In the pantheon of West Coast hip-hop history, few alliances have been as potent—and productive—as the brief but explosive creative partnership between Tupac Shakur and Daz Dillinger. In a revealing new sit-down on E.D.I Mean TV, the Dogg Pound producer and the Outlawz veteran traded war stories, pulling back the curtain on the frenetic recording sessions that birthed All Eyez On Me. The conversation offers a rare, unfiltered glimpse into the studio dynamics at Death Row Records immediately following Tupac’s release from Clinton Correctional Facility in late 1995.
For fans and historians of Shakur’s legacy, the interview is a treasure trove of “what ifs” and clarifications on production credits that have been debated for decades.
The Spark: “Ambitionz Az A Ridah”
The narrative often told is that Tupac hit the ground running the moment he touched down in Los Angeles, but Daz Dillinger provided the granular details of that first day. According to Daz, despite the massive roster of producers available at Death Row, including Dr. Dre and Johnny J, Shakur gravitated immediately toward the younger, hungry sound of Tha Dogg Pound.
“When he came, he landed in my hands first, 100%,” Daz recalled with pride. The chemistry was instantaneous. The very first track they tackled was the album’s iconic opener, “Ambitionz Az A Ridah.”
Daz recounted the speed at which Shakur worked, a trait that has become legendary but rarely described with such proximity. “I went to go do something and roll up some weed, came back it was done—all three f***ing verses,” Daz said.
Interestingly, Daz clarified a long-standing rumor regarding Tupac’s prison writings. While it is known that Pac wrote incessantly while incarcerated, Daz revealed that for “Ambitionz Az A Ridah,” the creative process was a mix of pent-up energy and fresh inspiration. “The last verse is the only verse he wrote while he was in jail,” Daz noted. The rest was spontaneous, fueled by the beat and the newfound freedom.
The $1500 Beat That Almost Got Away
Perhaps the most shocking revelation from the interview concerns the creation of the West Coast anthem, “2 of Amerikaz Most Wanted” (often referred to as “Gangsta Party”). The track, which features Snoop Dogg and Tupac trading bars in a celebration of their acquittal and bail release, stands as a pillar of the G-Funk era. However, Daz revealed that the beat was mere moments away from being sold to an unknown underground artist.
“If a certain person would have had that money, they wouldn’t [have] had that beat… That beat was sold already,” Daz admitted. The price tag for history? A mere $1,500.
“N***a just didn’t have the money. So I took it to the studio,” Daz explained. The intended buyer, an underground artist from Atlanta who has since passed away, missed the deadline. Fate intervened, and the instrumental ended up in the Can-Am studios where Tupac and Snoop Dogg were present. “We was [about] to do the second verse but then Snoop walked in the door and you know, the shit just started happening magically.”
Daz also expressed a lingering frustration regarding the credits on that specific track. While he is recognized as the producer, he believes his vocal contribution warranted a feature credit. “I need my name on that record… It’s just featuring Tupac featuring Snoop. But it’s supposed to be [featuring Daz too],” he argued, referencing the “Gangsta Party” chorus and ad-libs that defined the song’s hook.
The Ghost of Dr. Dre and Uncredited Work
The conversation inevitably touched upon the politics of Death Row Records, specifically the looming shadow of Dr. Dre. E.D.I Mean and Daz discussed the track “Ain’t No Fun (If the Homies Can’t Have None)” from Snoop Dogg’s Doggystyle. For years, it has been an open secret in West Coast circles, but Daz stated it plainly on camera.
“Dr. Dre got the credit for it. But you absolutely produced that beat,” E.D.I Mean prompted.
“Oh yeah, most definitely,” Daz confirmed. He described how Tupac was aware of these discrepancies in credit and compensation, which endeared Daz to him. “Pac already knew that… no wonder Pac want to f*** with this n***a.”
This dynamic of uncredited labor extended to All Eyez On Me as well. Daz claimed that he and Johnny J produced the smooth, R&B-tinged “All About U,” yet felt their contribution was swept under the rug in the liner notes of history. “We didn’t get no credit for it… When you listen to the motherf***ing mood lines and shit, that’s all us.”
Collaborative Magic: DJ Quik and “Scandalouz”
While Daz is often viewed as the primary architect of the “Gangsta Party” sound, he took time to give flowers to another West Coast legend: DJ Quik. Speaking on the track “Scandalouz,” a fan-favorite cut from All Eyez On Me, Daz highlighted the collaborative nature of the production.
“The production on it’s mean, bro,” E.D.I Mean observed.
Daz explained that while he laid the foundation, it was Quik’s ear for live instrumentation that elevated the track. “Shout out to DJ Quik, [he] help produce that with me. He was taking what I had and putting live instruments on it. Like if I had a bass, he would… bring that shit to life.”
“Hard on a N***a”: The Lost Energy
Towards the end of the interview, the duo discussed a track referred to as “Hard on a N***a” (often bootlegged as “Heart of a Menace” or similar variations). Daz expressed that this was one of his personal favorites due to the raw aggression Tupac displayed.
Daz remixed the original track to give it that signature “Dogg Pound sound,” utilizing live percussion reminiscent of the Ohio Players to make it funkier. But it was Tupac’s fourth verse—an addition to the original structure—that left a lasting impression on Daz.
“He went crazy at the end,” Daz recalled, mimicking Tupac’s delivery: “F*** the judge, f*** you b****.” The verse captured the tumultuous legal battles and the “me against the world” mentality that defined Shakur’s final year. “Niggas in hell got some horrible stories to tell,” Daz quoted, highlighting the dark, prophetic nature of the lyrics.
The Legacy of the “First Six”
The interview serves as a reminder of just how prolific the initial recording sessions for All Eyez On Me were. Daz estimates that he produced the “first six big records” for the album immediately upon Pac’s arrival. This specific batch of songs set the tone for the entire double disc—an album that moved away from the socially conscious boom-bap of Me Against The World toward a more polished, synthetic, and celebratory G-Funk sound.
For Daz Dillinger, these stories are more than just industry gossip; they are a testament to a time when lightning was caught in a bottle. As he told E.D.I Mean, it was about making “Timeless music.” Thirty years later, as fans continue to dissect every bar and beat of Tupac Shakur’s catalog, the music remains exactly that: timeless.
