Been finding a bunch of old files, here's one.
This was for a "Regular Speed" mixtape of my favorite DJ Screw jams.
if y'all want it, i'll finish it.
Wednesday, May 6, 2015
Saturday, April 18, 2015
Eazy-E Unreleased LAST Interview (February 1995)
RP:
Lately, you've talked a lot about jealousy.
Eazy-E:
Those may hate you, but when you hate them…you destroy yourself [he coughs for a while. After a moment, he puts a tape in the deck]. This is some of the producing that I've been doing. I was thinking this would be a good track for me and Ren.
RP:
You did this track? I didn't know you produced.
Eazy-E:
I did a lot of songs on N.W.A. All that old @#%$. I didn't want the credit because I'm the company, I'm an artist myself, I had a solo album before N.W.A. was out, and I'm in the group (coughs). I didn't want the credit because everyone has egos. I'm getting paid for being in a group and (for) owning the company and being a solo artist. Here's what Dre did. Say me and Ren would come up with a whole idea for a song. Dre was good at putting it together. So we might have an idea for a song, lay it down at home on a little four track or 12 track, and (then) Dre would put it together, him and DJ Yella.
RP:
Which N.W.A. tracks are you talking about in particular?
Eazy-E:
"Findum, ****em and Flee," "She Swallowed It"…me and Ren did a lot of stuff. "Approach to Danger"… a lot of them. I can't remember all of them. A lot of stuff, you could tell if you knew Dre [and] his style. He was in N.W.A., but Dre came from the Wrecking Crew, but I got him to do this other type of music I wanted to do, the gangsta @#%$, and I got Dre away from what he was doing. Ice Cube was from C.I.A. and the Stereo Crew, and if you knew their style, they were like the Beastie Boys. I put' em together, and we formed N.W.A., and they changed their style. And they started hollering Compton because that's where we were from: me, Ren, and Yella.
RP:
You want me to put this in here?
Eazy-E:
Yeah. Whether I had some fake people with me or not. But when Ice Cube split, he never hollered Compton no more. He started hollering "How to survive in South Central." You haven't heard him holler Compton no more. If you look back in the people's pasts and check their style, you'll where they really came from. Go back to their past and see what they were doing in the beginning. Dre, if you listen to his style of music from N.W.A. to now, it's totally different. Dre stole that style [G-funk] from Cold 187um, Rhythm D and a couple of other people he stole from. Dre stole stuff from that, Above The Law's, Black Mafia Life's "Never Missing a Beat." [He coughs twice, then three times] They're good songs.
RP:
So how old are you?
Eazy-E:
Young. [Coughing] Just young. Nobody knows how old.
RP:
People say you got the money together to finance Ruthless Records by selling drugs?
Eazy-E:
They can say whatever, but whatever it came from, they can't prove it.
RP:
What's up with you and Cube these days? Are you working with him on anything?
Eazy-E:
Me and Cube is cool. That's all I can say. We've sat down an' talked a couple of times. I've got nothing against him.
RP:
What do you think are some of the misconceptions people have about Ruthless Records?
Eazy-E:
Number one…that it's my company. I'm the sole owner. There's no investors, there's no partners. It's my company.
RP:
Looking at the number of successful Black-owned record companies and how you were one of the first to…
Eazy-E:
Even if they're Black-owned, they're being financed by someone else. There's a lot of companies, like Russell (Simmons), Andre Harrell's Uptown Records, Jimmy Jam and Terry Lewis's label. You had Motown…
RP:
Motown is not Black-owned.
Eazy-E:
It was at one time. I said, "You had Motown." (He laughs) Jermaine Dupris is doing something now. Yeah, I was one of them. Then everyone else who broke off from me, some of them is doing good.
RP:
Getting back to misconceptions…
Eazy-E:
I treat my artists real good. All that, "He @#%$ me"…then why am I still making money off them? If someone @#%$ me, they wouldn't be making a dime off me. Dre went out running his mouth off, and nothing he said was true. Everything was false. I still make money off him; I still got about five more years to go.
RP:
So what you're saying is that if you were ripping Dre off, that courts would have ruled on his side? The paperwork…
Eazy-E:
Yeah, contracts and everything, and I worked out a deal with Interscope. I give my artists fair deals. I start them off at 12 points, with escalation at every 500,000. In the publishing, a 50-50 split. Today, most people take 100% of the artist's publishing. I know a lot of people who have sold 4 million records and ain't even seen a million dollars. That ain't no record deal. Now I'm not trying to give out any big advances because that's recoupable. That's your own money. If you take a big advance, you'll have to pay that back (if you don't sell enough units).
Tuesday, March 31, 2015
Friday, March 6, 2015
Abaddon Strife - VMU - EPISODE 1 (FULL EP) [2015] FREE DOWNLOAD!
2.Straight Contact (Produced By Z-$trike)
3.Nowhere -Remix- (Produced By Z-$trike)
4.Future Shock -Remix- (Produced By Da Menace)
5.Nunn Nunn Interlude
6.Rollin' Up Tha Blunt (Produced By Z-$trike)
7.Find Yo Body ft. Krook & Bloody Ruckus (Produced By Krook)
8.Sylmar Haunting (Produced By Krook)
9.DirtBag Dan Outro
DROPBOX https://www.dropbox.com/s/42oljs2ppd04gla/Abaddon%20Strife%20-%20VMU%20EP.1%20%5B2015%5D.rar?dl=0
SOUNDCLOUD https://soundcloud.com/the-thoro-organization/sets/vmu-episode-1
Tuesday, February 17, 2015
Sunday, February 15, 2015
How To EQ Vocals & Samples (THANK ME LATER MOFOS)
50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on loud bass lines like rock.
100Hz
1. Increase to add a harder bass sound to lowest frequency instruments.
2. Increase to add fullness to guitars, snare.
3. Increase to add warmth to piano and horns.
4. Reduce to remove boom on guitars & increase clarity.
200Hz-250 hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar ( harder sound ).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars.
1khz
1. if your singer sounds nasally, decrease around 1k.
1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars.
5KHz
1. Increase for vocal presence. -male
2. Increase low frequency drum attack ( foot / toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars).
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
7KHz
7 to 7.5 khz increase for vocal presence female
1. Increase to add attack on low frequency drums ( more metallic sound ).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.
1. Increase to add a harder bass sound to lowest frequency instruments.
2. Increase to add fullness to guitars, snare.
3. Increase to add warmth to piano and horns.
4. Reduce to remove boom on guitars & increase clarity.
200Hz-250 hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar ( harder sound ).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars.
1khz
1. if your singer sounds nasally, decrease around 1k.
1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars.
5KHz
1. Increase for vocal presence. -male
2. Increase low frequency drum attack ( foot / toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars).
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
7KHz
7 to 7.5 khz increase for vocal presence female
1. Increase to add attack on low frequency drums ( more metallic sound ).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.
Monday, February 9, 2015
Sunday, February 8, 2015
2pac + Tha Outlawz - 6 or 12 (unreleased)
Because of the rat race between difference companies, they are now leaking songs without 2pac's verses (also probably to avoid lawsuits) anyway, here u go a dope ass outlawz song. This is kinda like "Where U Been" where the CDQ was leaked without pac's verse, also with the official release of "NY '87" a super eastcoast-diss which also seen the removal of pac's verse.
bump this now while u can, like "where u been" pac's section will be leaked in due time....
Thursday, February 5, 2015
The Doggfather: Tracklist Changes from DAT to Retail.
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The Doggfather production timeline/tracklist selection and iterations:
DAT
String Date 3/21/96
Snoop Doggy Dogg
Walk The Walk w strings,
May I Funk w strings,
Dogg Father w strings,
I Will Survive w strings,
I will survive w strings & vocals,
Change Is Gonna Come w strings,
Wake Up w strings,
Dogg Father w strings,
Come On Home w strings,
Dogg Father Interlude w strings,
East Side party Instrumental w strings,
East Side Party w Vocals & strings
DAT
The Doggfather 4/3/96
Snoop Doggy Dogg
Dogg Father,
East Side Party,
I Will Survive,
Change Gonna Come,
May I Funk With You,
Tommy Boy, Wake Up,
Walk That Walk,
Come On Home,
Never Leave Me Alone,
Street Life,
2001
DAT
Tha Doggfather new 4/12/96
Snoop Doggy Dogg
Gangstas life,
Smoke enuff bud,
Dogg collar,
I will survive,
Eastside party,
Doggy land,
2001,
May I funk with you,
Change gone come,
Hit rocks,
Wake up,
Word on the street,
Too black,
Dogg father,
Too high,
Tommy boy,
Walk that walk
1/2 tape
Edit Piece from DAT transfer to multitrack 4/12/96
Snoop Doggy Dogg
Gangstas life,
Smoke enuff bud,
Dogg collar,
I will survive,
Sastside party,
doggy land,
2001,
May I funk with you,
Change gone come,
Hit rocks,
Wake up,
Word on the street,
Too black,
Dogg father,
Too high,
Tommy boy,
Walk that walk
DAT
The Doggfather Master Comp Safety 5/7/96 ***not for production
Snoop Doggy Dogg
Gangsta Life,
Smoke Enuf Bud,
Dogg Collar,
I Will Survive,
East Side Party,
Dogg Land, 2001,
May I Funk Wid You,
Change Gone Come,
This Rocks,
Wake Up,
Word Out The Street,
Too Black (no scratch),
Dogg Father,
Too High,
Tommy Boy,
Walk That Walk
DAT
Tha Dogg Father copy 5/17/96
Snoop Doggy Dogg
Intro-Havent You Heard,
Up Jump The Boogie,
Six Minutes,
Me & My Doggz,
Doggyland,
2001,
Wake Up,
Word On The Streetz,
Change Gone Come,
Off The Hook,
Out Tha Moon,
Dogg Father,
Too Black,
Gold Rush,
Doggy Style 96,
Hits Rocks,
Gangsta Life,
Keep It Real Doggs,
May I funk wit you,
I will survive,
smoke enuf Bud,
Dogg Collar
DAT
DAT Digital Copy 6/17/96
Snoop Doggy Dogg
Doggfather,
Up Jump The Boogie,
2001, Doggyland,
Me & My Doggs,
C Walkin,
6 Minutes,
Word on The Streets,
Head Doctor,
Wake Up,
Quite Oblivious,
Too Black,
Gold Rush,
Change Gone Come,
Hit Rocks,
Off The Hook,
May I Funk With You
DAT
The Dogg Father 7/10/96 Safety
Snoop Doggy Dogg
Gangstas Life,
Whats My Name (remix),
I Will Survive,
Dogg Collar,
Street Life w Tupac,
Too High Poly High,
Tommy Boy,
Get Up To Get Down w Smitty & DeBarge,
Out The Moon w 2 Pac,
Bugsy,
Stone Cold Corleon,
Been So Long,
No Recognition,
County Blues,
Usual Suspects,
Droppin Bombs,
In The Rain,
In The Rain (remix),
Would You Kill 4 Me,
Party People,
Keep It Real Dogg,
Just Watchin'
Cassette
Mixes 1 Masters Only 9/16/96
Snoop Doggy Dogg
Conversation,
Downtown Assasins,
Gold Rush,
Head Doctor,
Wake Up,
Your Thought,
C Walkin,
Snoop Upside Ya Head,
Me & My Doggs,
Change Is Gonna Come,
Up Jump The Boogies,
Midnite Love,
Doggie Land,
Dogg Father,
DAT
Snoop Dogg Master Compilation 9/25/96
Snoop Doggy Dogg
Conversation,
Downtown Assasins,
Gold Rush,
Head Doctor,
Wake Up,
Your Thought,
Snoop Bounce,
C Walkin,
Me & My Doggs,
Up Jump The Boogies,
Doggie Land, Vapors,
Dogg Father,
6 minutes,
Change Is Gonna Come,
Groupie, 2001 mix,
Snoop Upside Ya Head
DAT
Snoop Dogg Album Final 9/26/96
Snoop Doggy Dogg
Up Jump,
Vapors,
You Thought,
Me & My Doggs,
Dogg Father,
Snoop Upside Your Head,
Head Doctor,
Gold Rudh,
Snoop Bounce,
Wake Up,
C Walkin,
Downtown Assasins,
Doggy Land,
Groupie,
2001,
Soldier Story,
Blue Berry
DAT
Album final 9/26/96 Safety Copy
Snoop Doggy Dogg
Up Jump,
Vapors,
You Thought,
Me and My Doggs,
Dogg Father,
Snoop Upside Your Head,
Head Doctor,
Gold Rush,
Snoop Bounce,
Wake Up,
C Walkin,
Downtown Assassins,
Doggy Land,
Groupie,
2001,
Soldier Story,
Blue Berry
DAT
The Doggfather 10/1/96
Snoop Doggy Dogg
Ride 4 Me,
Up Jump The Boogie,
Vapors,
You Thought,
(Tear 'em Off) Me & My Doggs,
Doggfather,
When I Grow Up,
Snoop Bounce,
Gold Rush,
Freestyle Conversation,
Down town Assassins,
Groupie,
2001,
Sixx minutes,
Hot Line,
Head Doctor,
Snoop Upside Your Head,
Traffic Jam,
Doggy Land,
Blue Berry,
Soldier Story
CD
Tha Doggfather commercial release
Snoop Doggy Dogg
intro,
doggfather,
ride 4 me,
up jump tha boogie,
freestyle conversation,
when I grow up,
snoop bounce,
gold rush,
tear em off me and my doggz,
you thought,
vapors,
groupie,
2001,
sixx minutes,
dj wake up,
snoops upside ya head,
blueberry,
traffic jam,
doggyland,
downtown assassins,
outro
Dr.Dre ft. Nanci Fletcher - Keep Their Headz Ringin' (MIKE TYSON VERSION)
Video Version
Neilk Remaster
Dr.Dre - Xxplosive OG (The Way I Be Pimpin')
Here's an original cut from Dre's 2001 Album. The concept was scrapped, with the beat ultimately being used for the hit song, Xxplosive.
I remember hearing about this somewhere....sometime. lol.
anyway check the cut.
I remember hearing about this somewhere....sometime. lol.
anyway check the cut.
Wednesday, February 4, 2015
Monday, January 26, 2015
Story Of How Sam Sneed Got Beat Up By Tupac And Others For Putting Too Many EastCoast Doods In His Video!!!!
Anyways this is from the book "rollin with Dre" by Bruce Williams. He was dres right hand man.
Rollin’ With Dre
Chapter 12: Beyond Beef At Benihana
By Bruce Williams
(Pages 102 – 103)
Bruce Williams: Sam Sneed had a single in the chamber called “Recognize,” his solo debut—a real hot one, too. But Dre had been to the video shoot—had seen who did cameos—and knew Suge wasn’t calling a meeting with Sam just to confirm congratulations. Something just didn’t feel right.
“Serious, don’t go to that meeting,” I urged Sneed.
“You know we left Death Row,” Dre chimed in. “You know them niggas know you wanna be with us. I just don’t think it’s a good idea.”
Well, the kid wasn’t trying to hear this. He was trying to be a standup guy. So he went out to Can-Am to screen that video.
It surprised Sneed that so many members of the family came out for this. Tupac was in the building, as were the usual complement of Suge’s lackeys and even Hammer. The “Pumps and a Bump” gangsta makeover hadn’t worked for the former multiplatinum rapper, but he was still hanging out. That seemed weird to Sneed. But nice, possibly. He wanted to believe it was recognition for the effort he had put into the product. Within weeks there was to be a Sam Sneed Death Row album in stores.
The stylized black-and-white footage rolled, and there was Dre rapping in close-up, just as expected. Negativity sucked the conference room empty, just as to be expected. Sam Sneed felt cause for concern, but he also thought they knew. Or maybe he thought they wouldn’t care. It was, after all, a hella hecka tight video.
But the music sounded like a Death Row track, by which I mean it was a Dr. Dre track. And Dre was doing the hook. That was bad enough. Then the East Coast niggas started showing up in cameos. First some East Coast basketball cats, big and impressive names if you’re from Brooklyn. This was the San Fernando Valley, though. And there was a war goin’ on.
Tupac said, “If I see one more East Coast nigga in this mother fucker…”
Sam had been flirting with a girl in the most dominant image of the video’s second half. The two stood posted at a bar. It played pretty well. The rumbling ceased, mostly.
Then Kool G. Rap entered the video frame.
“What the fuck!” shouted Tupac.
And everybody began to beat the shit out of Sam Sneed. Fists, legs, whatever. Everybody at that meeting got a lick or a kick all up in his ass. I can almost see where they were coming from. Like, how are you gonna be on the Death Row team when you’re hangin’ out with Dre and a lot of niggas from the East?
Suge mad Sneed put in an appearance at a party for Snoop that night. He even gave a toast. Then he flew home to Pittsburgh. Sam was never the same. Death Row never relased the album. Not too long ago the nigga had brain surgery, just to get his ass back to some semblance of normality. The crazy shit is that Sam Sneed is my dog, but he’s never owned up to exactly what happened that day at Can-Am, even though I know the deal from folks that was there. My guess is that it’s hard to talk to me about it, considering I told his dumb ass not to go.
SOURCE: Rollin’ With Dre – Chapter 12: Beyond Beef At Benihana (Pages 102 – 103)
Rollin’ With Dre
Chapter 12: Beyond Beef At Benihana
By Bruce Williams
(Pages 102 – 103)
Bruce Williams: Sam Sneed had a single in the chamber called “Recognize,” his solo debut—a real hot one, too. But Dre had been to the video shoot—had seen who did cameos—and knew Suge wasn’t calling a meeting with Sam just to confirm congratulations. Something just didn’t feel right.
“Serious, don’t go to that meeting,” I urged Sneed.
“You know we left Death Row,” Dre chimed in. “You know them niggas know you wanna be with us. I just don’t think it’s a good idea.”
Well, the kid wasn’t trying to hear this. He was trying to be a standup guy. So he went out to Can-Am to screen that video.
It surprised Sneed that so many members of the family came out for this. Tupac was in the building, as were the usual complement of Suge’s lackeys and even Hammer. The “Pumps and a Bump” gangsta makeover hadn’t worked for the former multiplatinum rapper, but he was still hanging out. That seemed weird to Sneed. But nice, possibly. He wanted to believe it was recognition for the effort he had put into the product. Within weeks there was to be a Sam Sneed Death Row album in stores.
The stylized black-and-white footage rolled, and there was Dre rapping in close-up, just as expected. Negativity sucked the conference room empty, just as to be expected. Sam Sneed felt cause for concern, but he also thought they knew. Or maybe he thought they wouldn’t care. It was, after all, a hella hecka tight video.
But the music sounded like a Death Row track, by which I mean it was a Dr. Dre track. And Dre was doing the hook. That was bad enough. Then the East Coast niggas started showing up in cameos. First some East Coast basketball cats, big and impressive names if you’re from Brooklyn. This was the San Fernando Valley, though. And there was a war goin’ on.
Tupac said, “If I see one more East Coast nigga in this mother fucker…”
Sam had been flirting with a girl in the most dominant image of the video’s second half. The two stood posted at a bar. It played pretty well. The rumbling ceased, mostly.
Then Kool G. Rap entered the video frame.
“What the fuck!” shouted Tupac.
And everybody began to beat the shit out of Sam Sneed. Fists, legs, whatever. Everybody at that meeting got a lick or a kick all up in his ass. I can almost see where they were coming from. Like, how are you gonna be on the Death Row team when you’re hangin’ out with Dre and a lot of niggas from the East?
Suge mad Sneed put in an appearance at a party for Snoop that night. He even gave a toast. Then he flew home to Pittsburgh. Sam was never the same. Death Row never relased the album. Not too long ago the nigga had brain surgery, just to get his ass back to some semblance of normality. The crazy shit is that Sam Sneed is my dog, but he’s never owned up to exactly what happened that day at Can-Am, even though I know the deal from folks that was there. My guess is that it’s hard to talk to me about it, considering I told his dumb ass not to go.
SOURCE: Rollin’ With Dre – Chapter 12: Beyond Beef At Benihana (Pages 102 – 103)
2pac in North Hollywood (PART 1)
Simone Green (about Tupac): Well, you know, we kinda hit
it off. When I first met him it was because a friend of mine, [singer]
Val Young, was having a potluck at her house. She had an apartment, but
she could pack that joint like it was a concert 'cause everybody in that
apartment was famous: from Darryl Strawberry to the Mary Jane Girls to
Tupac Shakur, Yo-Yo, Bell Biv Devoe, everybody was there. They came for
the food. And, I moved in that building and she asked me to make some
buffalo wings. And I made the buffalo wings, and I tell you Tupac
snatched them wings up and snuck into a corner and ate 'em all. He loved
the wings to the point where that's what made us become friends. He
[would say], "Oh, yo, can you make some more of those wings." [Says
slyly] I moved right around the corner. And he literally had moved on
our same street but on the other side, in North Hollywood. So he invited
me and Val and her daughter over. And, I went over and I took my wings
over there as [needed]. He was addicted to the wings. I think he liked
the wings as much as he liked other stuff.
Tupac on the 101 Freeway calling a radio station.
I remember my dad brought me to some lady's house on Lankershim that used to fux wit pac. All i seen was the inside of her house and a picture of her and pac. looked like one of those mall pics with the tacky background and plastic flowers. obviously she had that pic front and center lol.
PART 2 COMING SOON!
Tupac on the 101 Freeway calling a radio station.
I remember my dad brought me to some lady's house on Lankershim that used to fux wit pac. All i seen was the inside of her house and a picture of her and pac. looked like one of those mall pics with the tacky background and plastic flowers. obviously she had that pic front and center lol.
PART 2 COMING SOON!
Wednesday, January 14, 2015
UNHEARD AUDIO 2pac & JIM BELUSHI!!! (on the set of Gang Related) 8-23-96
props to jesse surratt and tupacnation.net for the leak!!!
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