Jazzy Fay, and early on I did not sign Jazzy Fair.
I just put him to work. Early on, early on,
you signed Little John. Early on, I got him out
of a deal.
Speaker 3 (08:34):
I didn't sign it.
Speaker 4 (08:35):
I got him out of a deal and just ripped
it to shreds and like you're free to go do
what you do and just make sure when you while
you're doing it, keep sliding me beats.
Speaker 1 (08:44):
And that was right.
Speaker 3 (08:47):
That was that was our friendship right there.
Speaker 4 (08:48):
And Jazzy Faye was a young producer who used to
be around MC breed a lot and MC three rest
in piece Ya Flint, Michigan, you know over that way.
Uh bree was really a friend of mine and he
had a lot of rappers and producers and people that
were just like really good hanging at his house. And
(09:09):
Jazzy Fad was one of those people. And I just
I immediately recognized talent, and I just I used to
buy beats from Jazzy like early in his career and
just you know, as well as a lot of other
people who were you know, privileged enough to know him
at that time.
Speaker 3 (09:22):
Sure, and he could say I had a great body
of work, yo.
Speaker 5 (09:25):
So blow the Whistle was a completely different song. You
had to like go into the studio and Little John
wasn't there and strip the song.
Speaker 4 (09:33):
Yeah you heard that story adds his chapter to the
to the beat he throws in there that Little John
played him that beat before I got it, and we
were all mixing and mingling around. Then I turned Little
John on too. You know a lot of people. He
really was passionate about the Bay Area hiphi movement and
(09:53):
he wanted to participate. So he made like songs like
tell me when to go, you know what I'm saying.
And he was working with Forty around that time, so
Forty's story could stand. He heard the beat and it
was sort of like he said, I heard it and
really didn't you know, liked it, but didn't really know
to do with it. It sounds even at the time
we made it, it sounded very retro. It wasn't like
a very current beat. Little John was like this sound
(10:15):
like some old school too short, but.
Speaker 1 (10:17):
Was guitars and shit and saxophone.
Speaker 4 (10:19):
But yeah, we recorded it, and he was in that
time in his career where it was crunk rock and
he was adding a lot of rock to everything he did.
Even dropped the whole album of that, you know, and
it had rock guitars on it. It was real like
I did the vocals, and he started layering it up
and it was big. I really can never find that
(10:40):
fucking version in my hard drive, but.
Speaker 3 (10:44):
It exists, and if.
Speaker 4 (10:46):
Some engineer somewhere would bring it back out right now,
it might be able to live a new life. But
we had a little argument, little you know, documented argument disagreement.
Speaker 3 (10:55):
I rather, wu wasn't argument disagreement.
Speaker 4 (10:57):
I argue with some producers but not Little jihnt we disagree,
and he wanted the guit hard to stay. He was like, oh, man,
that's it, that's it, And I really just didn't.
Speaker 3 (11:09):
I heard the.
Speaker 4 (11:10):
Basic be how you know it now, and I'm like
in my mind, like, this is what it has to be.
Speaker 3 (11:16):
So when he wasn't around, I went back in the
studio and just deleted all the guitars.
Speaker 4 (11:21):
But I'm smart enough as a as a music guy
to let both versions get mixed and mastered. But I
just we definitely have to master the not guitar version
and then wow, it's my album.
Speaker 3 (11:33):
So I had the last like, use.
Speaker 1 (11:35):
Nagative right now, that's what we're doing. Bro. I love you,
but it's what we're doing.
Speaker 4 (11:39):
And then he thought he you know, Little John's very openinated.
He was like, man, I don't think man, you know,
used the other version. But then he, you know, as
a music guy himself, he came back later and was like,
I think you might have been right on that one
because we've been in the studio and people like that,
like and Banks, who I worked with a lot scar face,
you know, the jack he phased the Little John's these
(12:01):
are people people when you're in the studio working with them,
if they tell you an idea or an opinion, it's
probably right.
Speaker 3 (12:08):
Like and you know, I'm very like that myself.
Speaker 4 (12:11):
But if I'm in the studio with Eric Sermon, He's like, man,
we shouldn't let the guitar play right there, I'm probably
gonna my brain is gonna say, well, don't let the
guitar play there, because Eric Simon said it. Those types
of people, so usually they wouldn't the argument.
Speaker 1 (12:23):
Yeah, yeah, for sure.
Speaker 5 (12:24):
But Yo, Short, like the stories that I'm sure have
been untold or that are untold working with Biggie, Whole Pac, PIMPSI, everybody,
I mean, Short got a song with everybody, with.
Speaker 3 (12:38):
A lot of folks from my error.
Speaker 4 (12:39):
I mixed and mingled in the studio with him, And
you know, I was fortunate enough to be from that
error where we would all congregate doing shows and be
backstage and nobody would ever say to anybody, hey, yo, man,
I love your music, let's let's do one together. Like
it just wasn't like that, everybody. No, It's just wasn't.
(13:00):
It hadn't evolved into that yet. It's like, this is
my crew, this is my DJ my dancers, my producer.
Nobody wants to mix and mingle any of that.
Speaker 1 (13:10):
I could.
Speaker 4 (13:12):
Back in the early days, when I first got on
the scene, it wasn't even in your mind like hey man,
let me go put up to Eric Simon and say
let's do a song together, or let me get one
of your beats. It just it was like I got
my own in house. People were making it happen. So
later on, I announced my retirement in nineteen ninety six,
and that's kind of when it started. I said I retire,
(13:32):
and then my phone started ringing like, hey man, let
me get you on the song. Let me get you
on the song. And I just take prioring in a
lot of the the big features.
Speaker 3 (13:41):
That I have.
Speaker 4 (13:42):
It wasn't me backstage walking up to them saying, heyo,
let's do a song. It was always them calling me.
And you know, a lot of my collaborations with my homies,
it was you know, people wanted to get too short
on the song. So I understand the mo of most
of us. Now, when you see greatness across the room,
(14:04):
you're like, man, we should work, we should work.
Speaker 3 (14:06):
That wasn't a sentiment in the early days. That was
crazy for the retirement.
Speaker 5 (14:09):
You had a party, I mean going away party.
Speaker 3 (14:12):
I had a big media, media, media press compact.
Speaker 5 (14:18):
It's like, yo, now, was what was the reason for that?
I mean, that wasn't really a requirement.
Speaker 4 (14:25):
And when you look at it from the big picture,
it was in my career strategically the most the most
press I ever got for free, like literally just promoting
an album every outlet you could think of, even not
non hip hop.
Speaker 3 (14:40):
It went everywhere.
Speaker 4 (14:42):
And it was something too that no rapper had ever
said at that time. I retired like that was that
was like a rapper, you retired, retire. I was thirty
years old and I was like, you know, yeah, man,
I did it already. I got ten Golden Planet matters
love y'all. But I'm the album with Two years later,
I could not. I couldnot retire, and I've dabbled in
(15:08):
interviews saying stuff like, man, I think this might be
the last one. So now they dubbed me the rapper
with the most retirements, and I'm being honest right now,
I'm gonna drop three albums this year. They're already done,
and I might do what I'm early calling it the
farewell album last the last studio playing album.
Speaker 3 (15:31):
Not We're not gonna use the word retirement.
Speaker 4 (15:33):
I'm probably gonna release my last studio album next year.
I'll be sixty years old. I have a body of
work that I can that I can stand up on forever,
and I'm going to continue to do shows as well
as features and whatever.
Speaker 3 (15:47):
But I just kind of like, I feel like it's done. Wow.
Speaker 7 (15:51):
Is that a bitter sweet feeling for you?
Speaker 3 (15:54):
Is it? What?
Speaker 7 (15:54):
Is it like a bittersweet feeling for you?
Speaker 1 (15:57):
No?
Speaker 4 (15:57):
Because I'm comparing my body of work to other artists
from all genres, and we have a lot of artists
that we love and we go look at the complete
work and it's seven albums, ten albums, five albums, and
were like happy, Like I love this artist and what
they gave me for life. I'm already on like twenty
something right now. Everything you have, bro so when I finished,
(16:19):
I'll be like twenty five. You know, artists like karras
One have even more than twenty five right now. If
we counted every album forty drops, he might be up
to thirty forty with all those doubles and triples. And
there's a lot of artists that put in a lot
of work. I just at some point you got to decide,
you know, what is how you're gonna finish it. You
bake the cake, you put the icing on it. What
(16:40):
else you're gonna do? You put the camels on top,
you like them? What else can you do?
Speaker 1 (16:43):
No? On the album, you're like, yo, who's got more albums? Right?
Is it pop? All right? Yeah?
Speaker 4 (16:49):
I was popping my collar at the end of this album,
and I was just letting you, guys know.
Speaker 3 (16:54):
Check the statistics. Look up the stats.
Speaker 4 (16:57):
There's a category of artists who have multiple platinum albums,
and somebody has the most, somebody has the next most.
I'm in the group of artists rappers who have six
platinum albums. And I also have a bunch of gold
albums and a bunch of platinum features. But my solo stuff,
(17:17):
I have six platinum albums. There are not a lot
of rappers who have six or more. I'm just it's
just it's a good group to be in. A lot
of great A lot of great rappers we love have
five platinum albums.
Speaker 3 (17:28):
A lot of them have four or.
Speaker 4 (17:29):
Three dope projects. Rappers you probably even like better than me.
But I'm just telling you where I'm at in the
in the.
Speaker 1 (17:34):
Club, been talking that ship since the early eighties.
Speaker 4 (17:38):
Yeah, I'm just saying, you got you gotta pop your
collar every now and there. And another thing that that
I take pride in is I don't pop my collar
a lot like I do it. Yeah, I do it,
But then I let I'll let you find out for
yourself for sure.
Speaker 5 (17:52):
For shiggity hey, hey, so she said, when it's all done,
he's sixty.
Speaker 1 (17:57):
Right.
Speaker 5 (17:57):
So what if your approach and they say we want
to take care pop the space? Are you down to go?
Speaker 3 (18:02):
I probably won't go.
Speaker 4 (18:03):
I'll send some music, which is what are you gonna
send an unreleased one?
Speaker 3 (18:11):
Take this this to space out?
Speaker 1 (18:12):
I'm not going to space.
Speaker 4 (18:14):
Uh No, I'm not going to space, bro Like, yeah, no,
I just did it. We haven't even I'd rather go
to the in the ocean somewhere before I go to space.
Speaker 1 (18:23):
To go to the Mediterranean.
Speaker 4 (18:24):
When you want to go explore, yeah, we got we
got ninety five percent of water out here unexplored.
Speaker 5 (18:29):
Let's what is it about space that scares you? I
guess right, for lack of better term.
Speaker 4 (18:34):
I mean, mathematically, as we sit here, all of us
in our intellect.
Speaker 3 (18:38):
Is there really space?
Speaker 4 (18:39):
I don't know, you know what I'm saying, Like, which
one of you'all can show me the equation right now?
Speaker 1 (18:44):
None of us?
Speaker 4 (18:45):
Yeah, I'm like space. They told me about it. But
but whatever I've.
Speaker 3 (18:50):
Been looking up.
Speaker 4 (18:51):
Man, the moon ain't went away in like three months.
So I thought the moon used to come and go.
He's just sitting there now. I don't know what's going on, man, like.
Speaker 1 (19:02):
So no, you never know, you never really know. It
is kind of scary.
Speaker 3 (19:05):
I'll be here as it gets figured out, for sure.
Speaker 7 (19:09):
Tell me how true this is. I read on the
internet that you used to play the trumpet in high school.
Speaker 4 (19:15):
I used to play all instruments a little bit. But
I was a drummer in the marching band in high school.
And and I was also in elementary school band a
little bit, and my brother played the trumpet. I played
the drums, but I was a band kid who whenever
I got the opportunity, I was trying to learn every
(19:35):
instrument just just tinker, you know, just whatever. And yeah,
I could blow brass horns, the three valves brass horns.
Speaker 3 (19:44):
I could never figure out how to work the wood.
Speaker 4 (19:46):
Winds, which is flutes and saxophones, too many buttons, and
then the way you gotta the way you gotta make
the sound. I never could figure that out. But I
could actually, uh the trombone. I knew how to like
win because the trombone has really no place to tell
you where to stop, so it's a feel. I got
enough ear to know when they hit the right note spot.
I used to know all that stuff, and then I
(20:09):
got the high school. You're talking like you were a
band kid.
Speaker 7 (20:11):
Yeah, I was a kid. Yeah, I was a band
kid up until like sixth grade.
Speaker 4 (20:15):
Yeah, okay, that's the young band you got to get
to high schools.
Speaker 3 (20:22):
That's what happened to me.
Speaker 6 (20:23):
Yeah, like.
Speaker 7 (20:26):
I forgot what instrument. I think it was the tuba.
They had on the tuba and I didn't know how
to read the note, so I would look at the
kid next to me and just caught me what he
was doing.
Speaker 5 (20:36):
Some Mexican ship too, literally, somebody actually all day.
Speaker 6 (20:43):
So sure we were listening to the album this past weekend,
and I believe it was on track number two.
Speaker 3 (20:50):
But you said you used to DJ back in the day. Yeah,
I still got skills, that's right.
Speaker 4 (20:55):
I started off as a DJ who would rap at
my own parties, so I wouldn't be throwing the party.
I would be the DJ of the party, but I
would at midnight at a rap partner back then named
Freddy Be. At midnight, we would stop the music and
announced to everybody's about to have a mini concert too
(21:17):
shortened Freddy B. We wouldn't like overdo it and try
to take over the party. We'd probably rap for like
maybe fifteen twenty minutes and just give them. Because we're
talking like early eighties and hip hop was something that
was rare to see you hear a song here on
the radio at a party, but it was not something
that was everywhere you went and you're like, oh, there's
hip hop, like like literally like break dancing or rapping
(21:37):
or whatever you would it would capture somebody's attention. So
we would do that at the parties, and you know,
I was pretty good DJ. I took pride and always
in my hip hop life, I've always been able to
look at a room, no matter how many people are
in the room, and figure out how to make them
have a good time. And my song selection as a DJ,
(21:57):
the way I would blend. I was never into I know,
I know how to scratch and do all that stuff,
but I was always into, like keep the party going
and keep the antics to a minimum. So I never
wanted to as a rapper or a DJ. I never
wanted to show off. I just wanted to make sure
that the crowd was having, you know, So my raps
(22:19):
all of a sudden, a lot of a lot of
crown participation in a lot of you know, engagement, And.
Speaker 6 (22:22):
Were you Stol just going by too short or did
you have a DJ name?
Speaker 3 (22:25):
Well, my name is really Serve too short.
Speaker 4 (22:27):
That's why I brought it back on the albums, and
the too short just kind of the sirt just kind
of went away. It was, you know a lot of
a lot of gang bangers back in young gang banging
days was Sered sert At and.
Speaker 3 (22:39):
I kind of, you know, got that a little bit.
Speaker 4 (22:41):
The served part it was it was a movie My
name was really short nickname, and it was a name
that they used to kind of tease me with a
little bit because I was so short. They're like, your
name is short. And I saw this movie called Penitentiary
and the starting movie was the character was too sweet
and he got all the ladies and he beat everybody up,
and I was like, Okay, I'm too short and that's
(23:03):
why I got.
Speaker 3 (23:03):
That from right.
Speaker 4 (23:05):
I want to put the story on it and make
a little little original And I just had. I just
had to remind him who sir too short was. I
mentioned that in a lot of songs, Sir too short,
and then life is too short. I'm like, sir too short,
coming straight from Oakland.
Speaker 3 (23:16):
So I just had.
Speaker 4 (23:17):
I just got to keep reminding you. Like even when
I did upload it with some I'm like, what's my
favorite word?
Speaker 1 (23:21):
Bitch?
Speaker 4 (23:21):
That was a reminder because so many people have started
saying it, and I'm like, I don't think you guys
remember where it came from.
Speaker 1 (23:30):
That's right here, you know, Yeah, you mentioned Dave Chappelle
in the song.
Speaker 3 (23:33):
I just had. I'm taking ownership.
Speaker 1 (23:35):
That's right now.
Speaker 5 (23:35):
You got to and that's one that's a time where
you got to pop your collars, you know, talk that ship.
Speaker 1 (23:40):
Yo.
Speaker 5 (23:40):
We had Nelly in here and he was like, yo,
my dad's favorite rapper is too Short.
Speaker 1 (23:45):
And he finally met him.
Speaker 4 (23:46):
And I met him at Nelly's last birthday party and
and I'm glad I got to meet him, man, because
I knew this story from when Nelly was a young rapper,
and he's like, man, my daddy's favorite rapper, and he's
like and it's it's true because I met a sibling.
Speaker 3 (24:00):
They're like, they all they all said the same thing.
Speaker 4 (24:02):
So that's a good thing if your parents are too
short fans and some of that gets into your ears
at whatever age. Because I relate that to my experiences
with Richard Pryor's comedy. I was too young at certain
points in my life when Richard Pryor the Young albums,
(24:23):
we need to putting those albums out. And the family
used to just sit around and shut the world out
and they do their little drinking and smoke and listen
to Richard.
Speaker 3 (24:31):
Pryor albums like a rap album.
Speaker 4 (24:33):
So we're either the kids like ear husting from the
other room or you got that golden moment when you
get home from school before they get home from work,
and we just sit around listening to Richard Pryor albums,
And I'm like, a Richard Pryor album doesn't just curse,
it's really commentary that's kind of like, you know, intellectual.
(24:53):
And then I get a chance to be a rapper
and I'm like, I'm gonna be a little bit explicit
even in the time where a lot of rappers weren't
when I first came out. So I'm thinking, Richard Pryor, Ish,
I have to, you know, use the curse words the
right way. It just can't be like I'm doing this
just to be filthy.
Speaker 3 (25:12):
Right right right, you know.
Speaker 4 (25:13):
So it's the paint of picture, and I'm highly influenced
by Richard Pryor's approach to to having explicit comedy.
Speaker 1 (25:19):
Oh you talk about being inspired, I mean, it's happening
in here. This is Jordan who's on our team.
Speaker 5 (25:23):
That's her dad, okay, who introduced her to too Short
all right, exactly.
Speaker 4 (25:26):
So, but that's that's the thing that really has helped
my career a lot, is the hand me down fan
from the car seat in the back, the diaper you
feel me, the diaper fans.
Speaker 5 (25:39):
You ever noticed how many Latinos are in the audience
at your shows?
Speaker 4 (25:43):
I have been damn near anointed Mexican Ish. I have
been told some things by Mexicans that that just make
me want to, like, you know, come to Christmas with
them next year.
Speaker 3 (25:56):
Like they're like, bro, you're my family.
Speaker 6 (25:58):
Bro.
Speaker 4 (26:00):
So I have been told this for many, many years,
and I have been invited into many circles of like
I mean friendship with a lot of Mexican homies, like
for real, for real. So I'm going thirty plus years
of this friendship.
Speaker 1 (26:19):
You know.
Speaker 4 (26:19):
I've had rappers come to me and say, like la rappers,
and like, man, why do the Mexicans fuck with you
so tough? It's a little bit of a wall up
between some people, and it's hard. It's hard to break
that market. Like it's not just something that they go, oh,
how song I like you, I don't know what it is.
(26:39):
I know what got me in songs like the Ghetto,
because I have those songs that are like lowrider songs period.
My brother loved the Ghetto, bro, like I really made
lowrider songs in the eighties and it's like it's like
it just resonated.
Speaker 3 (26:55):
So you know I had I had.
Speaker 4 (26:57):
The Ghetto doesn't even have eight o eight drum on it.
The thing that's making the Ghetto have a lot of
bass is the bass guitar. He's just going boom boom boom, boom,
boom boom. He said, these frequencies that literally, if you
were a stereo guy who installed stereos, and you took
your creations to car shows to win contests. The Ghetto
(27:18):
was a song that would win it for you because
it would make you fucking trunk. They would do everything
the speakers need to do, even more than a song
that's going, like a song like a Boys in the
Hood or even like my song Freaky Tales that relies
on the eight oh eight. It would make the whole
car rattle. It would give you a true frequency of bass. Yeah,
so blow out of music, that's all I say.
Speaker 5 (27:37):
You also have guys asking you to call their women
a bit though, Yeah, that's a that's a reoccurring thing.
Speaker 1 (27:43):
Like ladies.
Speaker 4 (27:46):
Ladies who are like lawyers and doctors and they got
PhDs and master's degrees. They're like, you know, the little
maybe a little tipsy, hanging out somewhere, you know, and
they're like, oh my god, I just love that song.
Call me a bit, And I say, every now and then,
I would very rarely do it, but my go to
(28:07):
line is like, you know, that's my job, and I.
Speaker 3 (28:10):
Don't do my job for free. That's right, So you
stand stand before me and say, call me a bitch.
And I go no.
Speaker 1 (28:17):
So the question is how much for a bitch you feel? Me?
Speaker 4 (28:20):
Like, every time a guy asked me to call his
girl bitch, I always do it.
Speaker 3 (28:28):
I always do it because.
Speaker 1 (28:35):
Why do you always do it with the dude?
Speaker 4 (28:37):
Because I once had a really good relationship with a
woman who said she said, one time, a long time ago,
we mean she was with her man and they bumped
into me, and she said she was looking over at
how fascinated he was by me, and she said to herself,
if I ever get a chance, I'm the fuck that guy.
Speaker 1 (28:54):
Oh my god.
Speaker 3 (28:57):
And she did it many years that's right.
Speaker 4 (29:01):
So I'm like, I may be missing out on something
if I don't make that connection that's based on experiences.
Speaker 1 (29:12):
We got to make that connection.
Speaker 5 (29:16):
The Super Bowls in the Bay Area, and I think
all of us want to see you.
Speaker 1 (29:22):
Culture.
Speaker 3 (29:22):
No, we're not doing the halftime show.
Speaker 1 (29:25):
There's been zero.
Speaker 4 (29:26):
I don't think the halftime show should be just because
of what city you're in or what the city you're
from and what city is being played, and that would
be too predictable and then it would start kind of
being like like a like the little Wayne thing, I
really big letdown if they don't choose you, right, I
mean it can be I think organically in that situation,
(29:47):
even if they didn't want to hire Wayne or anybody
in New Orleans. I feel like had it not been
such a Drake Kendrick year, and you know the Drake
Wayne affiliation, I mean, what be amazing if somewhere during
Kendrick's performance he would have brought out somebody affiliated with
no limit or cash money, just somebody could have been Juvie,
(30:08):
it could have been way told of anybody.
Speaker 3 (30:10):
It's a lot of them, a lot of great artists
in New Orleans.
Speaker 4 (30:12):
But then the little feud probably like send him in
a different direction, Kendrick, you know. And you know, if
anybody was to do the halftime show next year and
brought out any anybody from the Bay that would be amazing.
But you got to know, as as Bay Area people
forget about the Super Bowl stage, we are going to
(30:32):
put on a really good uh welcome to the Bay. Yeah,
so it's gonna be dope. I'm rolling with Gazi and
Empire shout out to Ghazi. They're already planning to be
a force that week. So I'm on the Empire team
and I'm already letting them know that I'm a part
of it whatever it is. So we're gonna show up, man,
(30:54):
and it might be better than what we would do
on the super Bowl stage, is that right?
Speaker 3 (30:59):
Yeah, because we can do our thing.
Speaker 4 (31:01):
Oh yeah, you're not not gonna get a bite bite
sized version of the Bay Look and the All Star
NBA just showed us love man, that was yeah. Yes,
they put us all on TV on different segments and
all kinds of stuff. They did behind the scenes stuff.
They did little documentaries they showed and do you expect
the NFL to upstairs the NBA on that type of vibe.
(31:24):
NFL is a little more you know, closed knit corporate.
They haven't really hip hopped it out yet.
Speaker 1 (31:31):
I mean, you know, jay Z has to say.
Speaker 4 (31:33):
Which he has been making sure hip hop is the president.
And I also think man as a as a sports
fan and just a fan of it all entertainment.
Speaker 3 (31:42):
They can't just keep going wrap. They gotta get back.
Speaker 4 (31:44):
To to the super Bowl, to the pop stars and
the rock they gottap.
Speaker 3 (31:49):
You gotta mix it up.
Speaker 4 (31:50):
It's gonna get a little suspect after, like you see
the rock star or a pop star in years.
Speaker 1 (31:59):
Right, right, right, right right, bring back the rolling Stone,
so we'll see.
Speaker 4 (32:04):
Man, I would not be little way offended if it
goes anywhere else, because, you know, just for the reasons I.
Speaker 1 (32:10):
Said, what's the biggest mistake you can make in the
music business.
Speaker 4 (32:14):
The biggest mistake you can make in the music business
is only using one of those words music or business,
because if you're just stuck on one, you're not really
doing it right.
Speaker 3 (32:26):
So definitely stay on top of your business.
Speaker 4 (32:29):
If you're a music person, if you let your people
handle everything, you will find out one day your people
fucked up potentially you never know, or that you just
don't really know your own business.
Speaker 3 (32:42):
And I think that you should just have a hand
in on everything.
Speaker 4 (32:47):
And then if you're like one of those business people
who are just so business that you have not a
creative bone in your body and you're just doing it
like you don't respect the music or love the music
or have a passion for the music, then I think
that's a kind of a void too, like like an
executive who don't give a f you know, like I don't.
Speaker 3 (33:07):
I don't like those. They're in there, they're out there.
Speaker 4 (33:09):
I just don't like those, like at least like the
music at least like the artists at least.
Speaker 5 (33:13):
The very least at least yo for real yo for
the project. Right, Picking beats and the features, that's a
that's a.
Speaker 1 (33:21):
Whole nother process. There's are two different processes, I believe, right.
Speaker 5 (33:24):
I mean Larry June is on project and Larry June
is that guy, right, uh, you know, coming off of
the project with Two Chains, right, which is a crazy album.
Speaker 1 (33:33):
But picking beats, like, how does too short pick a beat?
Speaker 3 (33:36):
Everything is a right place, right time with me, Like
there's no magic beat or or thing that you know
that I'm reaching for.
Speaker 4 (33:44):
It's like, what's a vailable short beat? Is a short beat?
Like you and we do know this.
Speaker 3 (33:49):
We know this.
Speaker 4 (33:49):
So I'm like, what's available, what's around? What, what's within reach?
Because I'm not reaching too far out and I'm not
waiting or saying I gotta have this feature or you know,
pressing somebody to send back a verse and if it
doesn't come back, you know, I'm upset. None of that stuff.
I'm just like, let's throw it out there. There's a net,
(34:12):
and we don't catch a bunch of beats, a bunch
of people that's gonna help me make it, because I
don't make these by myself.
Speaker 3 (34:18):
There's musicians that come in, uh engineer, the.
Speaker 4 (34:23):
Different producers I work with, and we call people in
and maybe like sing on the track, and each song
is like a kid.
Speaker 3 (34:29):
You gotta raise them. You give birth to them, and
you raise them.
Speaker 4 (34:32):
And a lot of songs that we know and love
while we're making them, they don't gonna make the cut.
Speaker 3 (34:37):
But we still know and love them. But you know, right,
some of the kids do give some of them.
Speaker 1 (34:44):
That's the way it is.
Speaker 3 (34:46):
But first choice is the funk.
Speaker 1 (34:49):
Now.
Speaker 4 (34:49):
I always mentioned things about my guy, you forty, because
we talk about this a lot. He forty champions himself
as a beat picker, and not only a beat picker,
but he sits in the in the room with us
and goes, I'm the best beat picker in this room.
Like like, even if I don't agree with you, I'm
not gonna argue with you, hey, mister champion beat picker.
(35:10):
But you know, we all feel that way, Like talk
to Scarface, talk to Snoop Dogg, talk to Doctor Dre, anybody,
talk to them. If we all feel like we know
how to pick those beats and mine are think about
every song you ever heard in your life, and then
think about two short songs.
Speaker 3 (35:24):
Mine are funky. It's always funky if you if you.
Speaker 4 (35:29):
Are old, like a song searching, you know you want
to go back retro. You don't know how my songs
random hit it like the lotto. Just pick any random
two short song. As soon as you hear played, something
really funky's gonna happen because I don't really rap on
solo songs that aren't funky.
Speaker 1 (35:46):
Yeah, it's gotta have that funk. It's gotta have that
fucking that.
Speaker 3 (35:50):
Yeah. And that's that's just my cheak code.
Speaker 1 (35:53):
Yeah, Yo. So want to make sure gets his questions, man.
Speaker 6 (35:57):
I mean there's been a lot of talk about like
who's on the Mount Rushmore of like the Bay Area Rappers, right,
But I kind of want to flip it and like,
you know, because we were having this combo about like
you know, Lebron's been carrying the torch, Steph's been carrying
the torch and we're not entirely sure who's carrying it
next in the NBA.
Speaker 3 (36:14):
Yeah, from your.
Speaker 6 (36:14):
Perspective, I guess who's like carrying the torch of like
that Mount Rushmore for the Bay Area for like this
newer generation.
Speaker 4 (36:22):
We're talking basketball, We're talking man, we're talking rap. Because
you think I'm like, well, we're going to Steph Lebron.
Let me rub my hands again. I love that talk, right,
But just so we don't pass that too fast, Stephan Lebron,
uh four chips each equalist can be legacy. Nobody's beating
(36:45):
anybody out legacy wise, Lebron has more accolades, but Steph
Curry changed the game literally, So I don't really see
them surpassing each other because I don't think either one
of them is going to get another chip. And if
I'm wrong, I hope it's Steph.
Speaker 3 (36:59):
They can sit.
Speaker 4 (37:04):
But the Mount Rushmore of the Bay is always a
it's four people, and it's always because of the influence.
It's always short, forty and dre. It's always because of
the influence as well as the careers and the songs.
(37:24):
And then the fourth person, it could be a lot
of people. It's a lot of people that earned that
spot to say I upheld the Bay, I influenced, I achieved,
and I'm dope enough to be that person.
Speaker 3 (37:38):
And that list is long.
Speaker 4 (37:41):
I mean, well it ain't long, but it's extensive in
terms of who earned it and who deserves it. And
if you told me to pick one, I'm like, it's
not tough, right, Yes, that's that's what it is. It's like,
if you're from the Bay and because of whatever your
reasons are, you go those three, Dre Short and forty
(38:02):
are not one of them or two of them, or
none of them are on my list because of this reason,
I'm like, you're not including just the founding fathers and
their influence and their influence. The first rappers are not
always the best rappers. But in our case, our first rappers,
which early on was dra wasn't early early early on,
(38:24):
but he was there and we we came out like
even like the early days be legit Richie rich like
it's rappers, no rapping, four te who are the pillars
the foundation? And you just got you got to say
who's my guy?
Speaker 3 (38:40):
Guy?
Speaker 4 (38:40):
Spice one is came out of the young young agent
was there from you know, he got some really good songs.
Speaker 3 (38:45):
It's a lot of people that you could say.
Speaker 4 (38:47):
Who's my guy? But if you don't pick Dre Short
or forty, then you gotta have some really good reasons
for me as to why you didn't.
Speaker 5 (38:56):
And I know, like Park was considered Bay Area too,
He's considered New York, He's considered.
Speaker 4 (39:00):
LA but even just his time, just even like his
one fourth of Tupac Bay could fit right there on
that slide.
Speaker 3 (39:07):
You know, we'll take it.
Speaker 4 (39:09):
It's I respect a lot of our our artists because
of the hustle, because of the self maintaining careers period.
I mean, Geeasy's from the Bay, from Oakland, you know whatever.
Speaker 1 (39:23):
What about Mount west Moore? Is there another album?
Speaker 4 (39:26):
Mount wes Moore recorded so many songs during the COVID shutdown.
I think we released a project with what fifteen sixteen
fourteen sounds, I can't remember. We recorded about like forty
five songs. So so there's been another album. So it's
I don't want to use the word politics, but it's
a lot of bosses in Mount Westmore and you know,
(39:49):
you got to talk to a lot of people to
get to get the project through because of scheduling and
finances and you know, you know, guys has to make
sense always to those guys. We're talking on ice Cube
Snoop Dogg E forty. You don't just go hey man,
put up out they're like bruh. Like the Mount Westmore
album was clocking like major money before it ever came out.
(40:12):
Because Snoop Dogg is corporate. Snoop Dogg, you know, ice
Cube is a filmmaker. It was you know it was.
It was in really good hands. So I ride around
right now listening to a file on my hard drive
that's called Mount Westmore unreleased album.
Speaker 3 (40:31):
That shit is jamming for you guys.
Speaker 4 (40:35):
To hear it, you have to ride in my car
one day or be at my studio when there's something.
But it's it's not slated for a release date, but
it's definitely. The group has a group text that goes forever,
and it's always about Mount wes Moore, or it's about sports,
or it's about patting each other on the back for
something that's going on present day or whatever. And it
might just be a joke, it might be whatever, somebody
(40:56):
just trying to turn everybody onto some current event. It
keeps going on, but every once in a while it's like, Hey.
Speaker 3 (41:02):
We're gonna do it.
Speaker 4 (41:03):
We're gonna do the rest of these songs. So I'm
a motivator in that that aspect. I'm always reminding, like
on a random day, a text will come from me,
like you guys do know we have like thirty unreleased songs,
and then I just go dark.
Speaker 1 (41:21):
Guys, we did the work.
Speaker 4 (41:27):
Because I guess it's big time, because you know, because
DJ Pool is also a part of the whole process,
and he's a diehard Chiefs fan, So at all times
it's it's Raiders, Niners, Stealers and Chiefs and you know,
poo gets the last laugh, you know. But we all
(41:49):
know that the Kansas City Kingdom whatever they call it, crap, yeah, whatever,
whatever they call that mess is uh based on a
lot of referee uh uh assistance a lot anybody in
dowgo look up the YouTube clips and uh, I don't
(42:11):
know how sure it is about the three refs that
just got in trouble for favoring k C. But I was.
I've been watching it in real time, like, oh my,
I can make you on a break of TV.
Speaker 1 (42:20):
That's right.
Speaker 3 (42:21):
And Patrick Mahomes is the best quarterback. You don't even
need the help.
Speaker 1 (42:25):
Right on his own.
Speaker 3 (42:29):
Depends on who Taylor Swift is dating. I don't know.
Speaker 4 (42:39):
I mean, it's all in the marketing, bro, Like you
gotta figure every time every time, even if even if
it wasn't Kelsey catching the touchdown. Every time Casey scored,
they panned to her. When they won the AFC Championship
last year and the confetti's.
Speaker 3 (42:53):
Falling, they go to her, what are you doing on
the field? How to get down there that fast?
Speaker 1 (43:00):
They knew what they were doing.
Speaker 3 (43:01):
Man's definitely on the payroll if we find out that.
Speaker 1 (43:06):
But she also made them a lot of money too,
Rightford just showing up?
Speaker 4 (43:08):
If we find out eighty seven never banged her, I
wouldn't even flinch.
Speaker 3 (43:11):
I'd be like I knew he wasn't hit.
Speaker 1 (43:13):
That Are you going to Vegas for the A's.
Speaker 4 (43:19):
For the A's. I have a residence in Vegas, and
I've never been upset with the Raiders. I understand the
politics and the business of it. I feel like the
city of Oakland fumble three times with the Warriors, the
Raiders and the A's. I think that they should have
kept three of three, two of three, at least one
of three, at least one. All they wanted was a
(43:41):
nice house. They just wanted, you know, like the Sacramento
Kings flirted with leaving Sacramento and then Kevin Johnson the
ex player became the mayor, but was the mayor and
fought for the team to stay, and they stayed, Like
you gotta fight for your teams. I think that Seattle
should have an NBA franchise because they lost their team
in the way they They should have got the Clippers
(44:01):
or something.
Speaker 3 (44:01):
Man, the Clipper should have went to Seattle.
Speaker 1 (44:03):
We would have been all right with that.
Speaker 3 (44:05):
I like the Clippers, man. I keep waiting for a
Clipper Laker series.
Speaker 1 (44:10):
That's never gonna happen.
Speaker 3 (44:12):
If it did, it's gonna be like fights in the stand.
Speaker 5 (44:14):
Yeah, yeah, yeah, yeah, fucking ice Cube is gonna be upset.
You know he hates the Clippers.
Speaker 1 (44:19):
Bro, Yeah, they don't even exist, he says, who if
you mentioned him? It's crazy, It's wild.
Speaker 3 (44:27):
It's gonna happen one day.
Speaker 1 (44:28):
You think so, You think so?
Speaker 5 (44:30):
Yeah, Battle of l A'd be cold.
Speaker 4 (44:35):
It almost happened once. It was like a game away
from happening. And the Clippers were better that year too.
And I don't know who, I don't know who won,
who lost, but that matchup we barely missed it.
Speaker 1 (44:45):
That would have been crazy. It's been interesting, so too short.
Speaker 5 (44:48):
Volume More on Freaky tales out everywhere, keep streaming it
in quality, man, And you know it's like you kept it.
Speaker 1 (44:55):
You kept it so short, right, you kept it too short.
It wasn't like it wasn't like.
Speaker 5 (45:00):
You're you know you were we were trying new things,
or it wasn't something that I think.
Speaker 4 (45:04):
It's not like about a good thirty minute experience of
it weaves through some subjects and it stays funky, and
it's it's really short, dog. But the two punch, that's
the one punch. The two punches a Volume two and
it's a real two piece. It's produced by Little John
and it's just it's me and him recapturing our vibes
(45:27):
the way we do in the studio, and it's it's
very much complementary of the first one. It's gonna, you know,
it's gonna take it up a notch. So if you
like that, hold on to your horses.
Speaker 1 (45:41):
And then did John get you into meditation?
Speaker 3 (45:44):
Not yet. I still smoke weed. I'm very I'm very
I'm very there, man, I'm very there.
Speaker 4 (45:51):
But I could use a little of that next layer
of of higher vibrations. And then Volume three is is
my grown man album that people would have wanted me
to just put out where you know, you're talking all
grown and all responsible and shit, you know, and it's
(46:13):
just good.
Speaker 3 (46:13):
It's coming.
Speaker 1 (46:13):
Yeah, yeah, yeah, yeah. That'll be the last one.
Speaker 4 (46:16):
That'll be the last one before the farewell album. Wow,
the unretirement, the non retirement farewell Well.
Speaker 1 (46:22):
We're gonna continue celebrating the journey, my guy.
Speaker 3 (46:24):
It's all good music.
Speaker 4 (46:25):
Man.
Speaker 3 (46:25):
We're doing it for hip hop.
Speaker 4 (46:26):
We're doing it for the statement that hip hop does
not have an expiration date. The rappers don't have expiration dates,
the producers don't, the DJ's don't we all out here
getting money ogs. You know, even though OG's that don't
like the youngsters, we still want to see them get
their money. Man. You know I I do like the youngsters.
But I'm like, let's all get it. You ain't got
to get old and get out the way. You ain't
(46:48):
gotta be young and dumb and you're not worthy. Let's
all get money. Man. It's a billion dollar industry, multi
billion whatever it may be, fashion of movies, all kind
of stuff. You can if you get popular, to sell anything,
any product. So keep getting popular and keep getting your
money on.
Speaker 3 (47:05):
I like, what's saving it's y g get what up?
Speaker 4 (47:07):
Man?
Speaker 3 (47:07):
It should play a part in the two short.
Speaker 4 (47:09):
What's Good is Roddy Rich And you're checking out the
cruise show.
Speaker 3 (47:11):
It's not just a show, it's a whole show. Real
Baby on ninety two three three three
Oh my god, is that nicolas nigga? Don't act like.
Speaker 2 (00:05):
That's why I don't call the what's my favorite word?
Speaker 3 (00:10):
Why they gotta say it like short?
Speaker 2 (00:12):
They can play on my court, making.
Speaker 3 (00:26):
You quick as hell.
Speaker 4 (00:27):
You need to toilet paper. Don't ship on yourself. You
see me bolling in lux break. I won't fuck, so don't.
Speaker 1 (00:36):
She wants me to. And then if you let her go, I.
Speaker 3 (00:43):
Can give you some games.
Speaker 1 (00:45):
And why you use it?
Speaker 4 (00:47):
That's all you need is a fiction and some funky music.
Speaker 1 (00:52):
And when you like.
Speaker 3 (00:53):
It's too short, the guy's kind of fucking.
Speaker 4 (00:55):
I make the beach for me and at your pot
and split this game. Then you here for a minute
complain about you can't spend it because you ain't got it.
You got boy that jakes, but not enough to get started.
I met this girl. Her neighbors jumped.
Speaker 3 (01:11):
She loved the way I walked through.
Speaker 2 (01:12):
The mic I jump talk.
Speaker 4 (01:16):
She was just off on my thought.
Speaker 3 (01:19):
I thought you knew I'm still rapping.
Speaker 4 (01:21):
I thought you knew I'm still mag a cruise show.
Speaker 3 (01:26):
Unreal ninety two three is.
Speaker 1 (01:28):
On a cruise show. Let's get it too chezy? What
up with it? Man?
Speaker 3 (01:32):
Well, damn I never been impressed by a too short
mixed like that.
Speaker 1 (01:34):
Wow, yes.
Speaker 5 (01:37):
By Nico Blitz right there. He's so excited. Your hearing
dog is crazy. We all are, but he's from the
bad You fail me.
Speaker 4 (01:43):
So that was just you know, I'm in the mindset
of production and DJ and and MC and and you know,
and that was a lot of mathematics for a really
short clip. Yeah, yes, sir, A lot of thoughts of that,
a lot of effort, a lot of work into that. Sure,
listen to it for a minute or two and you
think it's just like, no, that.
Speaker 6 (02:00):
Was no right, But you know what, I'm not gonna
lie though I've done artisan introals for the show a lot,
but that one, I gotta say it was the easiest
because I've just been a fan of you forever, bro, But.
Speaker 3 (02:10):
I thought you were gonna lie and go you know
what I made that shouldn't one taken? Like, I'm not
gonna lie, but I just did one take.
Speaker 1 (02:22):
You know, Jackie's his fiance, They live together, they work together.
Speaker 4 (02:25):
Right, That's why you were looking at me like that. Yeah,
She's like you like the next one, no words for her?
Speaker 7 (02:33):
Man, You I'm gonna have to deal with that.
Speaker 1 (02:37):
No, that's right, right.
Speaker 5 (02:38):
So the process of making this since drawing, I mean,
can you talk about it, Jack, be honest, I'm.
Speaker 7 (02:42):
Telling you he was talking to himself like he was
trying to I thought he was trying to ask me
for advice. I was like, oh, yeah, He's like no,
I'm just talking to myself. I got it. I was like, okay,
my bad.
Speaker 4 (02:50):
Like it's a lot of mathing today. You gotta add
it up tempos and you know, breaks and where you
can do it.
Speaker 5 (02:57):
Man, two shortest here, one of us on the show
has your phone number?
Speaker 1 (03:01):
Can you guess who it is? You know? I wish
I did. I do not have it. Could it be Jackie?
Could have been Nico?
Speaker 5 (03:08):
Could it be Jeff Garcia sports dude? Could it be
Jordan myself? Cruise one of us has your phone number?
Who do you think it is?
Speaker 3 (03:13):
The Cruise Show?
Speaker 4 (03:15):
Yeah, you guys are like looking like, look at short
who has your phone number?
Speaker 1 (03:21):
I'm the Cruise Show.
Speaker 3 (03:22):
It would be The Why and the Wind?
Speaker 4 (03:26):
And take a guess that guy.
Speaker 3 (03:36):
Why or how he has like the Wind.
Speaker 1 (03:38):
I'm like, yeah, by the way, I have no idea
how I have it.
Speaker 4 (03:43):
I got it for me.
Speaker 6 (03:43):
There's a number.
Speaker 1 (03:44):
You know, Garcia is a legend out of here?
Speaker 6 (03:46):
Dog?
Speaker 1 (03:47):
Is that is that the is that a running number?
That's my number?
Speaker 3 (03:52):
That's right, that's my number.
Speaker 1 (03:53):
That's right.
Speaker 5 (03:53):
Oh yeah, show it to the camera, to the people. Dog,
let's go. Man, too short, hotline? You feel me? Yes, sir, Yeah,
Garcia you know you've been around man. You know Garcia
is a radio vet man, you know what I mean.
Speaker 4 (04:05):
So I'm sure looking, I felt like this guy's kind
of another shorty in the corner to like, I've never
seen this guy before. So God, too short, Volume one,
freaky tales.
Speaker 5 (04:22):
Yeah, let's get it, man, congratulations on the produc zero
in on the volume one.
Speaker 1 (04:26):
Volume one. I know, I know there's more on the way.
We're short.
Speaker 5 (04:29):
I mean, listen, you've never you've never just dropped an album.
It's always been an event, right, and it's album after album,
it's quality after quality.
Speaker 4 (04:37):
So this this one is sort of making up for
lost time. You know, I haven't been as motivated to
like rush out studio album after studio album just because
of the.
Speaker 1 (04:48):
Mean, you were in that mode for a long yeah.
Speaker 3 (04:50):
Yeah, just every year, every year now stopped like clockwork.
But you know.
Speaker 4 (04:54):
I have been working though, even though it might not
have been an album every year since COVID or something,
I've been working. And I feel like when I hear
people say stuff like, you know, empty the vault or
just give the spoons. If you're not gonna put them out,
just give them away, Like I feel that same way.
Why make a bunch of songs and leave them on
your computer in the studio somewhere and not share it
with the fans.
Speaker 3 (05:14):
Let them decide if it's a good song or not.
Speaker 1 (05:15):
You know? Yeah?
Speaker 5 (05:16):
No, I mean sure you know you were You know
you know this better than anyone. You were giving a gift, right,
so why hold back on that gift?
Speaker 3 (05:22):
Yeah? And I can't stop recording.
Speaker 4 (05:23):
It's just something about rapping and producing and DJing, like
you know, even like graffiti artists, like whatever those hip
hop elements are. It's hard to just say I quit.
I don't do it anymore. You know you have, we
haven't grown out of it.
Speaker 1 (05:36):
Do you record at home? Is there a studio at
home or do you have to leave the house.
Speaker 4 (05:40):
I have a studio everywhere I go. Everywhere I go,
there's a setup, and you know, whenever I hit power.
I just need to be able to work. I said,
too easy.
Speaker 1 (05:49):
Yo, Is it tough to record with a child the house?
Speaker 3 (05:55):
No, because I still have the same technique I've always had.
Speaker 4 (05:57):
I write songs in the early mon in the middle
of the night, like like well past like four or
five am, that that you know, when nobody's doing anything.
Because I have a lot of distractions in life from
the time I wake up until the time I go
to sleep. So I usually like to sneak these little
few hours in. I roll over in the middle of
the night and go, let me just get up and write,
and I write to the sun come up and make
me go back to sleep. But and in recording, I record,
(06:21):
like when I actually record record, I record like like
job hours, like like literally give yourself schedule, Like literally,
I never go in the studio anything other than between
twelve noon, twelve noon and eight pm.
Speaker 3 (06:34):
And I'm like, I get out of a PM.
Speaker 4 (06:36):
That still gives me opportunity to go somewhere, socialize, you know,
go home and watch the game or whatever it may be,
whatever it may be, go to dinner for life. And yeah,
and then twelve noon, I don't got to wake up early.
I'm not on any like like pressure. I'm like gonna
wake up Eastern breakfast, find my way to the studio,
work for about six seven eight hours, and the call
it rap. And I just I've been doing that for
(06:56):
years because I started off on the Graveyard shift. All
of our first sessions we used to be like ten
eleven pm to the sun came up and after doing
that grind and then you make it, You're like, I'm
not working graveyard anymore.
Speaker 3 (07:10):
I'm the manager now.
Speaker 5 (07:13):
You know what I was thinking about. Two is nothing
has been the same since the Ghetto, meaning what like yo,
once that like oh yeah, you mean to come up?
Yeah like that the ghetto once that stuck. Nothing was
the same with me.
Speaker 3 (07:27):
It was the one two punch of that album.
Speaker 4 (07:29):
That album was short Dogs in the House, and the
one before that was Life is Too Short and Life
is Too Short had the song life is Too Short,
and I went on easy brought me on the n
w A tour straight out of Compton tour, and you know,
I was on the I didn't make the movie, but
I was.
Speaker 3 (07:44):
I was there.
Speaker 5 (07:45):
I know the tour made the movie. Yeah, but exactly,
but that was you were on that tour as well.
Speaker 4 (07:50):
It was a lot of groups on that tour, but
you know, it was a great experience, man. It really
that really jumped my career to the next level thanks
to Easy E you know, l R I P.
Speaker 3 (08:00):
And then I followed that up with The Ghetto and
it just went woolf so.
Speaker 4 (08:04):
Out of here, two platinums back to back, and then
followed with a handful of more and it's life is
And you.
Speaker 5 (08:10):
Know, you know Oakland obviously, right, that's your heart, right,
you spent a lot of time in Atlanta as well.
Speaker 1 (08:14):
When he went to Atlanta, things changed.
Speaker 4 (08:17):
Born in La came up in Oakland, went to Atlanta,
shift gears on him, start working with Little John and
Jazzy Fay, and early on I did not sign Jazzy Fair.
I just put him to work. Early on, early on,
you signed Little John. Early on, I got him out
of a deal.
Speaker 3 (08:34):
I didn't sign it.
Speaker 4 (08:35):
I got him out of a deal and just ripped
it to shreds and like you're free to go do
what you do and just make sure when you while
you're doing it, keep sliding me beats.
Speaker 1 (08:44):
And that was right.
Speaker 3 (08:47):
That was that was our friendship right there.
Speaker 4 (08:48):
And Jazzy Faye was a young producer who used to
be around MC breed a lot and MC three rest
in piece Ya Flint, Michigan, you know over that way.
Uh bree was really a friend of mine and he
had a lot of rappers and producers and people that
were just like really good hanging at his house. And
(09:09):
Jazzy Fad was one of those people. And I just
I immediately recognized talent, and I just I used to
buy beats from Jazzy like early in his career and
just you know, as well as a lot of other
people who were you know, privileged enough to know him
at that time.
Speaker 3 (09:22):
Sure, and he could say I had a great body
of work, yo.
Speaker 5 (09:25):
So blow the Whistle was a completely different song. You
had to like go into the studio and Little John
wasn't there and strip the song.
Speaker 4 (09:33):
Yeah you heard that story adds his chapter to the
to the beat he throws in there that Little John
played him that beat before I got it, and we
were all mixing and mingling around. Then I turned Little
John on too. You know a lot of people. He
really was passionate about the Bay Area hiphi movement and
(09:53):
he wanted to participate. So he made like songs like
tell me when to go, you know what I'm saying.
And he was working with Forty around that time, so
Forty's story could stand. He heard the beat and it
was sort of like he said, I heard it and
really didn't you know, liked it, but didn't really know
to do with it. It sounds even at the time
we made it, it sounded very retro. It wasn't like
a very current beat. Little John was like this sound
(10:15):
like some old school too short, but.
Speaker 1 (10:17):
Was guitars and shit and saxophone.
Speaker 4 (10:19):
But yeah, we recorded it, and he was in that
time in his career where it was crunk rock and
he was adding a lot of rock to everything he did.
Even dropped the whole album of that, you know, and
it had rock guitars on it. It was real like
I did the vocals, and he started layering it up
and it was big. I really can never find that
(10:40):
fucking version in my hard drive, but.
Speaker 3 (10:44):
It exists, and if.
Speaker 4 (10:46):
Some engineer somewhere would bring it back out right now,
it might be able to live a new life. But
we had a little argument, little you know, documented argument disagreement.
Speaker 3 (10:55):
I rather, wu wasn't argument disagreement.
Speaker 4 (10:57):
I argue with some producers but not Little jihnt we disagree,
and he wanted the guit hard to stay. He was like, oh, man,
that's it, that's it, And I really just didn't.
Speaker 3 (11:09):
I heard the.
Speaker 4 (11:10):
Basic be how you know it now, and I'm like
in my mind, like, this is what it has to be.
Speaker 3 (11:16):
So when he wasn't around, I went back in the
studio and just deleted all the guitars.
Speaker 4 (11:21):
But I'm smart enough as a as a music guy
to let both versions get mixed and mastered. But I
just we definitely have to master the not guitar version
and then wow, it's my album.
Speaker 3 (11:33):
So I had the last like, use.
Speaker 1 (11:35):
Nagative right now, that's what we're doing. Bro. I love you,
but it's what we're doing.
Speaker 4 (11:39):
And then he thought he you know, Little John's very openinated.
He was like, man, I don't think man, you know,
used the other version. But then he, you know, as
a music guy himself, he came back later and was like,
I think you might have been right on that one
because we've been in the studio and people like that,
like and Banks, who I worked with a lot scar face,
you know, the jack he phased the Little John's these
(12:01):
are people people when you're in the studio working with them,
if they tell you an idea or an opinion, it's
probably right.
Speaker 3 (12:08):
Like and you know, I'm very like that myself.
Speaker 4 (12:11):
But if I'm in the studio with Eric Sermon, He's like, man,
we shouldn't let the guitar play right there, I'm probably
gonna my brain is gonna say, well, don't let the
guitar play there, because Eric Simon said it. Those types
of people, so usually they wouldn't the argument.
Speaker 1 (12:23):
Yeah, yeah, for sure.
Speaker 5 (12:24):
But Yo, Short, like the stories that I'm sure have
been untold or that are untold working with Biggie, Whole Pac, PIMPSI, everybody,
I mean, Short got a song with everybody, with.
Speaker 3 (12:38):
A lot of folks from my error.
Speaker 4 (12:39):
I mixed and mingled in the studio with him, And
you know, I was fortunate enough to be from that
error where we would all congregate doing shows and be
backstage and nobody would ever say to anybody, hey, yo, man,
I love your music, let's let's do one together. Like
it just wasn't like that, everybody. No, It's just wasn't.
(13:00):
It hadn't evolved into that yet. It's like, this is
my crew, this is my DJ my dancers, my producer.
Nobody wants to mix and mingle any of that.
Speaker 1 (13:10):
I could.
Speaker 4 (13:12):
Back in the early days, when I first got on
the scene, it wasn't even in your mind like hey man,
let me go put up to Eric Simon and say
let's do a song together, or let me get one
of your beats. It just it was like I got
my own in house. People were making it happen. So
later on, I announced my retirement in nineteen ninety six,
and that's kind of when it started. I said I retire,
(13:32):
and then my phone started ringing like, hey man, let
me get you on the song. Let me get you
on the song. And I just take prioring in a
lot of the the big features.
Speaker 3 (13:41):
That I have.
Speaker 4 (13:42):
It wasn't me backstage walking up to them saying, heyo,
let's do a song. It was always them calling me.
And you know, a lot of my collaborations with my homies,
it was you know, people wanted to get too short
on the song. So I understand the mo of most
of us. Now, when you see greatness across the room,
(14:04):
you're like, man, we should work, we should work.
Speaker 3 (14:06):
That wasn't a sentiment in the early days. That was
crazy for the retirement.
Speaker 5 (14:09):
You had a party, I mean going away party.
Speaker 3 (14:12):
I had a big media, media, media press compact.
Speaker 5 (14:18):
It's like, yo, now, was what was the reason for that?
I mean, that wasn't really a requirement.
Speaker 4 (14:25):
And when you look at it from the big picture,
it was in my career strategically the most the most
press I ever got for free, like literally just promoting
an album every outlet you could think of, even not
non hip hop.
Speaker 3 (14:40):
It went everywhere.
Speaker 4 (14:42):
And it was something too that no rapper had ever
said at that time. I retired like that was that
was like a rapper, you retired, retire. I was thirty
years old and I was like, you know, yeah, man,
I did it already. I got ten Golden Planet matters
love y'all. But I'm the album with Two years later,
I could not. I couldnot retire, and I've dabbled in
(15:08):
interviews saying stuff like, man, I think this might be
the last one. So now they dubbed me the rapper
with the most retirements, and I'm being honest right now,
I'm gonna drop three albums this year. They're already done,
and I might do what I'm early calling it the
farewell album last the last studio playing album.
Speaker 3 (15:31):
Not We're not gonna use the word retirement.
Speaker 4 (15:33):
I'm probably gonna release my last studio album next year.
I'll be sixty years old. I have a body of
work that I can that I can stand up on forever,
and I'm going to continue to do shows as well
as features and whatever.
Speaker 3 (15:47):
But I just kind of like, I feel like it's done. Wow.
Speaker 7 (15:51):
Is that a bitter sweet feeling for you?
Speaker 3 (15:54):
Is it? What?
Speaker 7 (15:54):
Is it like a bittersweet feeling for you?
Speaker 1 (15:57):
No?
Speaker 4 (15:57):
Because I'm comparing my body of work to other artists
from all genres, and we have a lot of artists
that we love and we go look at the complete
work and it's seven albums, ten albums, five albums, and
were like happy, Like I love this artist and what
they gave me for life. I'm already on like twenty
something right now. Everything you have, bro so when I finished,
(16:19):
I'll be like twenty five. You know, artists like karras
One have even more than twenty five right now. If
we counted every album forty drops, he might be up
to thirty forty with all those doubles and triples. And
there's a lot of artists that put in a lot
of work. I just at some point you got to decide,
you know, what is how you're gonna finish it. You
bake the cake, you put the icing on it. What
(16:40):
else you're gonna do? You put the camels on top,
you like them? What else can you do?
Speaker 1 (16:43):
No? On the album, you're like, yo, who's got more albums? Right?
Is it pop? All right? Yeah?
Speaker 4 (16:49):
I was popping my collar at the end of this album,
and I was just letting you, guys know.
Speaker 3 (16:54):
Check the statistics. Look up the stats.
Speaker 4 (16:57):
There's a category of artists who have multiple platinum albums,
and somebody has the most, somebody has the next most.
I'm in the group of artists rappers who have six
platinum albums. And I also have a bunch of gold
albums and a bunch of platinum features. But my solo stuff,
(17:17):
I have six platinum albums. There are not a lot
of rappers who have six or more. I'm just it's
just it's a good group to be in. A lot
of great A lot of great rappers we love have
five platinum albums.
Speaker 3 (17:28):
A lot of them have four or.
Speaker 4 (17:29):
Three dope projects. Rappers you probably even like better than me.
But I'm just telling you where I'm at in the
in the.
Speaker 1 (17:34):
Club, been talking that ship since the early eighties.
Speaker 4 (17:38):
Yeah, I'm just saying, you got you gotta pop your
collar every now and there. And another thing that that
I take pride in is I don't pop my collar
a lot like I do it. Yeah, I do it,
But then I let I'll let you find out for
yourself for sure.
Speaker 5 (17:52):
For shiggity hey, hey, so she said, when it's all done,
he's sixty.
Speaker 1 (17:57):
Right.
Speaker 5 (17:57):
So what if your approach and they say we want
to take care pop the space? Are you down to go?
Speaker 3 (18:02):
I probably won't go.
Speaker 4 (18:03):
I'll send some music, which is what are you gonna
send an unreleased one?
Speaker 3 (18:11):
Take this this to space out?
Speaker 1 (18:12):
I'm not going to space.
Speaker 4 (18:14):
Uh No, I'm not going to space, bro Like, yeah, no,
I just did it. We haven't even I'd rather go
to the in the ocean somewhere before I go to space.
Speaker 1 (18:23):
To go to the Mediterranean.
Speaker 4 (18:24):
When you want to go explore, yeah, we got we
got ninety five percent of water out here unexplored.
Speaker 5 (18:29):
Let's what is it about space that scares you? I
guess right, for lack of better term.
Speaker 4 (18:34):
I mean, mathematically, as we sit here, all of us
in our intellect.
Speaker 3 (18:38):
Is there really space?
Speaker 4 (18:39):
I don't know, you know what I'm saying, Like, which
one of you'all can show me the equation right now?
Speaker 1 (18:44):
None of us?
Speaker 4 (18:45):
Yeah, I'm like space. They told me about it. But
but whatever I've.
Speaker 3 (18:50):
Been looking up.
Speaker 4 (18:51):
Man, the moon ain't went away in like three months.
So I thought the moon used to come and go.
He's just sitting there now. I don't know what's going on, man, like.
Speaker 1 (19:02):
So no, you never know, you never really know. It
is kind of scary.
Speaker 3 (19:05):
I'll be here as it gets figured out, for sure.
Speaker 7 (19:09):
Tell me how true this is. I read on the
internet that you used to play the trumpet in high school.
Speaker 4 (19:15):
I used to play all instruments a little bit. But
I was a drummer in the marching band in high school.
And and I was also in elementary school band a
little bit, and my brother played the trumpet. I played
the drums, but I was a band kid who whenever
I got the opportunity, I was trying to learn every
(19:35):
instrument just just tinker, you know, just whatever. And yeah,
I could blow brass horns, the three valves brass horns.
Speaker 3 (19:44):
I could never figure out how to work the wood.
Speaker 4 (19:46):
Winds, which is flutes and saxophones, too many buttons, and
then the way you gotta the way you gotta make
the sound. I never could figure that out. But I
could actually, uh the trombone. I knew how to like
win because the trombone has really no place to tell
you where to stop, so it's a feel. I got
enough ear to know when they hit the right note spot.
I used to know all that stuff, and then I
(20:09):
got the high school. You're talking like you were a
band kid.
Speaker 7 (20:11):
Yeah, I was a kid. Yeah, I was a band
kid up until like sixth grade.
Speaker 4 (20:15):
Yeah, okay, that's the young band you got to get
to high schools.
Speaker 3 (20:22):
That's what happened to me.
Speaker 6 (20:23):
Yeah, like.
Speaker 7 (20:26):
I forgot what instrument. I think it was the tuba.
They had on the tuba and I didn't know how
to read the note, so I would look at the
kid next to me and just caught me what he
was doing.
Speaker 5 (20:36):
Some Mexican ship too, literally, somebody actually all day.
Speaker 6 (20:43):
So sure we were listening to the album this past weekend,
and I believe it was on track number two.
Speaker 3 (20:50):
But you said you used to DJ back in the day. Yeah,
I still got skills, that's right.
Speaker 4 (20:55):
I started off as a DJ who would rap at
my own parties, so I wouldn't be throwing the party.
I would be the DJ of the party, but I
would at midnight at a rap partner back then named
Freddy Be. At midnight, we would stop the music and
announced to everybody's about to have a mini concert too
(21:17):
shortened Freddy B. We wouldn't like overdo it and try
to take over the party. We'd probably rap for like
maybe fifteen twenty minutes and just give them. Because we're
talking like early eighties and hip hop was something that
was rare to see you hear a song here on
the radio at a party, but it was not something
that was everywhere you went and you're like, oh, there's
hip hop, like like literally like break dancing or rapping
(21:37):
or whatever you would it would capture somebody's attention. So
we would do that at the parties, and you know,
I was pretty good DJ. I took pride and always
in my hip hop life, I've always been able to
look at a room, no matter how many people are
in the room, and figure out how to make them
have a good time. And my song selection as a DJ,
(21:57):
the way I would blend. I was never into I know,
I know how to scratch and do all that stuff,
but I was always into, like keep the party going
and keep the antics to a minimum. So I never
wanted to as a rapper or a DJ. I never
wanted to show off. I just wanted to make sure
that the crowd was having, you know, So my raps
(22:19):
all of a sudden, a lot of a lot of
crown participation in a lot of you know, engagement, And.
Speaker 6 (22:22):
Were you Stol just going by too short or did
you have a DJ name?
Speaker 3 (22:25):
Well, my name is really Serve too short.
Speaker 4 (22:27):
That's why I brought it back on the albums, and
the too short just kind of the sirt just kind
of went away. It was, you know a lot of
a lot of gang bangers back in young gang banging
days was Sered sert At and.
Speaker 3 (22:39):
I kind of, you know, got that a little bit.
Speaker 4 (22:41):
The served part it was it was a movie My
name was really short nickname, and it was a name
that they used to kind of tease me with a
little bit because I was so short. They're like, your
name is short. And I saw this movie called Penitentiary
and the starting movie was the character was too sweet
and he got all the ladies and he beat everybody up,
and I was like, Okay, I'm too short and that's
(23:03):
why I got.
Speaker 3 (23:03):
That from right.
Speaker 4 (23:05):
I want to put the story on it and make
a little little original And I just had. I just
had to remind him who sir too short was. I
mentioned that in a lot of songs, Sir too short,
and then life is too short. I'm like, sir too short,
coming straight from Oakland.
Speaker 3 (23:16):
So I just had.
Speaker 4 (23:17):
I just got to keep reminding you. Like even when
I did upload it with some I'm like, what's my
favorite word?
Speaker 1 (23:21):
Bitch?
Speaker 4 (23:21):
That was a reminder because so many people have started
saying it, and I'm like, I don't think you guys
remember where it came from.
Speaker 1 (23:30):
That's right here, you know, Yeah, you mentioned Dave Chappelle
in the song.
Speaker 3 (23:33):
I just had. I'm taking ownership.
Speaker 1 (23:35):
That's right now.
Speaker 5 (23:35):
You got to and that's one that's a time where
you got to pop your collars, you know, talk that ship.
Speaker 1 (23:40):
Yo.
Speaker 5 (23:40):
We had Nelly in here and he was like, yo,
my dad's favorite rapper is too Short.
Speaker 1 (23:45):
And he finally met him.
Speaker 4 (23:46):
And I met him at Nelly's last birthday party and
and I'm glad I got to meet him, man, because
I knew this story from when Nelly was a young rapper,
and he's like, man, my daddy's favorite rapper, and he's
like and it's it's true because I met a sibling.
Speaker 3 (24:00):
They're like, they all they all said the same thing.
Speaker 4 (24:02):
So that's a good thing if your parents are too
short fans and some of that gets into your ears
at whatever age. Because I relate that to my experiences
with Richard Pryor's comedy. I was too young at certain
points in my life when Richard Pryor the Young albums,
(24:23):
we need to putting those albums out. And the family
used to just sit around and shut the world out
and they do their little drinking and smoke and listen
to Richard.
Speaker 3 (24:31):
Pryor albums like a rap album.
Speaker 4 (24:33):
So we're either the kids like ear husting from the
other room or you got that golden moment when you
get home from school before they get home from work,
and we just sit around listening to Richard Pryor albums,
And I'm like, a Richard Pryor album doesn't just curse,
it's really commentary that's kind of like, you know, intellectual.
(24:53):
And then I get a chance to be a rapper
and I'm like, I'm gonna be a little bit explicit
even in the time where a lot of rappers weren't
when I first came out. So I'm thinking, Richard Pryor, Ish,
I have to, you know, use the curse words the
right way. It just can't be like I'm doing this
just to be filthy.
Speaker 3 (25:12):
Right right right, you know.
Speaker 4 (25:13):
So it's the paint of picture, and I'm highly influenced
by Richard Pryor's approach to to having explicit comedy.
Speaker 1 (25:19):
Oh you talk about being inspired, I mean, it's happening
in here. This is Jordan who's on our team.
Speaker 5 (25:23):
That's her dad, okay, who introduced her to too Short
all right, exactly.
Speaker 4 (25:26):
So, but that's that's the thing that really has helped
my career a lot, is the hand me down fan
from the car seat in the back, the diaper you
feel me, the diaper fans.
Speaker 5 (25:39):
You ever noticed how many Latinos are in the audience
at your shows?
Speaker 4 (25:43):
I have been damn near anointed Mexican Ish. I have
been told some things by Mexicans that that just make
me want to, like, you know, come to Christmas with
them next year.
Speaker 3 (25:56):
Like they're like, bro, you're my family.
Speaker 6 (25:58):
Bro.
Speaker 4 (26:00):
So I have been told this for many, many years,
and I have been invited into many circles of like
I mean friendship with a lot of Mexican homies, like
for real, for real. So I'm going thirty plus years
of this friendship.
Speaker 1 (26:19):
You know.
Speaker 4 (26:19):
I've had rappers come to me and say, like la rappers,
and like, man, why do the Mexicans fuck with you
so tough? It's a little bit of a wall up
between some people, and it's hard. It's hard to break
that market. Like it's not just something that they go, oh,
how song I like you, I don't know what it is.
(26:39):
I know what got me in songs like the Ghetto,
because I have those songs that are like lowrider songs period.
My brother loved the Ghetto, bro, like I really made
lowrider songs in the eighties and it's like it's like
it just resonated.
Speaker 3 (26:55):
So you know I had I had.
Speaker 4 (26:57):
The Ghetto doesn't even have eight o eight drum on it.
The thing that's making the Ghetto have a lot of
bass is the bass guitar. He's just going boom boom boom, boom,
boom boom. He said, these frequencies that literally, if you
were a stereo guy who installed stereos, and you took
your creations to car shows to win contests. The Ghetto
(27:18):
was a song that would win it for you because
it would make you fucking trunk. They would do everything
the speakers need to do, even more than a song
that's going, like a song like a Boys in the
Hood or even like my song Freaky Tales that relies
on the eight oh eight. It would make the whole
car rattle. It would give you a true frequency of bass. Yeah,
so blow out of music, that's all I say.
Speaker 5 (27:37):
You also have guys asking you to call their women
a bit though, Yeah, that's a that's a reoccurring thing.
Speaker 1 (27:43):
Like ladies.
Speaker 4 (27:46):
Ladies who are like lawyers and doctors and they got
PhDs and master's degrees. They're like, you know, the little
maybe a little tipsy, hanging out somewhere, you know, and
they're like, oh my god, I just love that song.
Call me a bit, And I say, every now and then,
I would very rarely do it, but my go to
(28:07):
line is like, you know, that's my job, and I.
Speaker 3 (28:10):
Don't do my job for free. That's right, So you
stand stand before me and say, call me a bitch.
And I go no.
Speaker 1 (28:17):
So the question is how much for a bitch you feel? Me?
Speaker 4 (28:20):
Like, every time a guy asked me to call his
girl bitch, I always do it.
Speaker 3 (28:28):
I always do it because.
Speaker 1 (28:35):
Why do you always do it with the dude?
Speaker 4 (28:37):
Because I once had a really good relationship with a
woman who said she said, one time, a long time ago,
we mean she was with her man and they bumped
into me, and she said she was looking over at
how fascinated he was by me, and she said to herself,
if I ever get a chance, I'm the fuck that guy.
Speaker 1 (28:54):
Oh my god.
Speaker 3 (28:57):
And she did it many years that's right.
Speaker 4 (29:01):
So I'm like, I may be missing out on something
if I don't make that connection that's based on experiences.
Speaker 1 (29:12):
We got to make that connection.
Speaker 5 (29:16):
The Super Bowls in the Bay Area, and I think
all of us want to see you.
Speaker 1 (29:22):
Culture.
Speaker 3 (29:22):
No, we're not doing the halftime show.
Speaker 1 (29:25):
There's been zero.
Speaker 4 (29:26):
I don't think the halftime show should be just because
of what city you're in or what the city you're
from and what city is being played, and that would
be too predictable and then it would start kind of
being like like a like the little Wayne thing, I
really big letdown if they don't choose you, right, I
mean it can be I think organically in that situation,
(29:47):
even if they didn't want to hire Wayne or anybody
in New Orleans. I feel like had it not been
such a Drake Kendrick year, and you know the Drake
Wayne affiliation, I mean, what be amazing if somewhere during
Kendrick's performance he would have brought out somebody affiliated with
no limit or cash money, just somebody could have been Juvie,
(30:08):
it could have been way told of anybody.
Speaker 3 (30:10):
It's a lot of them, a lot of great artists
in New Orleans.
Speaker 4 (30:12):
But then the little feud probably like send him in
a different direction, Kendrick, you know. And you know, if
anybody was to do the halftime show next year and
brought out any anybody from the Bay that would be amazing.
But you got to know, as as Bay Area people
forget about the Super Bowl stage, we are going to
(30:32):
put on a really good uh welcome to the Bay. Yeah,
so it's gonna be dope. I'm rolling with Gazi and
Empire shout out to Ghazi. They're already planning to be
a force that week. So I'm on the Empire team
and I'm already letting them know that I'm a part
of it whatever it is. So we're gonna show up, man,
(30:54):
and it might be better than what we would do
on the super Bowl stage, is that right?
Speaker 3 (30:59):
Yeah, because we can do our thing.
Speaker 4 (31:01):
Oh yeah, you're not not gonna get a bite bite
sized version of the Bay Look and the All Star
NBA just showed us love man, that was yeah. Yes,
they put us all on TV on different segments and
all kinds of stuff. They did behind the scenes stuff.
They did little documentaries they showed and do you expect
the NFL to upstairs the NBA on that type of vibe.
(31:24):
NFL is a little more you know, closed knit corporate.
They haven't really hip hopped it out yet.
Speaker 1 (31:31):
I mean, you know, jay Z has to say.
Speaker 4 (31:33):
Which he has been making sure hip hop is the president.
And I also think man as a as a sports
fan and just a fan of it all entertainment.
Speaker 3 (31:42):
They can't just keep going wrap. They gotta get back.
Speaker 4 (31:44):
To to the super Bowl, to the pop stars and
the rock they gottap.
Speaker 3 (31:49):
You gotta mix it up.
Speaker 4 (31:50):
It's gonna get a little suspect after, like you see
the rock star or a pop star in years.
Speaker 1 (31:59):
Right, right, right, right right, bring back the rolling Stone,
so we'll see.
Speaker 4 (32:04):
Man, I would not be little way offended if it
goes anywhere else, because, you know, just for the reasons I.
Speaker 1 (32:10):
Said, what's the biggest mistake you can make in the
music business.
Speaker 4 (32:14):
The biggest mistake you can make in the music business
is only using one of those words music or business,
because if you're just stuck on one, you're not really
doing it right.
Speaker 3 (32:26):
So definitely stay on top of your business.
Speaker 4 (32:29):
If you're a music person, if you let your people
handle everything, you will find out one day your people
fucked up potentially you never know, or that you just
don't really know your own business.
Speaker 3 (32:42):
And I think that you should just have a hand
in on everything.
Speaker 4 (32:47):
And then if you're like one of those business people
who are just so business that you have not a
creative bone in your body and you're just doing it
like you don't respect the music or love the music
or have a passion for the music, then I think
that's a kind of a void too, like like an
executive who don't give a f you know, like I don't.
Speaker 3 (33:07):
I don't like those. They're in there, they're out there.
Speaker 4 (33:09):
I just don't like those, like at least like the
music at least like the artists at least.
Speaker 5 (33:13):
The very least at least yo for real yo for
the project. Right, Picking beats and the features, that's a
that's a.
Speaker 1 (33:21):
Whole nother process. There's are two different processes, I believe, right.
Speaker 5 (33:24):
I mean Larry June is on project and Larry June
is that guy, right, uh, you know, coming off of
the project with Two Chains, right, which is a crazy album.
Speaker 1 (33:33):
But picking beats, like, how does too short pick a beat?
Speaker 3 (33:36):
Everything is a right place, right time with me, Like
there's no magic beat or or thing that you know
that I'm reaching for.
Speaker 4 (33:44):
It's like, what's a vailable short beat? Is a short beat?
Like you and we do know this.
Speaker 3 (33:49):
We know this.
Speaker 4 (33:49):
So I'm like, what's available, what's around? What, what's within reach?
Because I'm not reaching too far out and I'm not
waiting or saying I gotta have this feature or you know,
pressing somebody to send back a verse and if it
doesn't come back, you know, I'm upset. None of that stuff.
I'm just like, let's throw it out there. There's a net,
(34:12):
and we don't catch a bunch of beats, a bunch
of people that's gonna help me make it, because I
don't make these by myself.
Speaker 3 (34:18):
There's musicians that come in, uh engineer, the.
Speaker 4 (34:23):
Different producers I work with, and we call people in
and maybe like sing on the track, and each song
is like a kid.
Speaker 3 (34:29):
You gotta raise them. You give birth to them, and
you raise them.
Speaker 4 (34:32):
And a lot of songs that we know and love
while we're making them, they don't gonna make the cut.
Speaker 3 (34:37):
But we still know and love them. But you know, right,
some of the kids do give some of them.
Speaker 1 (34:44):
That's the way it is.
Speaker 3 (34:46):
But first choice is the funk.
Speaker 1 (34:49):
Now.
Speaker 4 (34:49):
I always mentioned things about my guy, you forty, because
we talk about this a lot. He forty champions himself
as a beat picker, and not only a beat picker,
but he sits in the in the room with us
and goes, I'm the best beat picker in this room.
Like like, even if I don't agree with you, I'm
not gonna argue with you, hey, mister champion beat picker.
(35:10):
But you know, we all feel that way, Like talk
to Scarface, talk to Snoop Dogg, talk to Doctor Dre, anybody,
talk to them. If we all feel like we know
how to pick those beats and mine are think about
every song you ever heard in your life, and then
think about two short songs.
Speaker 3 (35:24):
Mine are funky. It's always funky if you if you.
Speaker 4 (35:29):
Are old, like a song searching, you know you want
to go back retro. You don't know how my songs
random hit it like the lotto. Just pick any random
two short song. As soon as you hear played, something
really funky's gonna happen because I don't really rap on
solo songs that aren't funky.
Speaker 1 (35:46):
Yeah, it's gotta have that funk. It's gotta have that
fucking that.
Speaker 3 (35:50):
Yeah. And that's that's just my cheak code.
Speaker 1 (35:53):
Yeah, Yo. So want to make sure gets his questions, man.
Speaker 6 (35:57):
I mean there's been a lot of talk about like
who's on the Mount Rushmore of like the Bay Area Rappers, right,
But I kind of want to flip it and like,
you know, because we were having this combo about like
you know, Lebron's been carrying the torch, Steph's been carrying
the torch and we're not entirely sure who's carrying it
next in the NBA.
Speaker 3 (36:14):
Yeah, from your.
Speaker 6 (36:14):
Perspective, I guess who's like carrying the torch of like
that Mount Rushmore for the Bay Area for like this
newer generation.
Speaker 4 (36:22):
We're talking basketball, We're talking man, we're talking rap. Because
you think I'm like, well, we're going to Steph Lebron.
Let me rub my hands again. I love that talk, right,
But just so we don't pass that too fast, Stephan Lebron,
uh four chips each equalist can be legacy. Nobody's beating
(36:45):
anybody out legacy wise, Lebron has more accolades, but Steph
Curry changed the game literally, So I don't really see
them surpassing each other because I don't think either one
of them is going to get another chip. And if
I'm wrong, I hope it's Steph.
Speaker 3 (36:59):
They can sit.
Speaker 4 (37:04):
But the Mount Rushmore of the Bay is always a
it's four people, and it's always because of the influence.
It's always short, forty and dre. It's always because of
the influence as well as the careers and the songs.
(37:24):
And then the fourth person, it could be a lot
of people. It's a lot of people that earned that
spot to say I upheld the Bay, I influenced, I achieved,
and I'm dope enough to be that person.
Speaker 3 (37:38):
And that list is long.
Speaker 4 (37:41):
I mean, well it ain't long, but it's extensive in
terms of who earned it and who deserves it. And
if you told me to pick one, I'm like, it's
not tough, right, Yes, that's that's what it is. It's like,
if you're from the Bay and because of whatever your
reasons are, you go those three, Dre Short and forty
(38:02):
are not one of them or two of them, or
none of them are on my list because of this reason,
I'm like, you're not including just the founding fathers and
their influence and their influence. The first rappers are not
always the best rappers. But in our case, our first rappers,
which early on was dra wasn't early early early on,
(38:24):
but he was there and we we came out like
even like the early days be legit Richie rich like
it's rappers, no rapping, four te who are the pillars
the foundation? And you just got you got to say
who's my guy?
Speaker 3 (38:40):
Guy?
Speaker 4 (38:40):
Spice one is came out of the young young agent
was there from you know, he got some really good songs.
Speaker 3 (38:45):
It's a lot of people that you could say.
Speaker 4 (38:47):
Who's my guy? But if you don't pick Dre Short
or forty, then you gotta have some really good reasons
for me as to why you didn't.
Speaker 5 (38:56):
And I know, like Park was considered Bay Area too,
He's considered New York, He's considered.
Speaker 4 (39:00):
LA but even just his time, just even like his
one fourth of Tupac Bay could fit right there on
that slide.
Speaker 3 (39:07):
You know, we'll take it.
Speaker 4 (39:09):
It's I respect a lot of our our artists because
of the hustle, because of the self maintaining careers period.
I mean, Geeasy's from the Bay, from Oakland, you know whatever.
Speaker 1 (39:23):
What about Mount west Moore? Is there another album?
Speaker 4 (39:26):
Mount wes Moore recorded so many songs during the COVID shutdown.
I think we released a project with what fifteen sixteen
fourteen sounds, I can't remember. We recorded about like forty
five songs. So so there's been another album. So it's
I don't want to use the word politics, but it's
a lot of bosses in Mount Westmore and you know,
(39:49):
you got to talk to a lot of people to
get to get the project through because of scheduling and
finances and you know, you know, guys has to make
sense always to those guys. We're talking on ice Cube
Snoop Dogg E forty. You don't just go hey man,
put up out they're like bruh. Like the Mount Westmore
album was clocking like major money before it ever came out.
(40:12):
Because Snoop Dogg is corporate. Snoop Dogg, you know, ice
Cube is a filmmaker. It was you know it was.
It was in really good hands. So I ride around
right now listening to a file on my hard drive
that's called Mount Westmore unreleased album.
Speaker 3 (40:31):
That shit is jamming for you guys.
Speaker 4 (40:35):
To hear it, you have to ride in my car
one day or be at my studio when there's something.
But it's it's not slated for a release date, but
it's definitely. The group has a group text that goes forever,
and it's always about Mount wes Moore, or it's about sports,
or it's about patting each other on the back for
something that's going on present day or whatever. And it
might just be a joke, it might be whatever, somebody
(40:56):
just trying to turn everybody onto some current event. It
keeps going on, but every once in a while it's like, Hey.
Speaker 3 (41:02):
We're gonna do it.
Speaker 4 (41:03):
We're gonna do the rest of these songs. So I'm
a motivator in that that aspect. I'm always reminding, like
on a random day, a text will come from me,
like you guys do know we have like thirty unreleased songs,
and then I just go dark.
Speaker 1 (41:21):
Guys, we did the work.
Speaker 4 (41:27):
Because I guess it's big time, because you know, because
DJ Pool is also a part of the whole process,
and he's a diehard Chiefs fan, So at all times
it's it's Raiders, Niners, Stealers and Chiefs and you know,
poo gets the last laugh, you know. But we all
(41:49):
know that the Kansas City Kingdom whatever they call it, crap, yeah, whatever,
whatever they call that mess is uh based on a
lot of referee uh uh assistance a lot anybody in
dowgo look up the YouTube clips and uh, I don't
(42:11):
know how sure it is about the three refs that
just got in trouble for favoring k C. But I was.
I've been watching it in real time, like, oh my,
I can make you on a break of TV.
Speaker 1 (42:20):
That's right.
Speaker 3 (42:21):
And Patrick Mahomes is the best quarterback. You don't even
need the help.
Speaker 1 (42:25):
Right on his own.
Speaker 3 (42:29):
Depends on who Taylor Swift is dating. I don't know.
Speaker 4 (42:39):
I mean, it's all in the marketing, bro, Like you
gotta figure every time every time, even if even if
it wasn't Kelsey catching the touchdown. Every time Casey scored,
they panned to her. When they won the AFC Championship
last year and the confetti's.
Speaker 3 (42:53):
Falling, they go to her, what are you doing on
the field? How to get down there that fast?
Speaker 1 (43:00):
They knew what they were doing.
Speaker 3 (43:01):
Man's definitely on the payroll if we find out that.
Speaker 1 (43:06):
But she also made them a lot of money too,
Rightford just showing up?
Speaker 4 (43:08):
If we find out eighty seven never banged her, I
wouldn't even flinch.
Speaker 3 (43:11):
I'd be like I knew he wasn't hit.
Speaker 1 (43:13):
That Are you going to Vegas for the A's.
Speaker 4 (43:19):
For the A's. I have a residence in Vegas, and
I've never been upset with the Raiders. I understand the
politics and the business of it. I feel like the
city of Oakland fumble three times with the Warriors, the
Raiders and the A's. I think that they should have
kept three of three, two of three, at least one
of three, at least one. All they wanted was a
(43:41):
nice house. They just wanted, you know, like the Sacramento
Kings flirted with leaving Sacramento and then Kevin Johnson the
ex player became the mayor, but was the mayor and
fought for the team to stay, and they stayed, Like
you gotta fight for your teams. I think that Seattle
should have an NBA franchise because they lost their team
in the way they They should have got the Clippers
(44:01):
or something.
Speaker 3 (44:01):
Man, the Clipper should have went to Seattle.
Speaker 1 (44:03):
We would have been all right with that.
Speaker 3 (44:05):
I like the Clippers, man. I keep waiting for a
Clipper Laker series.
Speaker 1 (44:10):
That's never gonna happen.
Speaker 3 (44:12):
If it did, it's gonna be like fights in the stand.
Speaker 5 (44:14):
Yeah, yeah, yeah, yeah, fucking ice Cube is gonna be upset.
You know he hates the Clippers.
Speaker 1 (44:19):
Bro, Yeah, they don't even exist, he says, who if
you mentioned him? It's crazy, It's wild.
Speaker 3 (44:27):
It's gonna happen one day.
Speaker 1 (44:28):
You think so, You think so?
Speaker 5 (44:30):
Yeah, Battle of l A'd be cold.
Speaker 4 (44:35):
It almost happened once. It was like a game away
from happening. And the Clippers were better that year too.
And I don't know who, I don't know who won,
who lost, but that matchup we barely missed it.
Speaker 1 (44:45):
That would have been crazy. It's been interesting, so too short.
Speaker 5 (44:48):
Volume More on Freaky tales out everywhere, keep streaming it
in quality, man, And you know it's like you kept it.
Speaker 1 (44:55):
You kept it so short, right, you kept it too short.
It wasn't like it wasn't like.
Speaker 5 (45:00):
You're you know you were we were trying new things,
or it wasn't something that I think.
Speaker 4 (45:04):
It's not like about a good thirty minute experience of
it weaves through some subjects and it stays funky, and
it's it's really short, dog. But the two punch, that's
the one punch. The two punches a Volume two and
it's a real two piece. It's produced by Little John
and it's just it's me and him recapturing our vibes
(45:27):
the way we do in the studio, and it's it's
very much complementary of the first one. It's gonna, you know,
it's gonna take it up a notch. So if you
like that, hold on to your horses.
Speaker 1 (45:41):
And then did John get you into meditation?
Speaker 3 (45:44):
Not yet. I still smoke weed. I'm very I'm very
I'm very there, man, I'm very there.
Speaker 4 (45:51):
But I could use a little of that next layer
of of higher vibrations. And then Volume three is is
my grown man album that people would have wanted me
to just put out where you know, you're talking all
grown and all responsible and shit, you know, and it's
(46:13):
just good.
Speaker 3 (46:13):
It's coming.
Speaker 1 (46:13):
Yeah, yeah, yeah, yeah. That'll be the last one.
Speaker 4 (46:16):
That'll be the last one before the farewell album. Wow,
the unretirement, the non retirement farewell Well.
Speaker 1 (46:22):
We're gonna continue celebrating the journey, my guy.
Speaker 3 (46:24):
It's all good music.
Speaker 4 (46:25):
Man.
Speaker 3 (46:25):
We're doing it for hip hop.
Speaker 4 (46:26):
We're doing it for the statement that hip hop does
not have an expiration date. The rappers don't have expiration dates,
the producers don't, the DJ's don't we all out here
getting money ogs. You know, even though OG's that don't
like the youngsters, we still want to see them get
their money. Man. You know I I do like the youngsters.
But I'm like, let's all get it. You ain't got
to get old and get out the way. You ain't
(46:48):
gotta be young and dumb and you're not worthy. Let's
all get money. Man. It's a billion dollar industry, multi
billion whatever it may be, fashion of movies, all kind
of stuff. You can if you get popular, to sell anything,
any product. So keep getting popular and keep getting your
money on.
Speaker 3 (47:05):
I like, what's saving it's y g get what up?
Speaker 4 (47:07):
Man?
Speaker 3 (47:07):
It should play a part in the two short.
Speaker 4 (47:09):
What's Good is Roddy Rich And you're checking out the
cruise show.
Speaker 3 (47:11):
It's not just a show, it's a whole show. Real
Baby on ninety two three three three
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