EROTIC D (PART 3)
2008) | Interview By:
Weíve been bringing you an exclusive
feature on Erotic D over the last couple weeks, where weíve seen Erotic
Part 1 and
Part 2, his
journey from a party DJ in the early 80ís, to connecting with D.O.C. & Dr. Dre
and working with NWA, to being a part of the early Death Row dynasty. We
learned a few things along the way such as his influences, a little info on
the original Dr. Dre & Ice Cube Helter Skelter project, and more.
Well, we conclude our interview series with Erotic D today, as we bring you
Part 3 of this exclusive feature.
In this final piece, Erotic shares with us his
feelings on the Helter Skelter project with D.O.C., how that album was
constructed, and what new projects we can expect to see from him and his
E-World Entertainment company.
We also get his side of the story on Six-Two & D.O.C., and what his
relationship is like with them and Dr. Dre these days. Speaking of Dre, we
also get some interesting information concerning Dr. Dreís 2001 album, as well
asÖÖwell, let me hold some of this back to give you something to look forward
to in the interview, and discuss in the dubcnn forums.
Interview was done by phone in June 2008
Questions Asked By:
Interview Assistance: ďBlackĒ Chris Thompson
Erotic D Gave Dubcnn.com A Shoutout! Check That
Read Part 1 of This Interview:
Read Part 2 of This Interview:
Erotic D -
Kiss My Ass (Feat. 6-2 & El Dog)
Erotic D -
El Dog -
I'll Kill Ya
Dubcnn: I read an interview with D.O.C. where he was talking about your
production work on Helter Skelter, and he said that you didnít really get the
recognition that you deserved from your production of that album. How does
that make you feel?
I really appreciate the praise, and appreciate it whenever Doc says
anything positive because Iíve gotten so much negative out of him since that
record. So, whenever he says anything positive, Iím shocked. I donít know if
itís true or not, about not getting enough recognition, but I definitely thank
him for saying that because I didnít have a whole lot to work with. I think I
did a record that nobody can top with Helter Skelter. I donít think anybody
can do a record as original as that motherf-cker. Look what I was working
with, a n-gga with no goddamn voice!
Dubcnn: How was that record put together, with his voice not enabling him
to do the things he had done previously? I had heard that with his voice being
weak, that he had to do a lot of short recording sessions to complete that
Iím going to tell you some real sh-t, coming from the only n-gga that was in
the studio, besides the engineer. When it comes to Doc recording in the
studio, physically Doc was in great shape when we were doing that record. The
only limitations this n-gga had in the studio is that his voice does not have
a very bass heavy tone. When it came to recording Helter Skelter, not only did
Doc do his song the whole time, but he did them twice to strengthen the voice.
We didnít have pro-tools or none of that sh-t, and he did his raps the exact
same way each time! He did a great job of doing his raps twice; I couldnít
believe he was doing them the exact same way each time. I didnít do anything
special to Docís voice, or nothing special in the creation of that record,
other than take my time to make sure that the music was dope.
If anything, most of the time Doc was at a strip club, and I was in the studio
with the engineer. I used Jamal from Illegal to freestyle on my tracks while I
built the music around him, to substitute an emcee in the studio for D.O.C.
because Doc was making it a habit of not coming to the studio. Jamal was in
there with me everyday, so I would tell him to get in there and spit me 3
16ís. I like to put sounds around vocals. So, there were certain songs when
Doc only had one verse done, and I told him to kick that one verse 3 times and
then go, so I could finish the track. Thatís the only time Doc went in there
and did anything short. It didnít have anything to do with his ability to do
it. It was only due to the fact that he hadnít completed the song yet. We
didnít finish writing those songs until we finished picking out the songs we
were going to use for the record. Eight months down the road, we finished
working on the record, and half the motherf-ckers got 3 verses saying the same
sh*t *laughs*. Then heíd crash for a few weeks where he sat down and finished
writing the songs. It might have been a little unorthodox in how we finished
the record, but there were no studio tricks.
Dubcnn: D.O.C. has been quoted as saying that he doesnít really count
Helter Skelter as an ďalbumĒ. What are your thoughts about that record?
The n-gga disrespected me by saying that. Being in my position that would wipe
out that last question you just asked me about; he just xíd out what he said
in another interview. Itís things like that for the reason I have a chip on my
shoulder about this guy. When he ainít got nothing, heís got Erotic, but when
heís got it, he donít count nothing that Erotic did. Thatís bullsh-t! I feel
like Helter Skelter was one of the greatest hip-hop records ever, I donít care
how much it was overlooked. What I do know is when I was reading the magazine
reviews on that record, all the reviews were favorable to me and negative
towards him. Thatís why I donít if I agree with I didnít get enough credit for
that record. Iím still eating of that motherf-cker! Iím still getting
production jobs because n-ggaz want that sound.
Dubcnn: I donít know if that record was overlooked, or if people just
werenít ready for a record like that at that time.
We, meaning Dre, Doc, myself and whoever else we f-ck with have always and
always will do records before their time. Sometimes they work and sometimes
they come back and be cult classics because people didnít understand them at
first. We watch TV and what goes on in the world, and weíre able to translate
all that and warn you or let you in on whatís going to be the next thing.
Sometimes people want to get stuck in the moment and donít want to know whatís
going to be next. I think that, and what happened to D.O.C.ís voice is what
happened with that Helter Skelter record. It was what was next, but then you
turn around and now the Whisper Song is a goddamn hit? That was trash, man! It
was terrible! People thought that was D.O.C. when that record came out, and
people loved it, but they hated it when he came out for real in í95. It just
donít make no sense to me.
Dubcnn: On The Brand New Formula had samples from the original The Formula
song, which I assume Ruthless Records owned the rights to. How were you able
to get that sample cleared from them?
That song had only one sample in it. Whenever you sample a sample you have to
pay the original artist. So we paid Marvin Gaye for using that piano chord,
which brings up another thing that I need said, and Iím going to say it in
every interview until this n-gga calls me. The singer on the hook of that song
is Jazze Pha. Iím the first n-gga that put that n-gga on a major record,
besides a little deal we had doing some R&B sh*t back in the day. Iím talking
hip-hop-wise. That record should have been a big record, and I put that n-gga
on there. He was doing bad, didnít have no where to live, he couldnít barely
eat; and now I canít get this fat motherf-cker to call me back when I call
Dubcnn: Let me switch gears on you for a minute. Whatís the story with you
When Six-Two and I first got together he was in a group called Genocide. He
always had that commercial-ass voice that you can just get into. The other n-gga
in the group is dope as f-ck, my n-gga, but the n-gga is more ghetto than
Six-Two. That group is highly regarded here at home. These n-ggaz couldíve
owned Ft. Worth/Dallas! They didnít do it like they should have, so I came
along and offered them a situation. I didnít want to do no divide & conquer sh-t,
but I thought the best thing for them was for Six-Two to get a solo deal, and
then we do the group thing. They thought I was an industry n-gga trying to
break them up, but I insisted that that wasnít the case, but I knew I could
get Six-Two signed to Dr. Dreís label.
We worked for 3 years on a bunch of songs and sh-t, and then my words came to
fruition. D.O.C. got his deal with Dre, then wanted me to come up there and
produce the sh-t that Doc was doing because the deal wasnít necessarily that
Dre was going to produce it all. Dre was going to charge Doc to produce
whatever, and still put it out on Aftermath. I signed a contract to come up
there and produce for this little situation that Doc had with Dre. As an
addition of that, Dre gave Doc a slot to bring 3 artists and get them signed
to Aftermath. He already had 2 artists, and he wanted me to produce them. I
said I was bringing my n-gga Six-Two with me; you ainít got to take care of
him because the check they was writing me was ok. I could take care of both of
us for however long we was out there. Docís lawyer was like, Ďwe appreciate
Eroticís help, but weíre going to let Six-Two have that 3rd slotí. Thatís how
Doc got Six-Two as an artist because I gave him to Doc, as a loan-out artist.
I still got the contract in my file cabinet where it says he was a loan-out
artist to Docís label. He was still my artist, but we let them put him out.
I had given D.O.C. 4 songs that we had already done, he took them up there to
let Dre hear them, and it f-cked Dre up! Dre said they was going to drop
everything and do Six-Two right now! So we go out to Cali to do a compilation,
but after our meeting Dre said it was Six-Twoís record, this was Six-Twoís
studio time. We go to the studio, and on the SSL console it says: Artist Ė
Six-Two, Producer: Erotic D. The other n-ggaz didnít like that sh-t *laughs*.
We record 9 songs in 2 or 3 days.
Dubcnn: Damn! So you guys started putting in some work?
We came back to Texas, but never went back because the business started
getting funny, as it usually does around there for some kind of reason. During
that time, Dre was trying to do his 2001 record on a club type of thing. That
record was originally going to be more of a club record than it turned out to
be. The reason I heard that it came back to being some gangsta sh*t, and I
donít remember if I heard this from Dre or not, but itís because Dre was
influenced by Six-Twoís way making it sound so easy. His rapping sounded so
effortless and sh-t. It impressed Dre, and Eminem was already signed and about
to come out. I remember being there and watching Em write The Watcher. He
wrote that in a bout an hour, got in there and spit, then he left. We was
around there for all that 2001 sh-t. Anyways, Xxplosive was a song we had
already had, but we just gave the raps to Dre and he put it on one of his
beats. But we had that song a long time ago. On that song Six-Two said, Ďa 23
year-old pussy fiend and freakaholicí. That sh-t started out with him saying,
Ďan 18 year-old pussy fiend..í; we would record every year and just change his
B-tch N-ggaz is another one we recorded and gave to Dre, before Dre changed
the beat on the motherf-cker. Now, my understanding was that Six-Two, after
being all over a Dre album that went 7-times platinum, was supposed to come
out with an album right after that on Aftermath. But it got fucked up due to
some personal sh-t he was going through at the time. From there, thatís where
he did all that Deuce sh-t, that Timbaland sh-t; wrote some sh-t for Diddy,
but didnít get paid for none of that sh-t. So he came back to where it all
started because he knew Iíd take care of him, and we working on a new record
thatís going to be the sh-t! Weíre already half-way finished with it.
Dubcnn: Do you have title for that project yet?
It might be Mentally Disturbed, but I donít know. We got so many songs, that
Iím going to put out an album, not the album, but an album thatís already been
done. Iím mixing and mastering that motherf-cker as we speak.
Dubcnn: Damn, Iím looking forward to that! What else are you working on?
Iím going to drop 10 albums on my label, E World Entertainment, over the next
few months. Iím going to let my nuts hang all over these motherf-ckers! I got
the Black Bruce Willis album, on which I did the all the instruments live.
Itís all me on the album, with the only features being Six-Two and El Dog. Iím
following that up with a Black Bruce Willis Part 2, called Rap Superhero. This
one features all of my artists mainly, with a few solos by me. Itís all
produced by me! I got Six-Twoís sh-t that Iím sequencing; a mixtape called
Game Over that I basically gave away, but Iím going to put it back out. I got
another one called Sleeper Cell, I mean Iím going to drop all this sh-t on
these n-ggaz heads! Before you know it, Iíll be telling you sh-t I told you I
wasnít going to tell you, sooner or later depending on how these n-ggaz react.
Iím about to hold the rap game hostage! A lot of n-ggaz owe me favors that I
never cashed in on. I done gave a lot of n-ggaz hit records. I gave Dre a new
record called Dear Diary, I will tell you that!
Dubcnn: Damn, ok!
It was supposed to be the first single to my new album, and that n-gga paid me
top-dollar to let him have it. I went on and let it go because I was building
my sh*t, and every dollar counts. If this n-gga is loving this record like all
those other records I done gave his ass, that means Iím still doing it! That
song is so off the chain, my n-gga! If he uses the record, remember I told you
about it *laughs*.
Dubcnn: After this Six-Two situation, whatís your relationship with D.O.C.
*laughs* I meet him up at this club, where we had been watching the Lakers
playoff game. The gameís over; he asks me to follow him back to his house.
Used to be, there was this certain n-gga that I would let know I was in town,
and he would then let Dre know and then Dre would tell him where to have me
meet him. For some reason, Dre always wanted to keep our dealings away from
D.O.C.; I donít know why. But, I tell Doc, that until I find somebody else, I
needed him to tell Dre that I was in town and I needed to come see him. After
all these years, this n-gga looked me straight in the face and said, ĎIím not
telling Dre sh-t.í I thought I was supposed to laugh, but the n-gga was
serious! I told him I had my own relationship with Dre, it ainít like Iím
stalking him. He said, Ď well if you got it like that, then find him
yourselfí. He didnít want to tell Dre because he didnít want me in the studio
with Dre. But, after a while he ended up telling me where he was and I went up
there and did what I needed to do.
A couple months later, Iím back in Texas talking with my entertainment lawyer
about how I can start pushing my new record and sh-t like that. My lawyer
suggests that I tell Doc that Iíll give him free tracks if heíll hooked me up
with so and so. Every west coast n-gga I know or knows me thinks that I f-ck
with Doc, so they talk to Doc to try to get to me instead of finding me on
their own. There was an instance where Kurupt wanted to f-ck with and Doc said
heíd give me his number if I gave him 2 free beats. It was little sh-t like
that. So, we decided to play his game telling him Iíd give him free tracks if
heíd hook me up with such and such. He told me, ĎI got Dr. Dre now, I donít
need Erotic D no more. I donít need nobody, I got Dreí. Which I know for a
fact he ainít really got Dre like that, but thatís a whole other can of worms.
But when he said that I told myself right then, when Dre kicks him to the curb
again, because itíll happen, and he tells me he got this half million dollar
check that heíll split with me, Iíll tell him to shove it straight up his ass.
Iím not going to stop screaming on his ass until Iím finished. Right now, itís
war on that n-gga! Whether he fights back or not, I donít give a f-ck. The n-gga
done sh-t on me for years, but I just kept on going. Now, it donít even make
no sense. So f-ck that!
Dubcnn: So, as of now, thereís not going to be any involvement from Erotic
D on D.O.C.ís record Voice Through Hot Vessels that heís talking about?
F-ck no! And if that record make the light of day, n-gga, Iíll eat my shorts.
Only n-ggaz that got love for Doc like that is n-ggaz that donít know him. N-ggaz
that know Doc will entertain him, but the only way that record is going to see
the light of day is if Dre say so, and I donít see that happening. If it does,
then I donít know Dre like I think I do.
Dubcnn: So whatís the relationship with you and Dr. Dre these days?
Me and Dre done sat down and talked about all that other sh-t in the past, and
we agreed that all the new records that I do with him from now on is supposed
to say: Produced by Dr. Dre & Erotic D. Thatís all I could get out of them
though. I couldnít get them to agree to say that the record was all produced
by me, which is what I feel like Iíve earned. As long as my name is on these
motherf-ckers from now on, then Iím cool.
Dubcnn: And you submitted this Dear Diary track to Dr. Dre for Detox?
Yes, and from what I understand, itís supposed to make the album.
Dubcnn: I know you canít give out details on Detox, but what kind of
updates can you give us?
I canít really give no updates because dude donít work like this song is for
that record, that song is for this record. Heís just in there working! Itís
just n-ggaz spitting raps. Dre donít give a f-ck whoís in the studio. Whoever
is in there and got a pen, he wants you to rap. I will admit that since I gave
him Dear Diary Iíve only been to the studio a few times. I just got through
making some plans in L.A., so Iím going to go out there and stay for 6 or 7
months. Since the Death Row days, Iíve never stayed out there longer than 2
months. Iím about to do that sit down with Dre.
Heís always wanted me to do a production deal with Aftermath. He tells me how
much he needs me on his team, and feels everything I do. He said, Ďmake your
own price up.í But heís got people in the f-cking way, man. If I leave Cali
and Dre change his number, I canít call his people and tell them to have Dre
call me. They know who the f-ck I'm, but I canít count how many times in the
last month Iíve left messages with Dreís people to have Dre call me. They
treat me like Iím a groupie n-gga trying to get at Dr. Dre. Iím one of the
only n-ggaz besides these major hip-hop n-ggaz that can go up there, ask for
Dre, and get in the f-cking studio.
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