This is an IHeart podcast.

Helping out for kids and shit like that, so good.

As you should, man.

You know, today we got one of my homeboys in here.

I tell you, man, when I first met Darrell, man, I had a little spot over in Laker with a little studio, and he let me hold his MPC for like a whole year.

Yeah, yeah. You talked about that. Yeah, MPC 3,000. I had that man's machine for a whole year and I learned how to master that bullfucking the whole year. I had the 2000, right, but the 2000 and the 3,000 for anybody that produces way different. They're the same, but they're different, right? And to me, the 3000 kick a little harder, you know?

Yes, because of show.

The 2000 is like a toy kind of, you know what I'm saying?

But he got, man, like one of them stories, man,

it's like the ultimate success story.

He was a dude that came to death row as an R&B singer and wound up producing one of the best-selling hip-hop albums of all the time, McA Kelly. Okay. Yeah, man. So, Dee, when you first hooked up with Shug, you was an R&B singer. You was just doing R&B? I was just doing R&B a little gospel, you know, but my background gospel. But R&B, when I came

to Shill, I sung him some R&B songs I was writing. And he hired me immediately. Yeah. And you fell in love

with him. Yeah, yeah, yeah, yeah. But you know, when in Rome, you do what the Romans do.

When I got the deaf road, the only text being cut was hip-hop.

So I learned to go grab equipment around the building and learn how to mess with the MP

or whatever else they had, whatever the other kind of module they had.

And just so happened, yeah.

It was fortunate for me that one day messing around with what I was doing,

Pock walked in and told me the beat I was making was his.

Yeah, so let me ask you this.

So you hadn't produced none prior to that?

Never.

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