Author Topic: Interview With A Legend: The D.O.C. On Dubcnn  (Read 3601 times)


  • Muthafuckin' OG
  • ***
  • Posts: 377
  • Karma: 22
  • Da Gee In Dee
Re: Interview With A Legend: The D.O.C. On Dubcnn
« Reply #60 on: January 03, 2007, 10:52:23 AM »

Does anyone know anymore about this?


Well, all I know is that they are both from Texas... dunno if they're a couple or sumpthing.

RAIDErs of the lost ark

  • Guest
Re: Interview With A Legend: The D.O.C. On Dubcnn
« Reply #61 on: January 08, 2007, 12:29:58 PM »
Interview with DOC By Charlie Braxton

Because of your association with NWA, a lotta people assume that you’re from the West Coast, but you’re really from the South.

Yeah. I’m from Dallas, Texas….West Dallas Projects to be exact.

What was it like growing up in West Dallas Projects?

Growing up in Dallas was pretty cool. Drugs and stuff hadn’t really gotten to Dallas when I started becoming a young adult so I didn’t see a lotta of the crazy shit that went on later in life. I spent a lot of time as a youth staying inside. I was a reader back then. I wasn’t selling, I wasn’t gang-banging or doing none of that kind of shit. I just spent a lotta time reading books.

That explains why you were so good with words. What did you read back then?

I read pretty much whatever I could get my hands on…books outta school. By the time I reached High school I took to reading the dictionary because I didn’t go to school, I needed to sound intelligent so that people would think that I was at school. So I would use words from the dictionary on my parents so that it would appear that I was very studious, when in actuality, hell, I hadn’t even been to school that day.

What kept you out of school?

School and me didn’t really get along. I was a natural born comedian and I’m a very inquisitive person and I’m not a follower, I’m a leader. So if you tell me, for instance, that Christopher Columbus discovered America then it’s my nature to ask you how can he discover some place where folks are already at. Now when you’re in school they ain’t gonna accept no shit like that. I was always bucking the system and kids would get a kick out of it. I would always go to the office a lot so I was sort of an outcast in high school. I was a loner all through high school.

While you were playing hooky from school, what did you do?

Just sorta walked around. If there were other kids out there fucking off, I’d hang with these kids. By the time I got to high school there were a whole lot of white kids so I’d hang with these cats while they’d skate around and shit.

Texas is known for producing a lot of Blues musicians. What kind of music did your parents listen to when you were coming up?

My family listened to the Blues. But my father has a beautiful singing voice. The guy used to sing all the time. When I first started this I used to sing just like my father. This was back when I had my voice. But my father has a beautiful, beautiful voice. He used to sing Nat King Cole around the house all the time. I remember that as a kid. In fact, he had a big influence on me back then. He’s the reason why I speak so well, because he spoke well. He annunciates his words real clearly. Even though he’s from the South you can’t tell by the way he speaks. My love of music comes from him. I think that in his heart of hearts he always wanted to be in show business because he would always remind me of how he was out on the corner doing his doo wop thing, singing with his homeboys. I don’t think that it would have been very easy for a nigga back then to even consider doing music in Dallas. The world may have gotten in front of his dream. I think that a lot of my getting into show business may have something to do with him.

What was your first exposure to Rap music?

My first exposure was "Rapper’s Delight." That was the first I’d ever heard of Rap. It kinda seeped into me slowly. When I heard it I didn’t go, "oh, that’s what I wanna do. I wanna rap." No, it wasn’t like that. Back then I was a young guy and it was what it was. I remember "Apache Jump on It"….I used to play that song all the time. But I really kinda got serious when Run DMC came on the scene. Run had everything I wanted. Naw, let me take that back—Run had everything I had, in my opinion. He had the same vocal styling, the same command in his voice, whatever the fuck he was saying, he meant that shit. I emulated this guy a lot. I also wanted to be like DMC. Then I discovered this guy named KRS-1 who was the teacher. I checked out LL Cool J, who was the young rebel, and then Slick Rick, who was a great storyteller. But in the midst of all that I heard this guy named Rakim, who ignited in me the kind of fury that you never let go.

How did you come up with the name D.O.C.?

It was so funny and so spiritual how it all came together. When Dre was in a group called the World Class Wreckin’ Crew--this was before I met Dre, I met Dre later on—Dre had a song on one of the Wreckin’ Crew album called "Surgery." My given name is Tracy and my friends call me Tray. When that song came out whenever we playing around that’s what people would say, Dr Dre. When I started rapping, I used to call myself Dr. T. Then T went to Doc T. When I finally got with NWA I figured we’re all in this bitch together if y'all got periods then I got periods. Y’all N.W.A., now I’m D.O.C.

What was going on in the early hip hop scene in Dallas?

Crush Groove was my earliest memories of the Fila Fresh Crew. It was around the time that Crush Groove came out that me and a guy named Curtis used to rap. He used to rap and talk about me on the corners in the projects, just rapping on like how niggas do the dozens, ya know. He used to do that shit on me. Eventually I got sick of shit so I started doing the shit back to him. And surprisingly, because I was so good at fucking around with words and other shit, I was pretty goddamn good at the shit off the bat. And people started to say damn, you’re pretty goddamn good. Once a motherfucker start giving you confidence, you feel like well, shit…And that’s what I ended up doing. I was like writing five and six hours a day. I was writing everyday. All the Fila Fresh Crew shit, I wrote it. All the stuff that everybody else said on the album I wrote it because I wanted it to be perfect.

Who were the members of the Fila Fresh Crew?

There were three of us in those days. It was me, Curtis, Fresh K and a DJ from the West Coast who had just moved to Dallas. His name was Dr. Rock. He had a Saturday night mix show. Before he came to Dallas he was in a DJ group with Dr Dre. That is how me and Dre met and ended up working together. Dre had came down here to be a guest DJ on this guy’s show and Dre heard me rap and he pulled me to the side and told me in one of those classic Dr. Dre tones that I was the best muthafucka he had ever heard rapping. He said that I’d come back with him to California and that in a year we’d both be rich. And about six or seven months later, the shit ended up happening.

Was Dre a member of NWA at the time?

Naw, NWA hadn’t quite formed just yet. They were making records then, but it was real underground and it was real street so it wasn’t concrete yet. As a matter of fact, right before I got there the original members of what was called NWA started breaking off and doing their own thing. A guy named Arabian Prince ended up just getting kicked to the curb, I think. Cube was going to school because I don’t think that it wasn’t quite panning out. The Boys in tha Hood record was just slowly starting to make noise underground, but the gel hadn’t really come together yet. That’s the reason why you never saw me in pictures or muthafuckas never really talked about me. They were really serious about their group. Probably because niggas had been coming in and out their group and they finally just decided that this is going to be it right here, goddamn it, nobody else.

Did Dre have plans to make you a member of NWA?


It was their intention all along to make you a solo act?

Yes. I am a solo act. I’m not a member of that group…although I am, I’m not. I was meant to be a solo artist in this bitch. My time was coming and when it came I was going to go home and start my own situation like NWA. That was my plan.

Did you write any of the early NWA stuff?

Most of that early NWA shit, I help write. Songs like "Boys in the Hood" and the four other songs that were done on the EP were done before I got there—"I Got My Radio" and a few others—but those were the only NWA songs that were done before I got there.

You’re saying that you wrote some of Straight Outta Compton?

I wrote most of Straight Outta Compton.

What about NWA & the Posse?

Most of that was all older shit mixed in with Fila Fresh Crew shit. All of that was before I got to LA. Really all of that shit was before NWA, the group that you know today. All that shit was really before we got together. It wasn’t until Eazy E’s first record, We Want Eazy, I think it was called, that NWA became the NWA that you know.

What songs on Eazy’s album did you write?

"We Want Eazy," the title track for his video, "Still Talking Shit" and a couple of more songs on Eazy’s record. I wrote all of Eazy’s parts on the NWA records as well as being the extra set of ears for Dr. Dre because I was the only person that he really trusted. Back in those days Dre really trusted my ears.

I read somewhere that Eazy offered you a gold chain for your publishing, is that true?

No, he didn’t offer me a gold chain. This was when the Eazy record had been out and the NWA record was getting ready to come out. We all had been working real hard. Those guys were starting to get benefits from it and I hadn’t started to get no money. And they’re buying big dookie gold chains and all of that. I was talking to Eric like, yeah man, what’s up? I want some gold too. And he tells me, "I’ll tell you what, if you sell me the publishing on the songs that you wrote on this, this and this I’ll give you whatever you want." Now me being an 18-19 year old , I didn’t know what the hell publishing was so I told him "Yeah, give me that chain, give me that watch and that ring." I took about five thousand dollars in jewelry and give him about a million bucks worth of publishing.

When did you all started working on your record No One Can Do It Better?

After we put out the Eazy E record and the NWA Straight Outta Compton we started working on my record. It was the natural progression. I was the best thing that we had in that camp, so that’s what we were going to put out. Michele’s record was supposed to come out before mine, but we ended working on mine. And then Above the Law’s album even came out before Michele’s did.

The first time I heard your lead single "Funky Enough" I thought that you were from Jamaica.

You know that song was a sample of "Misdemeanor" from the Sylvers. I always thought that the song had a Jamaican feel to it. I had been begging Dre to sample that goddamn song for at least a month. But there was no place on the record that you could sample so he would shoot me down. But I would beg the guy and beg the guy and he finally sampled it. When he got the beat done, I had been in there drinking all day, so when I got under the headphones the shit sounded Jamaican. Dre went like, "Since you’re in the booth why don’t you go on and give us a level on it?" I said to myself, since the shit sound Jamaican, I’m gonna give it a Jamaican feel because it sounds Jamaican to me. I did the whole song in one take and we never changed it.

Can we talk a little bit about the accident that altered your voice?

We were doing two videos, "The Formula" video and the Beautiful but Deadly" video one weekend. It was like eighteen hour days for both videos. It was like being at a party for two days straight and then trying to drive home drunk—hat’s really what happened—and I didn’t make it. What’s really funny about that particular video, "The Formula," was me being put together from pieces in some hospital and the next day they would be doing that shit for real. That’s some crazy shit for real.

When you woke and found out that you weren’t able to speak, for a rapper that has to be devastating…

DOC: It started a ten year healing process that I wouldn’t understand for years to come. Anything that a muthafucka tried to tell me or any help that a muthafucka tried to give me or words of wisdom that a muthafuka was trying to give me, I probably wasn’t accepting it. You’re right, I think that shit hurt me deeper than words can ever say.

What was the turning point that made you decide that you had to go on with your life?

Sylvia Rhone, she’s the big wig at Elektra, who I was signed to through Ruthless, was encouraging me, as well as Jerry Heller and Eazy E, to keep going. You gotta make another record. I felt that my confidence in myself had been diminished because the golden throat—I was the kid with golden voice, I said it in my records. That was the crowning thing, my vocal tone. I could do things with my voice that you can’t even imagine. And I hadn’t begun to show you anything yet. Man, I had more confidence than I had brains. But after the accident Dre said to me one day that if it were up to him, he wouldn’t do it. He said, "DOC them muthafuckas call you the greatest ever and I’d go out like that." Hearing those words from Dre, who is the person I most respected in the music business period, when he said that it made sense to me. I know when he said that shit, he’s not speaking from jealousy or envy. He’s not speaking from a plastic place, he really cares about me. He’s giving me the real shit, the shit that I really don’t want to hear. I heard him and I understood. He said, " You got a really good thing going up here. You’re writing all these songs that are worth a lotta money. Keep your ass up in here and keep working until you figure out what the fuck you want to do." So that’s what I did.

Tell us about the transition from Ruthless to Death Row.

Me and Suge had been working together for a while.

Was Suge Knight your bodyguard?

He was more like a friend of mine. They say he was a bodyguard, but I never paid the muthafucka no money for body guarding me. He was just a friend really, a guy who hung around. We went places, we kicked it. We had started trying to do business together right before the wreck. As I remember it, DJ Quik was supposed to be coming in, some guys named Penthouse…

The Penthouse Player’s Click?

Yeah. I was trying to get these young guys and a female artist named Ms. Handling. I was trying to hook up with the producer named Erotic D. I talked Suge into getting him up there and we were going to start our own thing. But, like I said, I had just had the wreck so my mind is gone now. I can’t think. I wasn’t real clear. All I was trying to do was be drunk all the time, hang out and cause trouble. Me and Suge were talking and we knew we needed Dre to make this thing work. We had already went through my little contract, Suge and I and other lawyers and found out that I was not fairly being compensated. With that information, I went to Dre and I started having conversations with him about him and I doing our own thing. If Eazy’s fucking me then he’s probably doing it to you too. He’s fucking Cube and dada dada da. I just got those kinds of dialogue started. When we looked into Dre’s shit, sure enough, his shit was kinda flimsy too. Now what Eazy should have did at that point, he should’ve said, "OK Dre, fuck this shit. What we need to do is get in this muthafucka and start it over and make it up so we’re all happy and we all breaking bread." But no, what Eazy did was the classic nigga thing. He said hey, this is my shit and I don’t give a fuck. It’s gone go like it’s gone go. But what that did was separate Eazy E and Dre. Now that’s really all that Suge and me needed to get Dre to come on in where we at because Dre knew that a lot of that creative shit came outta me. He knew that he’s not gonna be able to sit in the studio with Eric and come up with this shit. So he comes over here and we get the idea that we gonna start our own label. We’re gone split the shit 50/50. And Suge is gonna help us administrate and do business. That’s where all of that shit started from.

Initially, you all moved into the Solaar building and started recording The Chronic?

Yep, that’s what happened. We started having meetings with this guy Dick Griffy, who was like an older Suge. I’ve heard stories about Dick Griffy being the big bad wolf during his day. So him and Suge were just like old generation/new generation of the same nigga, but shark niggas. Not just big bad, beat-up-everybody niggas like folks in the magazines would have you to believe, but the muthafuckas are sharks. They on their Ps and Qs. They got good business sense. They know how to deal with the powers that be, because the music business is a big, big, big game. And trust me, they’ll never tell you the ins and outs, but there are a few niggas who know. Well, Dick Griffy was one of them kinda niggas who knew and Suge was an up-and-comin nigga like that.

Recreate those days when you all were working on The Chronic?

When you make a classic record the majority of the time it’s just fun. That’s all it is. Like the Straight Outta Compton record, the Eazy record, the Chronic record, the 2001 record and now this record I’m doing right now, it all follows the same formula—just having fun and don’t settle for shit that ain’t the shit. I don’t give a fuck if you’re my greatest friend, while we in the studio all I wanna hear is dope shit. If you ain’t bringing dope shit to the table then goddamn it you need to move over and let somebody else bring it. We’re trying to make hits around this muthafucka. That was our saying back in the beginning, all hits and no bullshit. That’s what we want.

I heard that you and Big Mike helped coached Snoop, is that true?

It’s kinda hard to coach somebody into greatness. All I did was the same thing that I’m doing for my new artist 6’2, it’s just a matter of making your concepts, your neighborhood stories, what’s going on in your life and making them Joe Q. Public. Understand it and be able to deal with it and be able to relate to some of the shit you’re saying, even though some of the shit you’re saying may be wild as a muthafucka. But you’re not creating the scenarios, these are scenarios that exists. So it’s just a matter of me helping those guys, for lack of a better phrase, make the White man understand what they were talking about.

What is your formula for writing a good lyric?

When you mess around with a DOC song then what you’re basically getting is a book that lasts about four minutes. It’s a story. It has to have a beginning, a middle and an end. It has to all tie together. It’s just like a movie whether it be a drama, a comedy or a comeback story like Rocky. Everybody wants Rocky to win. Go Rocky. He was beating the shit outta Mr. T and we didn’t give a fuck about Mr. T. And we Black! We was suppose to been saying kick his ass, but we want Rocky to win, because that’s a part of the story.

Drama is a major part of the story for you?

They say all the time that sex and violence sells.

Speaking of sex and violence, rap music came under great fire during your hey day. You were one of the major forces behind the music that was being vilified. How did you feel about that?

You’re talking about a nineteen year old kid caught up in a whirlwind of shit that was going on. And everybody in the society, they’re gonna naturally take their position on any given subject. And you know America loves to dance so if you give them something to bite into then every politician and their mama is going to be outside on the street. They didn’t like the word nigga. What the fuck! That word’s been around for fifty-thousand years and now all of a sudden you want to get out into the street and protest because I said it on a record!? What the fuck is wrong with y’all? It’s muthafuckas starving outside right now! What are you all doing about that? But you wanna jump your big head ass in front of any video camera that you can find and express your opinion about my music. Well your opinion is a beautiful thing, that why it’s called America. We love it. But don’t expect us to see the world through your eyes because as many people as it is on this planet, there is as many opinions and as many assholes.

How many records did you work on with Death Row?

I left after Snoop’s first record. Doggystyle was the last thing that I ever fucked with…

What made you leave?

It was just time. It had gotten to the point to where I could hear the people talking. Like I remember being at the "Murder Was The Case" video screening that they had for Snoop Dogg. We were at big ass movie theatre. I was sitting on one side of a curtain and two people were sitting on the other side and I knew they were talking about me. And the shit that they were saying about me was not even cool. And if those two people thought that way, imagine who the fuck else thought like that.

Who were these people? Were they important figures at Death Row?

Naw, they weren’t important figures at Death Row, but they were people close to the circle because of Dre. Most of the people who came to that circle came because they wanted to be around Dre for what he could do. They had nothing but negative shit to say. And it wasn’t about my performance, a lot of it was personal. You know they thought I was a weak person because I never got no money from Death Row and everybody else is riding around in Benzs and this and that. From that moment on, I started thinking I’m not growing anymore here. I’m actually dying up here.

Are you saying that you wrote songs for The Chronic and Doggystyle and you didn’t get any compensation whatsoever?


How were you surviving?

In those days I would simply go to Dr. Dre and say I need five grand, now go see your people. I was living with Dre then and I had no need, no monetary need whatsoever. I was eating the greatest meals everyday, living the life. But I had no direction—didn’t know where was I going or why was I going. I’d been writing this song for an album that he was thinking about doing called "Heltah Skeltah"…

I remember that it was supposed to be the Ice and Dr. Dre album but it never came out…

Yeah, one of the reasons why it never surfaced was because I stole the idea and shot it out there first.

That was your second solo album…

Right. The songs that I had written were on that album. I had started writing it just from hearing Dre talking about it. He and Cube were gonna do a record, it was gonna be called Heltah Skeltah, this is what it’s going to be about, so I started putting together music. And then Dre heard the song and I hadn’t told him that I had written the song for him, but his first thing was "Hey, you need to let me get that song up out ya." And the shit just hit me so cold I was like fuck that, man I’m not doing this shit no more. Fuck that. If I’m gone write this shit, I’m gone rap this shit. So I moved out to Atlanta and stayed with a friend just to clear my head.

Heltah Skeltah was some deep dark stuff.

Yep. It was all based on an idea that Dre and them was working on: anarchy…the end of the world kind of theory. And my life was in a twist, my life was in the toilet bowl at that time, so it was real easy for me to go and see the darkest, the most nasty. It was easy for me to see the shit in the world at that time, because I was in a world of shit. I was starting to do drugs real heavy then. I couldn’t get a grip on nothing man. I didn’t know what to do. I don’t know if any of those people around me knew what the fuck I was doing. I was basically dying up there man and I was too ashamed to come home.

What made you turn your life around?

It was a process. Shit, it’s like being an alcoholic. It was around the time I met 6’2 in 97. I heard this nigga bust and I had just won this law suit so I had a lot of money. I met him through Erotic D. I had been blessed to have been a student of one of the greatest producers ever, so when I heard him I knew it. I had money in my pocket and I said I’m going to go get this guy and I did. I did a couple of more songs on him with the money I had. And then I took it to LA and let Dre hear it and he said, this it.

Tell us about your new label and the album Duce?

The new label is called Silverback Records and so far we’ve got five or six artist. All of them are solo artists. And with the connections that I been able to accumulate and the knowledge that I have acquired and the talent that I’ve assembled there ain’t nothing that we can’t do, not nothing. A lotta of the songs on this new Duce record is on some old NWA shit. I did that on purpose. Some of that shit that we did was because that was the mind frame that we were in at the time. It may have been drugs, drinking, fucking hoes…you know whatever. I didn’t make that up. That was going on before I got corrupted by it. But I’m a spiritual guy, always have been. I was never no gangsta gangsta kinda nigga, though I am one of the most important parts of that shit coming to light musically, that’s not in my nature. I’m a good guy. I love my mama. Some of this stuff I could never say around my mama. Some of this stuff I would never want my mama to hear, but these are records. This is my job.

I notice that you do some rapping on this album, what plans do you have for yourself as an artist?

I have plans. I have serious plans in the back of my mind to separate myself from any rapper in the history of rap music.

You’re saying there will be another DOC album?

Yes, there will be one and it will fuck you up because the idea is fucking me up.

Can you talk about it?

No, but you’re getting pieces of it on this record. You see it’s all been a confidence thing. When people hear me rapping on this Duce album they say I sound good. That’s the trip part about it I’ve been going through ten years of opening my mouth and people say damn, nigga you sound fucked up or you go to the grocery store and the ladies say that’s okay baby you ain’t got to talk no more I see your hit is fucked up. Psychologically, that’s draining. But nowadays when people hear my voice there like, ooh your voice sounds so distinct, it so this, it’s so that. So it’s not a real issue now.

The D.O.C's resume;,+The

Interview With A Legend: The D.O.C. On Dubcnn;
Interview With A Legend: The D.O.C. On Dubcnn thread;
EROTIC D and the D.O.C.
The D.O.C video’s from No One Can Do It Better and Helter Skelter;

The interview is a couple of years old. I will check my Murder Dog magazine's to find the date later.

Hit this link;
to check out more interview's by these artists;
solid crew
wolf town recordings
swizz beatz
the grind family
dead prez
brotha lynch hung
dayton family
mike mosley
kottonmouth kings
fat joe
lil jon & the east side boyz
david banner
insane clown posse
too $hort
DJ screw
ghetto mafia
jt money
st lunataics
mac mall
pastor troy
petey pablo
project pat
rass kass
the shinin
tech n9ne
the click
fifty cent
jt the bigga figga
bone crusher
Chingo Bling
Killer Mike
State Property

Subscribe to Murder Dog magazine here;

The D.O.C video’s;

-From the “No One Can Do It Better” album
The D.O.C. - Mind Blowin'  :o(REMIX!!!!!!) :o
Produced by Dr.Dre

The D.O.C. - The D.O.C. and The Doctor
Produced by Dr.Dre

The D.O.C. - The Formula
Produced by Dr.Dre

The DOC - It's Funky Enough
Produced by Dr.Dre

-From the “Helter Skelter” album;
The D.O.C - 4My Doggz   Produced by Erotic D

The D.O.C's resume;,+The
Dr.Dre’s resume;
C.V.: Dr.Dre (Productions);
Erotic D's resume:

Interview’s and thread about The D.O.C;
Interview with The D.O.C by Charlie Braxton/
Interview with The D.O.C by Charlie Braxton/ thread;
Interview With A Legend: The D.O.C. On Dubcnn;
Interview With A Legend: The D.O.C. On Dubcnn thread;
EROTIC D and the D.O.C.

6-Two is about to release a mixtape in collaboration with Big Mike called "Southern Hydro". Watch the video on his myspace

The 411 on 6-2 from his MySpace:
6Two has since risen from the ashes of victimization and been called upon by the legendary Timbaland. Timbaland, along with Alabama Rapper Attitude, and 6two aka deuce have finished what seems to be a rap masterpiece. The album is set to be released very soon and will catapult Sixty 2 back into raps lime light. While working on the new Timbaland record 62 has written for Puff daddy another urban heavyweight.I also Co-Wrote 1st Single WAIT a MINUTE for the PUSSIECAT Dolls. 6Two Album Credits: Genacide "Waste of a cular" Genacide "Mixed up Murder" Dr. Dre. "Chronic 2001" Aftermath / Interscope Records year 2000 The D.O.C. "Duece". Silverback / Sony Records year 2003 Timbaland "yet to released" "release date tba" Snoop Dogg and DJ Jam Mix Cd "WBALLZ " vol. 1 Six2 "Mac-a-roni and G's" 6two Productions Young Bleed's The Street's are Watchin Money Waters NiggaLawz commin Soon.. ....NOW ya know the Pass He izz the future .... New Album:Southern Hydro"a Big Mike & Six-2 collaberation Hittin the Steet'z World Wide. New Album:Sinncerlee Yourz Mista 2Face"6-Two,s Solo GENA-CIDE's Tru ROOTs ElDoG's Solo Commin 2007

First Video from the Big Mike and 6-2; Southern Hydro album;
Big Mike & Six 2 "Down Home" feat. Young Bleed

Follow up questions for your next interview with The D.O.C
-When you started working on Helter skelter for Dre,was Erotic D going to be part of the production for that album?
-Was the "new world" concept that you used for your Helter Skelter album the same concept that you had planned for Dre & Cube's album?
-You produced produced some tracks Mc Breed & DFC,do you still do some beats,or was that just some fun you was playing with back then?
-You wrote Guerrilla Pimpin' for Mc Breed on his Flatline album,but you used the same lyrics for your Deuce album with 6-2 performing them,diden't you like the Mc Breed version or did you like the lyrics so much that you wanted them on your album also?
-Are you still cool with Mc Breed?
-What's up with Erotic D?
-Will he ever get to release his The Black Bruce Willis album?

Here's Erotic D's (closed???) so you get the 411 on Erotic D.
yo DubCnn need to get at him too.

Featuring Big Mike,MC Breed and 6-2

Some more info on Erotic D;
Erotic D has a album coming out called The Black Bruce Willis.
According to his (closed???) he is working with Dr.Dre on DETOX.
His record company can be reach at and/or +12142368902 according to the add in Down Magazine feb/march 06,issue 4.

Erotic D's resume:
The D.O.C's resume:,+The
Return of the livinīdead REMIX produced by Erotic D
From Ruthless to Death Row REMIX produced by Erotic D
MC Breed; #1 FloatinīTrough The Cosmos produced by Erotic D
MC Breed; #2 My Dove produced by Erotic D co-written by The D.O.C

Hereīs both versionīs of Guerilla Pimpinī;
MC Breed and The D.O.C; #4 Guerilla Pimpinī produced by jazze pha,written by The D.O.C
6-2 and Dr.Dre; Guerilla Pimpinīproduced by Jazze Pha,written by The D.O.C

So Nima when are you gonna do the follow up interview you mentioned?
« Last Edit: September 05, 2007, 02:29:13 PM by tusken RAIDEr - CEO of The Dangerous Crew Movement »


  • Hip Hop Hippie
  • Muthafuckin' Don!
  • *****
  • Posts: 6885
  • Thanked: 5 times
  • Karma: 1647
  • California Livin' - Murs and Me
Re: Interview With A Legend: The D.O.C. On Dubcnn
« Reply #62 on: January 08, 2007, 02:39:34 PM »
good shit^^ +1


Fee Fie Foe Fum; somethin' stank and I want some.

My hip-hop group The West Coast Avengers @

@tanjintwiggy and @westcoastavengers on Instagram


  • Hip Hop Hippie
  • Muthafuckin' Don!
  • *****
  • Posts: 6885
  • Thanked: 5 times
  • Karma: 1647
  • California Livin' - Murs and Me
Re: Interview With A Legend: The D.O.C. On Dubcnn
« Reply #63 on: January 08, 2007, 03:11:15 PM »
for the first time, i'm listening to the audio of this interview and man nima, you really did get him to open up alot.

this shit is dope. props +1


Fee Fie Foe Fum; somethin' stank and I want some.

My hip-hop group The West Coast Avengers @

@tanjintwiggy and @westcoastavengers on Instagram


  • Guest
Re: Interview With A Legend: The D.O.C. On Dubcnn
« Reply #64 on: October 04, 2019, 05:50:21 PM »
First Cube, Now DOC.