Home Blog Page 259

The Making of Tupac’s All Eyez on Me (XXL)


Ambitionz Az A Ridah
Produced by Daz Dillinger

Dave Aron: That’s the first song I ever did with Tupac. The day he got out of jail, he didn’t go to the clubs. He didn’t go try to meet women. He went straight to the studio like he was on a mission, and he recorded “Ambitionz Az A Ridah” and “I Ain’t Mad At Cha.” Tupac came in, and he was fresh out of jail. I seen them give him his Death Row medallion that same night. And then he came right in. He was ready to go. He was very hyped, very focused, a lot of energy – mad energy. And you could tell he was really one a mission. He really had a real vision of what was going on, and he wanted to get a lot done in that short amount of time.

Daz Dillinger: The idea came from the me sampling Pee Wee Herman. So if you listen to Pee Wee Herman [the Champs’ “Tequila”], I just put the gangsta twist on it. I gave it to ‘Pac. Came back to the studio, and it was done.

Kurupt: First day he came home, “Ambitionz Az A Ridah” – that was the first record that he did. Suge brought him in. The word went through the office that ‘Pac was home. Everybody [who were] at the studio at that time were up there. I came a little bit later, and when I came, Daz already had the beat started. ‘Pac wasn’t in the studio for any more than 45 minutes before he had his first verse done and laid. That fast. He didn’t even wanna chill; all he wanted to do was get on the mic. Whatever day he landed in Los Angeles, two hours after he landed, he had his first verse laid.

“All About U”
Featuring Dru Down, Hussein Fatal, Nate Dogg, Snoop Dogg and Yaki Kadafi
Produced by Johnny “J” and Tupac

Dru Down: It was me, ‘Pac, Syke, Rage and a couple of Outlawz in the studio. We always had bitches in the studio. The only thing crazy was, the Outlawz niggas – Fatal Hussein and Yafeu Fula – were gonna get on the track. It was like an interlude at the end. I did the beginning [uncredited ad-lib-bing]: They were gonna do something at the end. Then them muthafuckas did something where they fucked up. They couldn’t get it right. They were too high and too drunk. They were messing up. They were in the microphone booth, and they were fucking up, and ‘Pac said, “Y’all gotta get the fuck up out of there. I don’t know what the fuck y’all are doing.” They was just playing around. They were taking too long, wasting time. They laughed their ass up in there and all the way out.

Johnny “J”: That was one of the most hilarious records I’ve ever done with Tupac… I used Cameo’s old school cut [1986 single, “Candy”]. Nate Dogg, Snoop, everybody sitting around on speakers, doing their thing. Next thing I know [Nate Dogg sings]: “Every other city we go. Every other video…” I’m like, “Nate, I know you gotta be fucking playing.” They’re like, “Nah, man. We’re dead serious. That’s the hook – we’re talking about video hoes.”

Nate Dogg: It was me, him and Snoop, and we were talking about all the girls that we had seen before. The whole thing came from a video shoot. We were at a video shoot, and it was so funny how, if it wasn’t Snoop that knew the girl, Tupac knew her, or I knew her. It’s like, “Damn, everywhere we go, we see the same girls.” And that’s how the song came about. It was the same as it always is: A little liquor, a little weed, we aiight. ‘Pac was one-taking his verses. He did that a lot. We were having so much fun, the song just came out.

Featuring Nate Dogg
Produced by Daz Dillinger

Nate Dogg: That song was done in 10 minutes. The beat was always already made. We don’t go in the studio and wait on nobody to make a beat. We’d never stay in there long enough. [Working with ‘Pac was] like working with your little brother. He was a little wild muthafucka, full of life. He got an opportunity and ran with it. ‘Cause he didn’t want to be on Death Row Records. And I think he had a three or four… I’m not sure what kind of album dealk he had. But he wanted to get off, though. So he pushed out at least two to three songs a day.

“Got My Mind Made Up”
Featuring Daz Dillinger, Inspectah Deck, Kurupt, Method Man and Redman
Produced by Daz Dillinger

Daz Dillinger: We did that song at my house. Kurupt had brough Method Man and Redman over to my house. And Inspectah Deck was on the song too. He was at the end – “I.N.S., the rebel…” Just his voice. They had taken his voice. They had taken his verse out and kept the background ’cause it sounded good. It wasn’t originally Tupac’s song. I had transferred it at Dr. Dre’s house and had left it out there. [Tupac was] flossing like, “I got a beat with Method man, Redman. Dre made it.” That’s what Dr. Dre told 2pac. That’s how the whole fued started between Dre and ‘Pac. ‘Cause I happened to be walking by the studio like, “That’s my beat. I did that.” Tupac [was] like, “That’s your stuff?” From that situation, that’s when he and Dre started fueding. Dr. Dre was taking credit and wasn’t doing nothing, wasn’t coming around.

Kurupt: The original record was me, Rage, Redman, Method Man and Daz. I told Daz, “Man, this is the one, we need to drop this, we need to put this on Dogg Food.” ‘Cause we did it when we was making Dogg Food. When ‘Pac came home, we put it up for ‘Pac, like “You want this record?” ‘Pac was like “Hell, yeah, I want that record!” And he dropped his verse where Rage’s was, ’cause Rage said she’d put her verse on something else, and that’s how that record made it on ‘Pac’s album. Me, Method Man and Redman and Daz and Rage – that was the original record, and Inspectah Deck was on it at the end. That’s him you hear at the end: “Wish… this…bliss…” That’s inspectah Deck. I went and picked up Red and Meth and Deck personally and took them to Daz’s house. We knocked the record off in about three, four hours. It was a done deal, and then we… we didn’t use it, ’cause Daz wasn’t feeling like mixing it and doing all that. We end up taking it to ‘Pac when ‘Pac came ’cause Suge was like, “When it’s time to work on a project, everybody needs to give everything to whoever’s project it is.”

“How Do You Want It”
Featuring K-Ci and JoJo
Produced by Johnny J

Dave Aron: Danny Boy was originally on the hook. I already had it mixed. And at the last minute. ‘Pac wanted to put K-Ci and JoJo on it. Maybe that was a decision between him and Suge and whatever, I don’t know.

K-Ci: One night we were sitting in the crib, and Suge Knight gave me a call, ’cause we real good friends with Death Row family and everything. They asked us would we like to do a song with ‘Pac, and we were like, “Hell yeah, why not?” That’s our boy. So we got in the studio that same night, actually, that we got the phone call. Man, we were just tripping in the studio, having fun. If y’all read between the lines, y’all know what we were doing up there. [We] had the girlies up in there, doing our thing. The song came out blazing. The funny part was at first, when ‘Pac was trying to sing it, trying to teach us how it goes. I was like, “I see where you’re trying to go, ‘Pac, but it’s not sounding too good.” Anyway, then we heard him doing his rhyme, and we’re like, “Man, we got to rip this, because he came strong.”

“2 Of Amerikaz Most Wanted”
Featuring Snoop Dogg
Produced by Daz Dillinger

Dave Aron: We were in the studio and ‘Pac was there, and Snoop was in there. In walks Big Suge, and this was before they did “2 Of Amerikaz Most Wanted.” He’s so big, and he walks up. Snoop’s kinda tall, but he was very skinny. He grabs ‘Pac with one arm, and he grabs Snoop with the other and pulls them both together, almost squeezing them into one. He’s like, “I think you guys oughta do a song together. I think that’d be great.” That was awesome to see how big he was, and he put ’em both together llike that. And they ended up doing that song.

Daz Dillinger: ‘Pac was going to court. Snoop was going to court. There was a lot of chemistry between them.

Rick Clifford: ‘Pac was very adamant that the album was spontaneous. Everything that you hear, everybody got one take. They couldn’t go back and fix anything. ‘Pac said that number one, hip-hop is different from R&B. If a guy can’t get out and spit eight to 16 bars, he’s not ready yet. Then he said he loves the first take because there’s a certain feel to it. He said if people go back and try and fix it, they would start thinking about it, they would lose the feel, they would mess it up. So the only one who refused to get out there like that was Snoop. Snoop said he’d come back tomorrow and do it. I think Snoop went home and wrote his stuff, learned his stuff, came in and knocked it off, first take. All Snoop said was, “Wait a minute. You ain’t going to put me out on one take. I’ll come back and do it tomorrow”

“No More Pain”
Produced by DeVante Swing

Dave Aron: I was at the studio at 8 late – 10, 11 p.m. At 3 a.m. DeVante showed up by himself. He wanted to lay a few more parts before they mixed it. It was a very sparse track. But the keyboard parts he put in were very eerie and weird sounding. He was very quiet that night. Very focused. It was interesting to watch him work. He finished about five or six in the morning and said, “I want to mix this now.” We mixed it that same night. It was a long night

“Heartz Of Men”
Produced by DJ Quik

DJ Quik: It’s crazy. A lot of the credits got fucked up back then. It was real bad businesss going on up there sometimes, and if you didn’t go into the office with Roy Tesfay [Suge Knight’s assistant] and them and you do your credits, you got screwed. I got fucked. I did a lot of remixing on that record, and overdubbing and mixing [that I wasn’t credited for]. I made a lot of those records sound a lot better than they did when they came into the studio, and it a real small amount of time. In two days, I remixed like 12 songs.

But for the most part “Heartz Of Men” was the only one that made it on the album that i produced by myself. Tupac was venting. He was vexed about something he wanted to speak about and my job as the producer is to lay down the musical bed so he can be most comfortable getting that shit out of his system. And I think that’s what we accomplished. A driving, angry beat to match his driving, angry delivery.

Pac was a consummate artist. ‘Pac would really think first before he wrote. He would become a part of the song. Almost as if he knew the shit would last forever. He was that meticulous about the way he wrote to certain tracks. My thing with that record was that, as tight as Tupac was – he’s legendary – I still had to be the producer and check what I didn’t like and how we could make that record near perfect, if we couldn’t make it perfect. I had to be stern with him one some things, but for the most part, it was like he was a ghost. It was like, “You’re not supposed to be here.” He was there in the flesh.

We’d get into it every now and then. He’d be like, “Fuck Quik, why you gotta be so hard on me with the backgrounds?” I’m like. “If you make them perfect, they’ll always be perfect. But if you just slouch, they’re gonna suck forever.”

“Life Goes On”
Produced by Johnny “J”

Dru Down: That was more on the serious tip. When they got serious about something, there wasn’t too many people up in the studio. When a **** wanna really be serious, ‘Pac just dumped out all the weed on the mixing board – about four ounces of smoke – and was writing. And niggas had to be quiet. It was on the real low, quiet tip. That was a serious time.

Johnny “J”: We had people in sessions you want to call them street guys or hardcore, they were deep into their thing and they broke down in tears. I can’t believe I saw that. [That record] just had so many people emotional.

“Only God Can Judge Me”
Featuring Rappin’ 4-Tay
Produced by Doug Rasheed and Harold Scrap Freddie

Dave Aron: I thought that was pretty introspective. Pretty straightforward. [Doug Rasheed’s] beats weren’t that complex. They usually were comprised of a few loops and some percussion and a good solid drumbeat. I recorded Rappin’ 4-Tay’s vocals for that. He’s a fun guy. He had his little pimp status going on. He really fit the Oakland mold.

“Tradin War Stories”
Featuring C-BO, E.D.I., Kastro, Napoleon and Storm
Produced by Mike Morsley and Rick Rock

Napoleon: That song was personal for me. When I was three years old, I witnessed my mother and father get murdered in front of me. I got shot in the foot. So on that song, I kinda touched up on that. I was saying, “Brothers wanna talk about war stories, I seen my first war story at the age of three.” ‘Pac already knew what happened to my parents, so he was excited that I touched on it. He knew that it was real. When ‘Pac came and got me from the hood, he seen that I was going through it at an early age. I think that was one of the reasons he embraced me – not that he felt sorry for me – but ‘Pac had a good heart. He saw this brother lost his parents and said, “I feel it’s obligatory to help him out.”

Rick Rock: I don’t know where the fuck I got the sample from. Dionne Warwick or something. When I ended up doing it with ‘Pac, I told him it was “It’s A Man’s World.” And it got cleared under that, but I don’t know who it was. I know I didn’t get it from James Brown. I got it from somewhere else, but it sounds like, “A Man’s World.” I couldn’t remember, ’cause I used to do beats and I didn’t keep my samples. I just had all my shit on a disk. And when I came to California from Alabama, I used to carry a bag full of disks.

“California Love [RMX]”
Featuring Dr. Dre and Roger Troutman
Produced by Dr. Dre

Tommy Daugherty: Fuck it, I can say it: Dre really didn’t want nothing to do with that record. He didn’t like it at all that Tupac came to Death Row, which I thought was kind of interesting, ’cause I remember he said, “That’s it, I’m done with Death Row now that Tupac is here.” I was like, “What the fuck!?” I mean, if you look at that album, he didn’t do shit on All Eyez On Me except for “California Love,” which basically was, ugh, that was going to be his single for Aftermath, right? And Suge heard that shit and said, “Fuck it,” and rushed up to Dre’s house and made him put Tupac on there. So basically he lost his first single for Aftermath, and it ended up being the first single for Tupac. Because the original version of that is three verses with Dre rapping on it. The only person who’s got that original version is DJ Jam, Snoop’s DJ. So basically Suge was like, “Fuck it, we’re putting Tupac on that shit, and this is going to be the single off the record.” That shit was dope. Suge ain’t no dummy.

“I Ain’t Mad At Cha”
Featuring Danny Boy
Produced by Daz Dillinger

Kurupt: We knew when that was done, it was over. Oh yeah, ‘Pac heard the beat and flipped out. And basically he was just like, “Man, this is it. “We sat and we drank and then Daz was just operating on the record, and when ‘Pac was in there working, he wasn’t with the distractions. It was more or less all, “Let’s knock this out, let’s knock this out, let’s knock this out.” I mean, he’d get mad at the engineers for moving too slow. That was his thing. He’d be on top of them like that. You know, “Come on, man, what the fuck? This ain’t too God damn hard. All you have to do is press fuckin’; ‘Record.’ Press fuckin’ ‘Record.’ Now!”

“What’z Ya Phone #”
Featuring Danny Boy
Produced by Johnny “J” and Tupac

Danny Boy: ‘Pac was a walking legend, and I don’t even know if he knew it. There were women coming through all the time, like in any studio. You a guy, you not married, you living that life. You have all the things that the industry provides for you. They’re there as frequently as you like. [The phone call], that was real. Whatever you heard on there was the real thing. [‘Pac got calls like that] all the time. That’s just us clowning in the studio. We put it on speakerphone and held a mic up to it, getting it going… [There’s no credit for the girl because] she probably didn’t want her mama hearing her talk like that. She was one of those girls from around the way.

Dave Aron: On that song, the front desk girl came and did that coversation with Tupac over the phone. I actually mic’d the telephone – a little speakerphone that they had – and they had that coversation between them. That was a little different. They were very creative. When they came up with an idea, they would want to do it and I could facilitate it. That phone conversation was definitely a one-take thing as well. They just did that straight from the top. That’s how he liked to do it-very spontaneous.

Johnny “J”: That’s probably one of the most explicit records I’ve ever done. Definitely a dirty record. Sexual, sexual, sexual.

“Shorty Wanna Be A Thug”
Produced by Johnny “J”

Johnny “J”: It was kinda smooth that day, a laid-back session. ‘Pac started thinking about how these kids think. He was like, “Little homies just want to be a thug.” He just put that title up there, and the subject just jumped off. It gave Napoleon a vibe of making him think it was about him. I kinda looked at it the same way. It was as if he was talking about Napoleon. He saw his parents murdered in front of him. Napoleon had a hard upbringing. He was going through it. It was like a therapeutic vibe. It had Tupac thinking for a minute.

“Holla At Me”
Featuring Jewell
Produced by Bobby “Bobcat” Ervin

Dave Aron: I have great memories of staying up all night with Bobcat. Bobcat had a track that was kinda sparse. Before I mixed it, he wanted to lay a few parts. He wound up laying a whole lot of parts, and we stayed up all night and ended up mixing it ’till about three in the morning.

“Wonda Why They Call U Bytch”
Featuring Michel’le
Produced by Johnny “J” and Tupac

Carlos Warlick: ‘Pac wrote that song with Faith Evans, and actually we recorded it with Faith singing the whole hook. Faith wrote that whole hook and all the parts. But then when it came time to put the album out, they couldn’t get the clearances – the whole Bad Boy thing. They ended up putting Michel’le on it. Michel’le basically copied all the harmonies and everything that Faith had done. It was featuring Faith. They wrote it one night in the studio. They kind of both came up with the concept, and ‘Pac then wrote his vocals, and Faith basically came up with all the harmony and created all the background parts. So it basically was not about Faith.

Dave Aron: That’s about Faith Evans. He was definitely into that whole thing, the Biggie rivalry with Faith. He’d get hyped up a lot.

Johnny “J”: We went through quite a few people on the hook. Faith Evans, I had her on there at first. It was going through a little political mode at the time, you know, the Death Row/Bad Boy thing was going. She was there with me and ‘Pac and my wife – all of us hanging out in the studio. For me to see her over there, I was in shock. I was like, “Wait a minute, that’s Biggie’s wife, dude.” I had a a Budweiser with her and said, “Forget it, man” I stopped thinking about it. I drop the track to “Wonda Why They Call U Bytch,” [and] Faith gets in there – I’m not going to lie – she sounds beautiful on the record. Because of politics, I had to take her off. Suge was like, “‘J’, you know we gotta take Faith off.”

Rick Clifford: ‘Pac comes walking in, there’s a big smile on his face. This girl comes walking in behind him, She looked like she had a rough night. Once again, all the kids, they’re all up in my ear. “Faith…?” And I’m like, “Ahm, that’s what started all this bullshit.” It hadn’t hit me. I was kinda naive on the whole thing.

“When We Ride”
Featuring Outlawz
Produced by DJ Pooh

Big Syke: When he gave everybody their names, we were in Clinton, in the penitentairy. We went to visit him, and he gave everybody their names. When he named himself Makaveli, he named E.D.I., Kastro, Napoleon – he gave Fatal Hussein, Yaki Kadafi, Mopreme…

DJ Pooh: We were over at Can-Am Studios working on a bunch of material. It was me, Soopafly, Daz, all the producers – we’re just sitting there working out tracks. Tupac, Dre and Snoop Dogg – all the artists were going through the studio checking out tracks and recording songs. It was like a work machine. It was one of the best scenarios any record company would want to see. All these powerful people in the studio working together. And Tupac also brought along his crew. Guys always want to open the door for cats that’s coming behind them. He was opening up the door for the Thug Life cats then. I had a track that ‘Pac came in and was like, “Whoa, what the fuck is this?” I was just twisting it together. He was like, “This is us! We doing it! We’re going in the other room. When we finish up over there, we’ll be over here tonight.” I said, “Okay.” Later on, I guess early in the morning, three or four in the morning, he stepped into the studio and said, “Put that track back up!” I put the track back up, and he instantly was like, “This is the one that we doing with the group – we gonna ride on this one and ride the track.” “When We Ride.” He came up with the hook right there and just laid the hook down. He had all the guys come in one by one and just kick it off. It was incredible, man. The song was done in a couple hours. In one night everybody felt like they just wanted to take a crack at it – just jump on it, go spit. So many different flavors and styles – it was an incredible opportunity.

E.D.I.: That’s the one and only track that has all seven members – all nine of us, really – on some Wu-Tang shit. That was just over version of whatever Wu-Tang were doing at the time. ‘Pac was out of jail and on some “rider” shit. That was really a word that [he used] when he got out of jail. Suge and them used to say it a lot – all the niggas from Suge’s hood. ‘Pac just adopted that.

Kastro: Everybody got eight bars. We just basically had the concept; we were introducing our aliases and shit like that. That was right around the era when they had the Wu-Gambinos.

Napoleon: I was listening to rap music the other day, and it seems everybody’s song seems to say “ride or die” and talking something about a “rider” in it. Half of these brothers don’t know what it is, they don’t even know where the concept came from. It was something Tupac got from the Black Panthers. It was a thing during the time of the Black Panthers, where they used to say “ride or die.” If you got that weapon on you and you get pulled over by the police, you gotta ride or die, you gotta really use it. So ‘Pac took it and put it in hip-hop form. A lot of people running around saying they a rider, but they don’t even know what it’s about. It’s just a fad they jumped on.

“Ratha Be Ya ****”
Featuring Richie Rich
Produced by Doug Rasheed

Richie Rich: Tupac called me and told me to bring some Bay Area niggas to put on the album. As many people from the Bay. Everybody were in this one big studio. Tupac comes at me like, “I want us to do a song about bitches. When you want to be down for them, but not be there… Man, you know.” He finished his verse in six minutes. He came over to me, and I was still writing. He laid his verse then wrote his second verse. When I spit the verse, he said “That’s why I fuck with you. You know exactly what the fuck I’m talking about.”

“All Eyez On Me”
Featuring Big Syke
Produced by Johnny “J”

Big Syke: ‘Pac was going on, “If you don’t have no lyrics by the time I finish doing this first verse, your ass ain’t on the song.” He’d finish it. It was a test anytime he picked up the pen. It was like, “****, on your mark, get set, go! And you better have some cutting shit.”

Johnny “J”: That was the very first track I laid when we got together at Death Row. When he just got out of jail, just got released, two days later he’s like, “‘J’, get to the studio, I’m with Death Row now.” I assumed it was a joke, somebody perpetrating Tupac. I’m like “Hell no – ‘Pac is locked up!” He’s like “J, I’m out” I walk in, 15 minutes into the session, the first beat i put in the drum machine is “All Eyez On Me.” I wasn’t going to show him the track, honestly. I was like, “This track? Nah, it’s not finished. It’s imcomplete.” My wife says, “Hey, it’s a dope beat!” So I just pop it in, titles just come right off his fuckin’ head.

“Run Tha Streetz”
Featuring Michel’le, Napoleon and Storm
Produced by Johnny “J” and Tupac

Dave Aron: That’s what was great about working on the album. You got to work with so many people. Who didn’t grow up listening to that “No More Lies” song? And then you work with Michel’le and you hear the little voice, and it’s true. The little voice is little, and then she sings, and it’s just so big, and she’s such a little girl. And she’s so sweet.

Makaveli – The Don Killuminati (The 3 Day Theory) (OG 1996 Version)

Tupac – The Don Killuminati (The 3 Day Theory)

See also: New Leak: Makaveli – The Don Killuminati (The 3 Day Theory) Mixdown (April, 2016)

The album was completed in a total of 7 days. The lyrics were written and recorded in only three days and mixing took an additional four days. The album was originally slated for a March 1997 release, but due to Tupac’s death, Suge Knight released it 4 months earlier (The same day as the Proposition 209 law that Tupac, Suge etc were fighting against got approved and passed in to law, Nov. 5)

Pictured below is the original back cover art to the album, Featuring [From left to right] The Notorious B.I.G., Puff Daddy and Dr. Dre. The [Back] cover was scrapped once Tupac passed.

The album’s original title was „The 3 Day Theory„, (originally consisted of around 14 tracks).

See also : Tupac – The Don Killuminati (The 7 Day Theory) (November 5, 1996) Official Album

The 3 Day Theory OG cover

1. Bomb First (OG Version)
The track is a minute shorter than the other version. Why? No long intro. This automatically makes this version better. There is also a quicker and slightly different outro. Other than that, everything else is exactly the same.

2. Hail Mary (OG Version)
The bass is slightly stronger and beat just sounds less polished/mastered than the other one. Outro is also slightly different. Everything else is exactly the same.

3. Krazy (OG Version)
The intro is very different, it sounds a lot like the intro used for “Toss It Up” on the other release. The beat is also noticeably different (drum pattern is different and too loud, it doesn’t fit the track very well, beat isn’t as polished as the other one and different melodies used on the beat). Outro is also different.

4. Watch Ya Mouth
This diss song obviously didn’t make the other release. Very good diss track though, nice and mellow beat but he goes hard on it and attacks many east coast artists. As for the track itself, the intro uses the same intro used for “To Live & Die in L.A.” and the beat is also not polished.

5. To Live & Die in L.A. (OG Version)
Intro is different than the other one, that’s obvious right from the start. Beat is also slightly different, it doesn’t have the guitar during the hook in the background like the other does. Everything else is exactly the same, as far as I heard.

6. Friends
Another track that didn’t appear on the other release. This track has a remix that is well known within his fanbase, called “Fuck Friendz”. Well, this is the original version. The beat is very different than the remixed version, and it is also not polished. Intro is also different, and so is the hook. For the record, I like the remixed one better.

7. Blasphemy (OG Version)
Ah, my favourite track off the album. I’ve been waiting to hear this one. Anyway, the intro uses the same sample, but is clearer than the other one. The beat also sounds not as polished as the other one, but it’s not very noticeable unless you really pay attention to it. Everything else sounds exactly the same.

8. Hold Ya Head (OG Version)
The only difference I see here is the beat doesn’t sound as polished as the other one. That’s it.

9. Lost Souls (Alternate Version)
Alternate version? I haven’t even heard the original version so I can’t compare them. All I know is that this track did not make the other release, and that it’s an enjoyable track but doesn’t belong on the album, as the beat is too upbeat for the rest of the album. I also realize that “To Live & Die in L.A.” is upbeat, but it still feels like it belongs on the album.

10. White Man’z World (OG Version)
The intro almost identical, but is cleaner on this one and just slightly different. The beat is also very similar but slightly different, in the way that it is slower, has slightly different melodies and is not as polished. The other version is better, but something about this one is kinda creepy and haunting…

11. Niggaz Nature
Yet another track that did not make the other release that also sounds upbeat but less than “Lost Souls”. Very nice track, but I don’t know if it belongs on the album. And I don’t know why but it sounds familiar, even though I know that I’ve never heard it before. Might be the sample/s used here (which, I believe by listening to it, samples Michael Jackson’s “Human Nature”).

12. Against All Odds (OG Version)
Slightly different intro and outro used here, and the bassline is also slightly different (might be the same but sounds different to me, because the beat also isn’t as polished, which makes the bass stronger). Everything else is exactly the same.

13. Hidden Track
Another track that did not appear on the other version. Sounds more like a skit that just samples vocals and interviews (some of which were already used on this and other version of the album) over a decent beat.

14. When Thugz Cry
Final track, and once again a track that did not appear on the other version. It’s a great and an emotional track, reminds me of “White Man’z World”. I’ll definitely be coming back to this one.

This review is based on a comparison between The 3 Day Theory and The 7 Day Theory!

Review by rateyourmusic.com

Handwritten tracklist

The 3 Day Theory

Original/leftover/scrapped tracks for The 7 Day Theory:

Watch Ya Mouth
Friendz (Original Version) Remixed On Until The End Of Time
Lost Souls (Feat. E.D.I. & Young Noble) Released On Gang Related Soundtrack
Niggaz Nature (Feat. Val Young) (Original Version) Remixed On Until The End Of Time
Unreleased Interlude
When Thugz Cry (Feat. Jewell) (Original Version) Remixed On Until The End Of Time
Street Fame (Original Version) Remixed On Better Dayz
Black Jesuz (Feat. Outlawz & Val Young) (Original Version) Remixed On Still I Rise
Killuminati (Feat. Outlawz) (Original Version) Remixed On Still I Rise

See also :

Tupac – The Don Killuminati (The 7 Day Theory) (November 5, 1996) Official Album

New Leak: Makaveli – The Don Killuminati (The 3 Day Theory) Mixdown (April, 2016)

Makaveli – The Don Killuminati (The 7 Day Theory) [Official Album], November 5, 1996

Tupac – The Don Killuminati (The 7 Day Theory)


Original title was “The 3 Day Theory


Click for Lyrics, Producers & Samples

01. Intro / Bomb First (My Second Reply) (feat. E.D.I. & Y.Noble) [0:04:57.00]
02. Hail Mary (feat. Kastro, Y.Noble & Prince Ital Joe) [0:05:09.82]
03. Toss It Up (feat. Danny Boy, KC & JoJo & Aaron Hall) [0:05:06.37]
04. To Live & Die In L.A. (feat. Val Young) [0:04:33.49]
05. Blasphemy (feat. Prince Ital Joe) [0:04:38.50]
06. Life Of An Outlaw (feat. The Outlawz) [0:04:54.13]
07. Just Like Daddy (feat. The Outlawz) [0:05:08.66]
08. Krazy (feat. Bad Ass) [0:05:15.89]
09. White Man’z World [0:05:38.53]
10. Me & My Girlfriend [0:05:08.37]
11. Hold Ya Head [0:03:58.60]
12. Against All Odds [0:04:37.60]

Released : November 5, 1996 (USA); 23 April 2001 (UK)
Re-released : 2001 & 2005 Death Row
Recorded : August 1996; Can-Am Studios (Los Angeles)
Length : 59:24 min
Label : Death Row, Makaveli, Interscope Records
Producers: Makaveli (exec.), Suge (Simon) Knight, Darryl “Big D” Harper, Hurt-M-Badd, Reggie Moore, Dametrius Ship, Kevin Lewis* Additional production by Tommy D. Daugherty, Lance Pierre, and Justin Isham

See also : Tupac – The Don Killuminati (The 3 Day Theory) (OG 1996 Version)

Review :

The album was completely finished in a total of seven days during the first week of August 1996. The lyrics were written and recorded in only three days and mixing took an additional four days. These are among the very last songs Shakur recorded before his fatal shooting on September 7, 1996. During those seven days 21 songs were completed, 12 of which made the final product.

The album’s original title was “The 3 Day Theory“, (originally consisted of around 14 tracks).

The album's original title was "The 3 Day Theory", (originally consisted of around 14 tracks)
The album’s original title was “The 3 Day Theory”, (originally consisted of around 14 tracks)

E.D.I. Mean of The Outlawz & Ronald “Riskie” Brent revealed in an August 2014 interview that the official name of the album was mixed up upon release. Tupac wanted the album to be called; “Don Makaveli – Killuminati: The 7 Day Theory”. Don Makaveli referenced as the artist name and Killuminati as the main title.

Charts :

Australian Albums Chart37
Deutsche Alternative Charts5
Dutch Albums Chart61
New Zealand Albums Chart17
Swedish Albums Chart28
UK Albums Chart53
US Billboard 2001
US Top R&B/Hip Hop Albums1

Singles :

Toss It Up” – Released: September 26, 1996
To Live & Die in L.A.” – Released: September 26, 1996
Hail Mary” – Released: February 11, 1997

Original/leftover/scrapped tracks for The 7 Day Theory:

Black Jesus – Remixed on Still I Rise
Friends – Remixed on Until the End of Time
Killuminati – Remixed on Still I Rise
Let Em Have It – Remixed on Until the End of Time
Lost Souls – Released on Gang Related soundtrack
Nigga Nature – Remixed on Until the End of Time
Watch Ya Mouth – Unreleased
When Thugz Cry – Remixed on Until the End of Time

+ Unreleased Interlude

Samples :

  • Bomb First (My Second Reply)“ contains a sample of „Uptown Anthem as performed by Naughty by Nature.*
  • Toss It Up“ contains a sample of „Grandma’s Hands“ as performed by Bill Withers, „Blind Man Can See It“ by James Brown, and „In Doubt“ by Peter Gabriel.*
  • To Live and Die in L.A” contains a sample of „Do Me, Baby“ as performed by Prince.*
  • Just Like Daddy“ contains a sample „Impeach the President“ as performed by The Honey Drippers.
  • White Man’z World“ contains a sample of „Spike Lee’s flim Malcolm X“ and excerpts of Louis Farrakhan, and „Up Where We Belong“ by Joe Cocker and Jennifer Warnes.*
  • Hold Ya Head“ contains a sample of „Frank Darabont’s film The Shawshank Redemption“, and „How Do You Keep the Music Playing? by Patty Austin and James Ingram.*
  • Against All Odds“ contains a sample of „Skin I’m In“ as performed by Cameo, and „Francis Ford Coppola’s film The Godfather“.*

Gallery :

XXL article: The Making of Makaveli The Don Killuminati 7 Day Theory album

See also : Tupac – The Don Killuminati (The 3 Day Theory) (OG 1996 Version)

2Pac – All Eyez On Me [Official Album], February 13, 1996

2Pac – All Eyez On Me [Official Album], February 13, 1996

2Pac ‎– All Eyez On Me

Tracklist & Producers: 

Click for Lyrics & Samples

Book 1
1. “Ambitionz az a Ridah” – Prod. Daz Dillinger – 4:39
2. “All Bout U” (featuring Dru Down, Hussein Fatal, Yaki Kadafi, Nate Dogg & Snoop Dogg) – Prod. Johnny “J” & 2Pac – 4:37
3. “Skandalouz” (featuring Nate Dogg) 0 Prod.Daz Dillinger 4:09
4. “Got My Mind Made Up” (featuring Tha Dogg Pound & Method Man & Redman) – Prod. Daz Dillinger – 5:13
5. “How Do U Want It” (featuring K-Ci & JoJo) – Prod. Johnny “J” – 4:47
6. “2 of Amerikaz Most Wanted” (featuring Snoop Dogg) – Prod.Daz Dillinger – 4:07
7. “No More Pain” – Prod.DeVant Swing – 6:14
8. “Heartz of Men” – Prod. DJ Quik – 4:43
9. “Life Goes On” – Prod. Johnny “J” – 5:02
10. “Only God Can Judge Me” (featuring Rappin’ 4-Tay) – Prod. Doug Rasheed and Harold Scrap Fretty for The Bullets Production Team – 4:57
11. “Tradin War Stories” (featuring C-Bo, Dramacydal & Storm) – Prod. Mike Mosley & Rick Rock – 5:29
12. “California Love (Remix)” (featuring Dr. Dre & Roger Troutman) Prod. Dr. Dre 6:25
13. “I Ain’t Mad at Cha” (featuring Danny Boy) – Prod. Daz Dillinger – 4:53
14. “What’z Ya Phone #” (featuring Danny Boy) Prod. Johnny “J” & 2Pac – 5:10

Book 2
1. “Can’t C Me” (featuring George Clinton) – Prod. Dr. Dre – 5:30
2. “Shorty Wanna Be a Thug” – Prod. Johnny “J” – 3:51
3. “Holla at Me” (featuring Nanci Fletcher) Prod. Bobby Ervin & DJ Naya – 4:56
4. “Wonda Why They Call U Bitch” – Prod. Johnny “J” & 2Pac – 4:19
5. “When We Ride” (featuring Outlaw Immortalz) – Prod. DJ Pooh – 5:09
6. “Thug Passion” (featuring Dramacydal, Jewell & Storm) Prod. Johnny “J” & 2Pac – 5:08
7. “Picture Me Rollin‘” (featuring Big Syke, CPO & Danny Boy) Prod. Johnny “J” – 5:15
8. “Check Out Time” (featuring Big Syke, Kurupt & Natasha Walker) Prod. Johnny “J” 4:39
9. “Ratha Be Ya Nigga” (featuring Richie Rich) Prod. Doug Rasheed – 4:14
10. “All Eyez on Me” (featuring Big Syke) Prod. Johnny “J” – 5:08
11. “Run tha Streetz” (featuring Michel’le, Napoleon & Storm) Prod. Johnny “J” & 2Pac – 5:17
12. “Ain’t Hard 2 Find” (featuring C-Bo, The Click & Richie Rich) Prod. Mike Mosley & Rick Rock – 4:29
13. “Heaven Ain’t Hard 2 Find” (featuring Danny Boy) Prod. QD3 – 3:58

Released : February 13, 1996 on Death Row, Interscope
Re-released :  2001 Death Row, 2004 & 2005 Koch, 2011 Death Row & WIDEawake
Highest Chart Position : #1 US Billboard 200 & US Top R&B/Hip-Hop Albums (Billboard)
Certified : Diamond by the RIAA on July 23, 2014
Recorded : October 13 – October 18, 1995; Can-Am Studios (Los Angeles)
Length : 132:18 min

Label : Death Row, Interscope
Producers: DJ Quik, Dat Nigga Daz, DeVanté, DJ Pooh, Dr. Dre, Lawlay, Bobby “Bobcat” Ervin, Johnny “J”, Mike Mosley, Doug Rasheed, Rick Rock, QD3, 2Pac

See also : The Making of Tupac’s All Eyez on Me (XXL)

Singles :

California Love” – Released: December 28, 1995
2 of Amerikaz Most Wanted” – Released: May 7, 1996
How Do U Want It” – Released: June 4, 1996
“All Bout U” – Released: August 13, 1996
Life Goes On” – Released: September 11, 1996
I Ain’t Mad at Cha” – Released: September 15, 1996

Review :

”All Eyez On Me” is one of the most influential hip-hop albums of all time. This CD was dropped by a new 2Pac, fresh out of jail on bail with Death Row records. 2Pac hit the studios literally hours after being released and this CD is said to be recorded in less than 2 weeks. This double album was 2Pac’s first (and second) of three albums obligated to Death Row Records in exchange for their support in baling him out of jail. It is arguably 2Pac’s best album, and surely his most well known.

This album was a no holds barred tribute to the thug lifestyle. There are some remnants of his old political and social messages but they are overpowered by the strong sense of anger from being jailed while the men who tried to convict him and then kill him were roaming about free.

The first of the double discs contains all of the commercial hits and the second contains the more rugged hits. There are a lot of collaborations with various artists including Thug Life, the Outlawz (2Pac’s new posse at the time) and the Death Row family. The production on this album is top-notch with the likes of DJ Quik, Johnny J, Daz Dillinger, Dr. Dre and even 2Pac himself all having a helping hand. Many rappers have tried to reproduce this album by buying hot beats and persuading other popular rappers into collaborations, but none have been able to match this album.

The songs on All Eyez on Me are, in general, unapologetic celebrations of what is called in the idiom the thug lifestyle. Though there is the occasional reminiscence about past and present friends, it is a definite move away from the social and political consciousness of 2Pacalypse Now.

The album features occasional guest spots from Shakur’s regulars, such as former-Thug Life members and The Outlawz, as well as Snoop Dogg, and other guests. Most of the album was produced by Johnny “J” and Daz Dillinger, with help from Dr. Dre on the songs “California Love” and “Can’t C Me”.

The album was certified Diamond by the RIAA on July 23, 2014.


Promotional Videos



Latasha Harlins – The Girl Who Died with TWO Dollars in Her Hand

Latasha Harlins, in this undated photo, was killed on March 16, 1991 / VIA LOS ANGELES TIMES

Latasha Harlins (July 14, 1975 – March 16, 1991) was a 15-year-old African-American girl who was unlawfully shot and killed by Soon Ja Du, a 51-year-old Korean store owner. Harlins was a student at Westchester High School in Los Angeles. Because Harlins’ death came thirteen days after the videotaped beating of Rodney King and Du was fined, sentenced to probation and community service for her crime, some sources cited the shooting as one of the causes of the 1992 Los Angeles riots.

Tupac Shakur also took particular note of Harlins’ death and in 1993 released a song entitled “Keep Ya Head Up” which was dedicated to Latasha Harlins.

Thereafter, Tupac made frequent mention of Harlins in his songs, including tracks like:

Something 2 Die 4 (Interlude)” (“Latasha Harlins, remember that name… ‘Cause a bottle of juice is not something to die for”)
Thugz Mansion” (“Little Latasha, sho’ grown/Tell the lady in the liquor store that she’s forgiven/ So come home”)
I Wonder If Heaven Got a Ghetto” (“Tell me what’s a black life worth / A bottle of juice is no excuse, the truth hurts / And even when you take the shit / Move counties get a lawyer, you can shake the shit / Ask Rodney, Latasha, and many more”)
White Mans World” (“Rest In Peace To Latasha, Little Yummy, and Kato…”)
“Hellrazor” (“Dear Lord if ya hear me, tell me why / Little girl like Latasha, had to die”)

Harlins was a 15-year-old African-American girl living with her grandmother in South Central.

On that day — less than two weeks after King was beaten — she walked into the Empire Liquor Market on South Figueroa Street. She grabbed orange juice from the refrigerator and placed it in her bag, $2 in her hands to pay for it.

However, the store’s owner, Korean-American Soon Ja Du, believed that Harlins was stealing the juice.

A scuffle ensued at the register when Du tried to pull Harlins’ bag across the counter. Meanwhile, Harlins fought back, knocking the then-51-year-old woman down.

Harlins took the orange juice out of her bag and put it back on the counter, and then turned to leave. However, Du picked herself off from the ground with a handgun from the counter, shooting Harlins in the back of the head from three feet away.

Harlins died with that $2 in her left hand.

Read an excerpt here: The Contested Murder of Latasha Harlins: Justice, Gender, and the Origins of the LA Riots


Thug Life consists of Tupac Shakur, Big Syke, Stretch, Mopreme Shakur, The Rated R, Macadoshis, and Kato. Founded in 1992 by Tupac and Randy “Stretch” Walker. They recorded a song also titled “Thug Life” and and shortly thereafter joined  Little Psycho aka Big Syke. Later also joined Macadoshis and The Rated R.

They released one album, 1994’s Thug Life: Volume 1, before disbanding after Tupac died on September 13, 1996.

Walter Burns aka The Rated R met Tupac through Treach of Naughty by Nature & Coolio in 1992 in L.A. After an impromptu rhyme session in Treach’s hotel room – Tupac took immediate interest and put down in THUG LIFE.

Macadoshis – Tha Come Up (Album)

Macadoshis – Tha Come Up
Location: Los Angeles,CA
Label: Paypa Chasin’ Entertainment
Release Date: 30 April, 2007

1. Life Of A Thug Nigga
2. What U Know About It (feat. Outlawz & Lost Souls)
3. Ain’t Nothin’ Like Cali (feat. Eastwood & Livewire)
4. Hit Wit Da Gat (feat. NME & Guerilla Black)
5. Fast Lane (feat. Snoopy Blue)
6. Hustle Hard (feat. Eastwood & Bishop Lamont)
7. When I Close My Eyes (feat. Noni Spitz & Taje & Mopreme Shakur)
8. Boss Angeles (feat. Mac-Lucci & Crooked I & Kima)
9. Bounce Dat Ass
10. It’s All Hood (feat. Dirty Redd & Maddflow & Natasha Walker)
11. All Or Nothin
12. Snitchez Iz Bitchez (feat. Yukmouth & Gold)
13. Everyday Iz A Struggle (feat. Big Syke & Mopreme Shakur & G-Money)
14. The Downest G (feat. G-Money)
15. Addiction
16. Don’t Tell
17. There’s No Me Without You (feat. Natasha Walker)
18. Black & Brown Pride (feat. Spanky Loco & Six Shot & Drastic)
19. As The World Spins (feat. Gold)

THUG LIFE : To This Day We Continue To Learn From Tupac

Emblazoned across the stomach of the late Tupac Shakur was arguably one of the most famous tattoos in the history of popular culture. “T.H.U.G. L.I.F.E.” became a mid-90’s mantra, and echoes of the same were heard from the inner city, to suburbia, to the wide open spaces of rural America.

A complex and controversial artist, the message intended by Tupac’s tattoo was often assumed to convey something sinister or criminal in nature. In fact, the opposite is true. Tupac’s tattoo served as a heart-breaking, yet honest, and even prophetic word for a nation sorely in neglect of the youngest members of its society. The acronym stood for “The hate you give little infants f**** everyone.”


While you might disagree with Tupac’s choice of words, no one can disagree with the validity of this statement. When children suffer from neglect it impacts not only the child, but it also has longstanding and immeasurable ramifications for our community as a whole. Considering the social, political, economic, and spiritual landscapes of America today, it appears as though our youth are largely being left behind. This is especially true of young African American men.

Today, only 47% of African American men graduate from high school, all while funding for youth programs and music and arts programs in schools are being eliminated. Furthermore, many of the family systems from which these young men emerge continue to be in disarray. The unfortunate result of our failures as adults has been the creation of a generation of young people who carry little esteem for themselves, little respect for others and who experience bitter pain at the core of their being.

Yet we, the community that has neglected them, often look upon them with consternation and condemnation when they fall short of our lofty expectations. Such a position is irrational, for as my late grandfather would often state, “A garden can only yield what you plant!” When youth act violently towards themselves, and towards others, we are but reaping the harvest from our gardens of neglect.

This past summer, my wife and I stood in bewildered and troubled awe as a baseball bat-wielding young lady and her associate confronted another young lady on her front porch in a dispute over “her man”. And although the academic year began almost a month ago, it is not uncommon to see this young lady outside in her front yard with “her man” at eleven or twelve o’clock at night. I thought I might express my concern for this young lady’s behavior to her mother until one day the mother invited all of her children inside with a vulgar tirade and needless threats that would make the toughest of sailors blush.

I thought to myself, if that was what awaited me on the inside of my house, I would stay outside as long as I could, too!  While persons of good will have mobilized to counter the ill effects of our neglected gardens, there is still much more that needs to be done. Surely we possess the capacity to do it! The question is, “Do we have the commitment do it?”

How To Be a Thug? – Inspired by the Philosophy of Tupac

T.H.U.G. L.I.F.E. may in fact be due to our neglect of another garden; the garden of our souls! One author suggests that Americans are largely no longer moved to moral responsibility. Douglas V. Porpora writes, “Moral purpose is a pivotal concept, connecting our grand views about the meaning of life with our own personal identities.”1 The author, however, notes that most Americans suffer from an “emotional withdraw from cosmic [universal] meaning” which leads to “the loss of moral purpose.”2

Is there any greater moral purpose or moral responsibility than caring for the young? Is it possible that we have neglected our youth because we are guilty of neglecting ourselves? Are we so out of touch with our own needs and emotions that we overlook the needs and emotions of others? Do we have difficulty expressing love to our youth because we do not know how to love ourselves? I will continue to ponder these things even as I repent for any neglect of the two seeds in my own garden.

What Does it Mean THUG LIFE (Video & Info)

T.H.U.G. L.I.F.E. is acronym for The Hate You Gave Little Infants Fucks Everybody, meaning, what you feed us as seeds, grows, and blows up in your face, thats Thug Life.

Tupac : “When my heart beats it screams Thug Life”. I don’t understand why America doesn’t understand Thug Life. America is Thug life. I got people all over the country getting “Thug Life” on their stomach. I been getting the blame for everything Thug Life ever did. Anybody can do something about Thug Life and it always comes back to me. I done had policemen get killed and I get blamed for it. All type of violence and I get blamed for it.”

Code of Thug Life

Tupac : “I didn’t choose the Thug life, the Thug life chose me. All I’m trying to do is survive and make good out of the dirty, nasty unbelievable lifestyle that they gave me.”

Tupac : ”I didn’t introduce Thug Life to America. Thug life is America. I don’t get why the whole world is fearing me. I am scared, but so are they. It’s like I am having a panic attack cause I have 15,000 people wanting to do what I want, listing to everything I say.”

Thug Life is a popular phrase in today’s Hip Hop culture, though very few know what it actually means and why it’s used. It’s been the title of songs by many American artists such as Taylor Swift and T pain, as well as overseas artists like French rap collective Mafia K’1 Fry and Kery James. There’s a number of different definitions for this phrase, but majority of them originate from the same source, the late rapper Tupac Shakur.

Tupac Shakur, who’s stage name is simply 2pac, took the phrase Thug Life in the mid 90’s, and transformed it into a completely different definition than what the phrase originally meant. He used this phrase for a number of thugs. Most notably, it was the name of a rap group he put together and was a member of, which included his step-brother Mopreme Shakur, and rappers Big Syke, The Rated R, and Macadoshis. The only album they ever released was titled “Thug Life Vol. 1”, and it contained a song that was appropriately titled “Thug Life”, which briefly details some of the aspects of what that motto means.

2pac also used the phrase to define the lifestyle he lived. He turned Thug Life into an acronym, which stood for The Hate U Give Little Infants, Fuck Everybody. He defined that acronym as meaning a lifestyle that one lives where they succeed against all odds. In other words, a person born rich would not be living a Thug Life, because they do not come “the struggle”. Because of his constant use of the phrase, it has become synonymous with his name, and he even chose to tattoo the phrase on his belly.

Another notable use for the phrase was when Tupac got together with his Stepfather Mutulu Shakur, to draft a “code of the streets” in 1992. The reason behind this was because there was escalating violence involved between different gang factions in the major cities, most likely due to the remnants of the Crack Epidemic in the late 80’s. There was a Truce Picnic held in Los Angeles in 1992, in which both Crips and Bloods sat down with Shakur and helped write the code of the streets, which was officially called The Code of Thug Life. There were over 20 rules that were written in the code, which gang members would be expected to abide by. The rules were setup in order to promote a sense of morality amongst the gangs, and to prevent the gang violence from affecting innocent bystanders.

Today, very few people know what this motto means or why it’s used. Very few gangsters follow the Code of Thug Life today, but everytime somebody mentions that phrase, those who grew up in the 90’s and listened to rap will reminisce about the past and remember the man who really made that phrase as popular as it is now.

1) acronym for “The Hate U Give Little Infants Fucks Everyone”. This acronyn was made popular by 2Pac.
2) The Codes Of Thug Life where a set of codes written by 2Pac. The codes where designed to give order to the rise of gang violence and drug dealing. It made certain immoral actions, against the code which, would become a code of the street.
These codes where signed by heads from the Bloods and Crips at a peace treaty picnic called the Truc Picnic, in California in 1992.
3) Thug Life was a rap group formed by 2Pac which consisted of him and four others: Mopreme, Macadoshis, Big Syke, and The Rated R.

After 2Pac was imprisoned on rape allegations the rappers would disband. Some would regroup after 2Pac’s release and signing with Death Row Records and form the beginning of rap group called Tha Outlawz.

laweekly.com Question : The authors of Tupac Shakur: The Life and Times of an American Icon and others assert that “Thug Life” it’s actually an acronym for “The Hate U Give Little Infants Fuck Everybody.” Did you know that?

Hussein Fatal: Nah. Maybe he said that. Thug Life will mean whatever you [want it to] mean. If you’re a thug, you’re a thug. I don’t know about naming the letters and all that. I doubt if that’s what it really meant when he first got it.

13. 2Pac – Part Time Mutha – 2Pacalypse Now


13. Part Time Mutha

Producer : Big D The Impossible

Lyric :

[cutting and scratching]
She’s a part time
a part time
part time
She’s a (part time mutha)
A part time
A part time
part time
She’s a (part time mutha)

Meet Cindi, she’s twenty-two, lives right on the dope track
Used to be fat now weighs less than a Tic-Tac
Now what’s that say about, this big epidemic
This hypocritical world, and the people in it
Now speaking of in it Cindi loved to get buckwild
Fuck with a smile single file she’ll bust nuff styles
That would be cool, if she was your lover
But fuck that, Cindi was my dope fiend mother
Welfare checks never stepped through the front door
Cuz moms would run to the dopeman once more
All those days, had me fiending for a hot meal
Now I’m a crook, got steel, I do not feel
So don’t even trip, when I flip, with my thirty-eight
Revenge is a bitch, and my hit shake the murder rate
Word to the mutha, I’m touched
When moms come by, niggaz hush or get rushed
Maybe one day she’ll recover
But what will it take, to shake, or break
My part time mutha

I gotta live with a part time
A part time
A part time
She’s a (part time mutha)
A part time
A part time
She’s a (part time mutha)

I grew up in a home where no-one liked me
Moms would hit the pipe, everynight, she would fight me
Poppa was a nasty old man, like the rest
He’s feeling on my chest, with his hand in my dress
Just another pest, and yes I was nervous
Blood sensor tests, I just don’t deserve this
I wanna tell mom, but would she listen
She’s bound to be bitchin if she hasn’t got a fix in
So… now I lay me down to sleep
Lord don’t let him rape me
If he does my soul to keep
Don’t let the devil take me
Can’t concentrate I contemplate in my classroom
Thinkin how my step dad, raped me in the bathroom
Every day I make class, and yet I’m missing periods
The thought of pregnancy is in my head and now I’m fearing it
I gotta tell mom, before she sees me
I told her how he G’d me, and she didn’t believe me
Callin me a slut cuz my butt’s kinda big so
Still that ain’t no way to be talkin to your kids though
I can’t believe the way you call it
Gotta believe in him, and dissin her own daughter
Time for me to break and find another
That’s when I discovered
The ways of the days of a part time mutha

I got a part time
A part time
A part time
She’s a (part time mutha)
Part time
A part time
A part time mutha
She’s a (part time mutha)

I rush to tend her, talked as I touch her
She blushed, the clothes came off, and I bust her
I’m up now, ready to get drunk on the block
Here, take a cab, thanks a lot for the cot
She’s gone, and I’m thinkin that my game’s so strong
Pat myself on the back and move on
Is this just how it is hell no
Cuz she came back with the kid and yo
I been payin ever since
The clothes the food the cars and oh the rent
All of my time gets spent at the workplace
No time to kiss her got me list in the first place
So I do the dishes and clean the floor
When I sleep I can’t dream anymore
Oh no… now I’m a part time mutha
And I, change the diapers and clean the shit
The tables are turned I can’t take this
Oh no… now I’m a part time mutha

A part time
A part time mutha
Now I’m a part time mutha
I’m a (part time mutha)
A part time
A part time
Part time
Now I’ma (part time mutha)
She’s a part time
A part time mutha
He’s a part time mutha
She’s a (part time mutha)
A part time
A part time
A part time
Part time mutha
A part time
A part time mutha
Pa-pa-pa-part time
Pa-pa-pa-part time…

Samples :

“Part-Time Lover” by Stevie Wonder feat. Luther Vandross
“Part Time Suckers” by Boogie Down Productions
“Synthetic Substitution” by Melvin Bliss

Big Syke (Tyruss Himes)

Tyruss Gerald Himes

also known as Mussolini / Big Syke
November 22, 1968 – December 5, 2016
Hawthorne, CA

Tyruss “Big Syke” Himes was born and raised in Inglewood, California. In the early 90s he became friends with Tupac. Syke was teached Tupac about the streets and Tupac teached Syke about the rap game. Syke, Macadoshis, Mopreme Shakur, The Rated R and Tupac started working on an LP, Thug Life Volume 1. One of the songs that’d be on it was “How Long Will They Mourn Me?” which featured Nate Dogg and was dedicated to Syke’s murdered friend Kato. Tupac told Syke to take his pain out on the song and it turned out good.

On September 26, 1994, Thug Life Volume 1 was released. It sold gold, which was good, but not as good as they expected. A lot of people blamed Interscope Records who edited and removed a lot of songs from the Lp due to them being too hardcore and underground. The first single and video was “Pour Out A Little Liquor.” It was A Tupac solo song and didn’t feature Syke nor any other members of Thug Life. Syke was on the three other singles and videos, “Cradle To The Grave,” “How Long Will They Mourn?” and “It Don’t Stop,” though.

In 1995, Bruce “Fatal” Washington, Katari “Kastro” Cox, Malcolm “E.D.I.” Greenidge, Mutah “Napoleon” Beale, Tupac and Yafeu “Kadafi” Fula founded a group, the Outlaw Immortalz which was later re-named to the Outlawz. Syke was recruited to the group. Tupac had given the members of the group aliases taken from political men hated in America, Tupac gave Syke the alias Mussolini, after former Italian president Benito Mussolini. The Outlawz made their debut on “When We Ride” on Tupac’s double LP, All Eyez On Me, which was released on February 13, 1996. Shortly after the release Syke left the Outlawz.

Tupac & The Outlawz Live At Club 662, November 05, 1995,

He signed with Rideonum Records/TNT Recordings as a solo artist which released his solo LP, Be Yo Self, on October 16. Since then Syke has been very quiet. He has mostly guest appeared on other artist’s albums and compilations and soundtracks. In 2000, he signed with Rap-A-Lot Records where he recorded an album, Big Syke Daddy, Where You At? In 2001, he left Rap-A-Lot Records and the album was never released. He signed with D3 Entertainment/DNA which is set to release his third album this year!

Solo albums

  • Be Yo’ Self (1996)
  • Big Syke Daddy (2001)
  • Street Commando (2002)
  • Big Syke (2002)

Big Syke Was Found Dead At His Home

Big Syke was found dead at his home in Hawthorne, CA late Monday night (December 05, 2016). Law enforcement sources tell us cops responded first to a call to the scene, and then the L.A. County Coroner arrived.

Mopreme (Maurice Harding)

LOS ANGELES, CA - APRIL 29: Rapper/Actor Mopreme Shakur attends a toast by Estrella de Moet to Janna Velasquez at Pour Vous on April 29, 2012 in Los Angeles, California. (Photo by Todd Williamson/WireImage) *** Local Caption *** Mopreme Shakur

Maurice Harding’s mother and father is Sharan Harding and Mutulu Shakur. Four or five years after Harding’s birth his father married Afeni Shakur. She had a son and daughter, Tupac and Sekyiwa Shakur. At the time their parents got married Harding was four or five-year-old and Tupac was two or three and they lived in Harlem, New York. Harding thought that Tupac was old for his age, he always used to hang out with Harding and his older cousins. When they later moved to Oakland, California Tupac used to have a lot of problems with his mother, sometimes he’d come over to Harding’s house and sleep over. Harding used to cut his hair, get him straight and let him rest.

Both Harding and Tupac became good rappers when they got older. Harding made his debut on Tony! Toni! Ton?!’s “Feels Good” which was released on a single on June 15, 1990 and two months later on their LP, The Revival. Harding went under the alias Mocedes The Mellow. He and three others formed a group, W.A.T.M. The W stood for Wycked which was his new alias. He guest appeared on “Papa’z Song,” the fourth single and video of Tupac’s LP, Strictly 4 My N.I.G.G.A.Z… He later changed his alias to Mopreme and joined Thug Life, a group which also consisted of Macadoshis, The Rated R, Tupac and Tyruss “Big Syke” Himes.

On September 26, 1994, their debut album, Thug Life Volume 1, was released. It sold gold, which was good, but not as good as they expected. A lot of people blamed Interscope Records who edited and removed a lot of songs from the LP due to that it was too hardcore and underground. The first single and video was “Pour Out A Little Liquor.” It was a Tupac solo song and didn’t feature Mopreme nor any other members of Thug Life. Mopreme was on the three other singles and videos, “Cradle To The Grave,” “How Long Will They Mourn Me?” and “It Don’t Stop,” though.

In 1995, Bruce “Fatal” Washington, Katari “Kastro” Cox, Malcolm “E.D.I.” Greenidge, Mutah “Napoleon” Beale, Tupac and Yafeu “Kadafi” Fula founded a group, the Outlaw Immortalz which was later re-named to the Outlawz. Mopreme was recruited to the group. Tupac had given the members of the group aliases taken from political men hated in America, Tupac gave Mopreme the alias Komani, after Ayatollah Ruholla Khomeini. The Outlawz made their debut on “When We Ride” on Tupac’s double LP, All Eyez On Me, which was released on February 16, 1996. Shortly after the release Komani left the Outlawz. Since then Komani has been very quiet. He has mostly guest appeared on other artists’ albums and compilations and soundtracks.

Komani later changed his name from Maurice Harding to Mopreme Shakur. Today, he’s signed with Status Records who’s scheduled to release his solo album, Mopreme Shakur: Life And Law, this year.


Pin It on Pinterest