Album: Live & Let Die
Label: Cold Chillin'
Tone: “[Founder and owner of Cold Chillin’ Records] Tyrone 'Fly Ty' Williams’ nephew O.J.—who I grew up with—called us and they asked if had anything for him. That’s how we got into the Cold Chillin’ building.
“Before we got to work with G Rap, we worked Roxanne Shanté and Cold Chillin’ gave us a production deal for a group we had called Little Bastards. They gave us $7,500 for production for Little Bastards.”
Poke: “Fly Ty was seizing the moment of what he would call ‘birthing us.’ He was like, ‘I birthed those guys! Those are my dudes!’”
Tone:“Plus he was getting us for like $1,500 a record.”
We always wanted to make records for rappers’ rappers. G Rap and Kane were the rappers’ rappers. If you made a rapping record with them, that’s it. You could hang up your fucking MP and say, ‘I’m good, I did everything that I wanted to accomplish.’ - Tone
Poke: “Kool G Rap got a 2-for-1 deal because that’s how we were in the beginning. Remember, we were fans of everyone we worked with.”
Tone: “We were super G Rap fans. We always wanted to make records for rappers’ rappers. G Rap and Kane were the rappers’ rappers. If you made a rapping record with them, that’s it. You could hang up your fucking MP and say, ‘I’m good, I did everything that I wanted to accomplish.’”
Poke: “These were all artists that we grew up watching. We always wanted to work with them. We wanted to make records for that whole Cold Chillin’ crew. Like, ‘Give me any one of those rappers, we’ll make records.’ Who didn’t want to work with them? We had the opportunity because we were Fly Ty’s little guys like, ‘Yeah, this is my little producers. These niggas is nice.’”
Tone: Meanwhile, Sir Jinx was doing G Rap’s album. Jinx was a big name because he was working with N.W.A and Ice Cube. We were like, ‘Wow. Jinx is on there.’ As G Rap was working on his album, we had made some ground as producers. Fly Ty believed in us and he told G Rap, ‘You really gotta go in with these guys.’”
Poke: “So we got in with G Rap and we gave him ‘On The Run’ first because he did a video for the song. Jinx had produced the album version of the song and people were complaining like, ‘This sounds like an N.W.A album. It doesn’t sound like a New York street record,’ and ‘What the fuck is this L.A. shit?’ That’s basically where their mindset was at the time.
“So we’re like, ‘Give us some acapellas, we’ll get busy.’ They gave us the ‘On The Run’ acapella and it became ‘On The Run (Remix).’ That became the record because the one he did, we wasn’t fucking with that.”