Colectia de poze mw.3xforum.ro
Total 49 poze.

Inainte

 
un betiv intra intr-un bar ,se opreste in fata unui cuplu si ragaie. -cum sa ragai inainteaUn betiv intra intr-un bar ,se opreste in fata unui cuplu si ragaie. Tanarul,furios: -Cum indraznesti sa ragai inaintea prietenii mele? -Scuze nu stiam ca e RANDUL EI!
21.09.20063.7KB
this is mostly where all the beef started. the day after tupac was shot, tupac was heading to aThis is mostly where all the beef started. The day after Tupac was shot, Tupac was heading to a studio to record a track. While he was walking up to the building, he saw 2 suspicious men sitting down reading a newspaper, as he reaches the lobby to get buzzed in, these 2 guys approached him from behind and demanded they get on the floor and give them their jewels. Tupac was then shot 5 times, and proceeded to the studio where he seen Puffy, Biggie, Lil Shaw, and many other Bad Boy members. This lead Tupac to believe Bad Boy Records had something to do with the shooting, or had it set up.
04.10.20065.1KB
. jay-z, ha ha nigga you feel me (outlaw, death row, makaveli tha don) you punk you big dick sucking. Jay-Z, ha ha nigga you feel me (Outlaw, Death Row, Makaveli Tha Don) you punk muthafucka, you big dick sucking lips. You trick ass nigga Outlaw, the criminal desperados. How you gonna be the one, soft one year, then tough ass mobb connection. (die, die slow) nigga my memory ain't bad, you about to get it. Bang, you dead!! Ha ha. Mobb Deep, you little young ass juvenile delinquents, Bang, Bang, you dead!! Biggie, Bang, you dead!! Puffy, Bang, you dead!! You out the game. No need to explain, get out of here. My label, the notorious untouchable, Death Row!
20.09.20067.6KB
chino dissed many people including whitney houston, eddie murphy and of course tupac. in keeping upChino dissed many people including Whitney Houston, Eddie Murphy and of course Tupac. In keeping up with his tradition, Tupac retaliated: "..Chino XL, f**k you too. All you mother f**kers, f**k you too!" - Hitemup. It is believed that Chino XL's comments was only there to create publicity and make him a well known rapstar, but this scheme was obvious, so Tupac didn't mention his name too many times as this would only create a name for Chino XL. Chino later said his beef with Tupac was just a lyrical thing.
18.09.20065.3KB

 
until the end of time is another release from 2pac. this double album contains previously unreleasedUntil the End of Time is another posthumuous release from 2Pac. This double album contains previously unreleased material and remixes from the Deathrow 'Makaveli' era. Even tracks that aren't listed as remixes were remixed from their leaked bootleg OG forms. The production on this album was sub-par and it is clear that not a lot of thought and time went into it. For example, the revolutionary track 'The Struggle Continuez' is completely off-beat. Also there are quite a few incidents of lyric censoring on this album. Although there are some good tracks on this album, it was a shame to have such an overall poorly put together 2Pac release. 1 Ballad of a Dead Souljah 2 Fuck Friendz 3 Lil Homies 4 Let Em Have It 5 Good Life 6 Letter 2 My Unborn 7 Breathin' 8 Happy Home 9 All Out 10 Fuckin Wit the Wrong Nigga 11 Thug N U Thug N Me Remix 12 Everything They Owe 13 Until the End of Time 14 M.O.B 15 World Wide Mob Figgaz 1 Big Syke Interlude 2 My Closest Roaddogz 3 Niggaz Nature Remix 4 When Thugz Cry 5 U Dont Have 2 Worry 6 This Aint Livin 7 Why U Turn On Me 8 LastOnesLeft 9 Thug N Me Thug N U 10 Words 2 My First Born 11 Let Em Have It Remix rics 12 Runnin On E 13 When I Get Free 14 Until the End of Time Remix
05.10.200616.2KB
tupac shakur grew up around nothing but his mother, alice faye williams, thought she was a sheTupac Shakur grew up around nothing but self-delusion. His mother, Alice Faye Williams, thought she was a "revolutionary." She called herself "Afeni Shakur" and associated with members of the ill-fated Black Panther Party, a movement that wanted to feed school kids breakfast and earn civil rights for African Americans. During her youth she dropped out of high school, partied with North Carolina gang members, then moved to Brooklyn: After an affair with one of Malcolm X's bodyguards, she became political. When the mostly white United Federation of Teachers went on strike in 1968, she crossed the picket line and taught the children herself. After this she joined a New York chapter of the Black Panther Party and fell in with an organizer named Lumumba. She took to ranting about killing "the pigs" and overthrowing the government, which eventually led to her arrest and that of twenty comrades for conspiring to set off a race war. Pregnant, she made bail and told her husband, Lummuba, it wasn't his child. Behind his back she had been carrying on with Legs (a small-time associate of Harlem drug baron Nicky Barnes) and Billy Garland (a member of the Party). Lumumba immediately divorced fer. Things went downhill for Afeni: Bail revoked, she was imprisoned in the Women's House of Detention in Greenwich Village. In her cell she patted her belly and said, "This is my prince. He is going to save the black nation." By the time Tupac was born on June 16, 1971, Afeni had already defended herself in court and been acquitted on 156 counts. Living in the Bronx, she found steady work as a paralegal and tried to raise her son to respect the value of an education. From childhood, everyone called him the "Black Prince." For misbehaving, he had to read an entire edition of The New York Times. But she had no answer when he asked about his daddy. "She just told me, 'I don't know who your daddy is.' It wasn't like she was a slut or nothin'. It was just some rough times."When he was two, his sister, Sekyiwa, was born. This child's father, Mutulu, was a Black Panther who, a few months before her birth, had been sentenced to sixty years for a fatal armored car robbery. With Mutulu away, the family experienced hard times. No matter where they moved-the Bronx, Harlem, homeless shelters-Tupac was distressed. "I remember crying all the time. My major thing growing up was I couldn't fit in. Because I was from everywhere. I didn't have no buddies that I grew up with." As time passed, the issue of his father tormented him. He felt "unmanly," he said. Then his cousins started saying he had an effeminate face. "I don't know. I just didn't feel hard. I could do all the things my mother could give me, but she couldn't give me nothing else." The loneliness began to wear on him. He retreated into writing love songs and poetry. "I remember I had a book like a diary. And in that book I said I was going to be famous." He wanted to be an actor. Acting was an escape from his dismal life. He was good at it, eager to leave his crummy family behind. "The reason why I could get into acting was because it takes nothin' to get out of who I am and go into somebody else." His mother enrolled him in the 127th Street Ensemble, a theater group in the impoverished Harlem section of Manhattan, where he landed his first role at age twelve, that of Travis in A Raisin in the Sun. "I lay on a couch and played sleep for the first scene. Then I woke up and I was the only person onstage. I can remeber thinking, "This is the best shit in the world!" That got me real high. I was gettin' a secret: This is what my cousins can't do." In Baltimore, at age fifteen, he fell into rap; he started writing lyrics, walking with a swagger, and milking his background in New York for all it was worth. People in small towns feared the Big Apple's reputation; he called himself MC New York and made people think he was a tough guy. He enrolled in the illustrious Balitomore School for the Arts, where he studied acting and ballet with white kids and finally felt "in touch" with himself. "Them white kids had things we never seen," he said. "That was the first time I saw there was white people who you could get along with. Before that, I just believed what everyone else said: They was devils. But I loved it. I loved going to school. It taught me a lot. I was starting to feel like I really wanted to be an artist. By the time he was twenty, Shakur had been arrested eight times, even serving eight months in prison after being convicted of sexual abuse. In addition, he was the subject of two wrongful-death lawsuits, one involving a six-year-old boy who was killed after getting caught in gang-war crossfire between Shakur's gang and a rival group. In the late eighties, Shakur teamed up with Humpty-Hump (a.k.a. Eddie Humphrey, a.k.a. Gregory "Shock-G" Jacobs) and other Oakland-based rappers to create Digital Underground, a band intent on massive bass beats and frenetic, Parliament-Funkadelic-style rhythms. In 1990, the group released its debut and best album, Sex Packets, a pulsating testament to the boogie power of hip-hop, featuring two classic tracks, "Humpty Dance" and "Doowutchyalike." After an EP of re-mixes in 1991, D.U. released Sons of the P and, the following year, The Body-Hat Syndrome, all on Tommy Boy Records. In 1992, Shakur entered a most fruitful five-year period. He broke free of D.U. and made his solo debut, 2Pacalypse Now, a gangsta rap document that put him in the notorious, high-speed lane to stardom. That same year he starred in Juice, an acclaimed low-budget film about gangs which saw some Hollywood success. In 1993, he recorded and released Strictly 4 My N.I.G.G.A.Z., an album that found Shakur crossing over to the pop charts. Unfortunately, he also found himself on police blotters, when allegations of a violent attack on an off-duty police officer and sexual misconduct arose. The same year, Shakur played a single father and Janet Jackson's love interest in the John Singleton film Poetic Justice. In November of 1994, he was shot five times during a robbery in which thieves made off with $40,000 worth of his jewelry. Shakur miraculously recovered from his injuries to produce his most impressive artistic accomplishments, including 1995's Me Against the World, which sold two million copies, and the double-CD All Eyez on Me, which sold nearly three million. As his career arc began a steep rise toward fame and fortune, Shakur was shot (most say suspiciously) and killed after watching a Mike Tyson fight with Death Row Records president Marion "Suge" Knight. Though his death was a jolt to his fans and the music community, Shakur himself often said that he expected he'd die by the sword before he reached thirty. Following his passing, Shakur's label released an album, The Don Killuminati, under the pseudonym "Makaveli." The cover depicted Shakur nailed to a cross under a crown of thorns, with a map of the country's major gang areas superimposed on it. In January of 1997, Gramercy pictures released Gridlock'd, a film in which Shakur played the role of a drug addict to mostly good reviews. His final film, Gang Related, was released in 1997, and Death Row is said to have several unreleased recordings in the vaults for potential future release
05.10.200631.4KB
released february 16, 1993 on interscope in 1998 on gold september 24, platinum aplril 19, 1995Released February 16, 1993 on Interscope Records Rereleased in 1998 on Amaru/Jive Certified Gold September 24, 1993 Certified Platinum Aplril 19, 1995 Strictly 4 My N.I.G.G.A.Z, was a continuation of raw messages from a young black male. Although this album still emphasized 2Pac's political and social thoughts, the style and production was a lot more hardcore than the debut album. This album was full of sadness, compassion and rage and also carried many disses to then Vice President Dan Quayle in retaliation for his criticism of 2Pacalypse Now. This album also had a lot more commercial success than 2Pacalypse Now. 'Keep Ya Head Up' got acclaim for it's social pertinence and its supportive message to single mothers. 'I Get Around' was the ultimate party jam of its time. 'Holler If You Hear Me' and 'Last Wordz' continued Tupac's political attitude in his lyrics. Unfortunately, the raw political messages faded after this album as 2Pac got deeper and deeper into the Thug Life, his marijuana addictions, fame, legal problems, and skepticism from being backstabbed from 'friends'. They only began to return near and during his recording of Makaveli, shortly before his untimely death. The production on this album was better than the first. Tracklisting and lyrics Holler If You Hear Me Pac's Theme Point Tha Finga Something 2 Die 4 Last Wordz Souljahs Revenge Peep Game Strugglin Guess Who's Back Representin 93 Keep Ya Head Up Strictly 4 My N.I.G.G.A.Z. The Streetz R Death Row I Get Around Papaz Song 5 Deadly Venomz Produced by: Stretch, Underground Railroad, Big D, Bobby "Bobcat" Ervin, Live Squad, Special Ed, Akshun, Truman Jefferson, DJ Daryl, Laylaw, The D-Flow Production Squad Project Coordinator: Leslie Gerard-Smith Mastered at A&M Mastering Hollywood, CA Recorded at Starlight Sound in Richmond, California. Mixed at Echo Sound Studio, Los Angeles, CA Guest Appearances by: Ice Cube, Ice T, Treach, Shock-G, Deadly Threat, Live Squad, Dj Fuze, Digital Underground
05.10.200612.8KB
released february 27, 1995 on interscope in 1998 on chart position: #1 r&b, #1 gold april 26,Released February 27, 1995 on Interscope Records Rereleased in 1998 on Amaru/Jive Highest Chart Position: #1 R&B, #1 Pop Certified Gold April 26, 1995 Certified Platinum Aptril 26, 1995 Certified Double Platinum December 6, 1995 Me Against the World was 2Pac's reflections at one of the most difficult points in his life. This album was recorded while he was recovering from a gunshot wound and released while he was imprisoned for sexual assault. The album quickly shot to number one on the charts. Many believe this album to be the pinnacle of gangster rap albums. 2Pac was deep into marijuana during this period and the album reflects that with messages of paranoia such as 'If I Die 2Nite' and 'Death Around the Corner'. On top of the paranoia, the references to organized crime ('Heavy in The Game', the real nihilistic apathy towards the world ('Fuck the World') and especially the reflection on the reprecussions of violence ('So Many Tearz') were a great contrast to the cartoonish thug rap albums of the time. This was unlike any other 'Gangster Rap' CD, as it went deep into the meaning of many subjects and also contained several emotional rhymes ('Dear Mama') and personal reflections ('It Aint Easy'). It didn't glorify the lifestyle but brought positive encouragement for people to seek a better lifestyle ('Young Niggaz'). Many other gangster rap artists have since failed trying to duplicate the emotional depth and realness of this album. 1 Intro 2 If I Die 2Nite 3 Me Against the World 4 So Many Tearz 5 Temptations 6 Young Niggaz 7 Heavy In the Game 8 Lord Knows 9 Dear Mamas 10 It Ain't Easy 11 Can U Get AWay 12 Old School 13 Fuck the World 14 Death Around the Corner 15 Outlaw Produced by: Tony Pizarro, Easy Mo B., SoulShock, Karlin, D-Flizno, Moe Z.M.D, Mike Mosley, Sam Bostic, Brian G, Shock G, Johnny J Project Coordinator: Jill Rose Guest Appearances by: Richie Rich, Dramacydal Nominated for 1996 Grammy Award for Best Rap Album.
05.10.20068.8KB

 
is the soundtrack to the of the same name. the was released in major theatres and was narrated inResurrection is the soundtrack to the documentary of the same name. The documentary was released in major theatres and was narrated in 2Pac's own voice by rearranging voice samples from his interviews. This album contains both new songs as well as older lesser known gems from some of his previous albums. This soundtrack was praised by reviewers and fans alike and was a great 2Pac release. 1 Intro 2 Ghost 3 One Day at a Time 4 Death Around the Corner 5 Secretz of War 6 Runnin (Dyin to Live) 7 Holla If Ya Hear Me 8 Starin Through My Rearview 9 Bury Me a G Listen Lyrics 11 Panther Power 12 Str8 Ballin 13 Rebel of the Underground 14 The Realest Killaz
02.10.200621.6KB
ll cool j dissed tupac on the song i shot ya, it was supposedly like a reply to biggies song whoLL Cool J dissed Tupac on the song I Shot Ya, it was supposedly like a reply to Biggies song Who Shot Ya. Tupac dissed LL on the unreleased song Lil Homiez. But back when Tupac made Me Against the World, he praised LL in one song
20.09.20067.3KB
this started after tha dogg pound put out ny ny, and mobb deep replied with la la. mobb deep seen nyThis started after Tha Dogg Pound put out NY NY, and Mobb Deep replied with LA LA. Mobb Deep seen NY NY as a diss to the East Coast. Tupac offence to LA LA, so he dissed back on Hit Em Up and All Out (see Jay-Z for more details).
18.09.20065.9KB
front frontFront
20.09.200633.6KB

 
on september 13, 1996, several hours after tupac shakur died, they did an autopsy at the umcOn September 13, 1996, several hours after Tupac Shakur died, they did an Autopsy at the UMC hospital in Las Vegas. The autopsy was done by ED BROWN, this is the coroners report as shown in Cathy Scotts Book "The killing of Tupac Shakur"
27.09.200640KB
asta da nunta!!!!! pozeasta da nunta!!!!!
21.08.200620.9KB
she spoke against tupac and other hip-hop artists. after tupacs death, she sued his estate claimingShe spoke against Tupac and other hip-hop artists. After Tupacs death, she sued his estate claiming the line in the song "How Do You Want It" affected her sex life. In the song he says C. Deloris Tucker, you's a muthafucka, instead of trying to help a nigga, you destroyed a brotha
05.10.20064.3KB
dupa cum s vede (kred k v-ati dat seama toti kre este artistul meu preferat) pt mine cel mai cel 2Dupa cum s vede (kred k v-ati dat seama toti kre este artistul meu preferat) pt mine cel mai cel este..................................................... 2 PAC!!!!!!!!!!!!
26.09.20061.3KB

 
released september 26, 1994 on interscope in 1998 on chart position: #6 r&b, #42 gold january 24,Released September 26, 1994 on Interscope Records Rereleased in 1998 on Amaru/Jive Highest Chart Position: #6 R&B, #42 Pop Certified Gold January 24, 1996 THUG LIFE was an initiative started by 2Pac before being jailed. The goal was to find aspiring young rappers and help them get initial exposure to the rap scene. This album featured Rated R, Big Syke, Mopreme, and Macadoshis. Future volumes were to feature other artists. Unfortunately, a second volume was never released. However, after 2Pac's death the other artists from this album attempted to release a THUG LAW album which had only mediocore success. The album only contains 10 tracks because Interscope records felt many of the other recorded songs were too controversial to release. 1 Bury Me a G 2 Dont Get It Twisted 3 Shit Dont Stop 4 Pour Out a Little Liquor 5 Stay True 6 How Long Will They Mourn Me? 7 Under Pressure 8 Street Fame 9 Cradle to the Grave 10 Str8 Ballin Produced by: 2Pac, Jay, Mopreme, Johnny J, Warren G, Nate Dogg, Stretch, Syje, Easy Mo B. Mastered by Brian Gardner at Bernie Grundman Mastering Guest Appearances by: Nate Dogg, YNV
28.07.200617.6KB
loyal to the game is an album full of remixed previously released and unreleased cuts from 2pac'sLoyal to the Game is an album full of remixed previously released and unreleased cuts from 2Pac's earlier period. As this album contains songs recording during the 2Pacalypse Now and Strictly 4 My N.I.G.G.A.Z, a lot of the lyrics discuss political and social issues. Unfortunately, the majority of the production on this album was done by Eminem. Eminem is a successfull producer and rapper, but after this album it is clear that his style is very narrow and he can't adapt to other people's styles. The majority of beats on this album aren't beats that go well with 2Pac's vocals, in fact Eminem had to adjust the pitch and tone on almost all of the acapellas to make the tracks seem on-beat. To top it off, Eminem cut out a large portion of 2Pac's lyrics, threw on guest appearances from the likes of G-Unit, and even cut and pasted 2Pac vocals to make it seem like he was alive and giving props to G-Unit. The last 4 tracks on this album, however, were produced by 4 different producers including Raphael Saadiq, Red Spyda, and DJ Quik. These 4 tracks are true gems as the were built around 2Pac's vocals by great producers. 1 Souldier Like Me (Return of the Souljah) 2 The Uppercut 3 Out on Bail 4 Ghetto Gospel 5 Black Cotton 6 Loyal to the Game 7 Thugs Get Lonely Too 8 N.I.G.G.A (Never Ignorant about Getting Goals Accomplished) 9 Who Do You Love? 10 Crooked Nigga Too 11 Don't You Trust Me? 12 Hennessy 13 Thug 4 Life 14 Po Nigga Bluez (Scott Storch Remix) 15 Hennessy (Red Spyda Remix) 17 Crooked Nigga Too (Raphael Saadiq) 17 Loyal to the Game (DJ Quik Remix)
30.09.200620.6KB
released november 12, 1991 on interscope in 1998 on chart position: #4 r&b, #64 gold april 19, 1995Released November 12, 1991 on Interscope Records Rereleased in 1998 on Amaru/Jive Highest Chart Position: #4 R&B, #64 Pop Certified Gold April 19, 1995 2Pacalypse Now, the great debut release, is probably 2Pac's most raw political album. He addresses social issues such as police brutality, poverty, teenage pregnancy, and drug abuse with the anger of a young black male. This album was strongly criticised by politics and the media. Vice president Dan Quayle believed " that this album has no place in our society". It didn't help this album's image when it was found in the tape player of a young black male who shot and killed the police officer who pulled him over. The male was at the time listening to Souljah's Story; one of the songs where 2Pac raps in detail about killing cops. This album showcases all of the elements of 2Pac's nature that he later focused on at various stages in his life and career. 'Brenda's Got A Baby' and 'Violent' highlight 2 extremes of his complex character: Sadness in circumstances and raw vengeful anger driven by a need to survive. This album was produced along with his friends from Digital Underground. Album tracklist Young Black Male Trapped Souljaz Story I Don't Give A Fuck Violent Words Of Wisdom Something Wicked Crooked Ass Nigga If My Homie Calls Brenda's Got A Baby Tha Lunatic Rebel of The Underground Part Time Mutha Produced by: The Underground Railroad, Big D the Impossible, Shock-G, Pee Wee, Jeremy, Raw Fusion, Live Squad Co-Produced by: 2Pacalypse Executive Producer: Atron Gregory for TNT Recordings, Inc. Project Coordinator: Leslie Gerard-Smith Mastered at Rocket Lab in San Fransisco, California by Kenneth K. Lee Jr. Recorded at Starlight Sound in Richmond, California. Mixed at Starlight Sound and Hyde Street Studios in San Fransisco, California. Guest Appearances by: Shock-G, Gold Money, Raw Fusion, Stretch
16.08.200610.8KB
stati deoparte musca!!! uitete aici siStati deoparte musca!!!
21.08.200616.6KB

 
better dayz is a release from 2pac. this was the second double album with a majority of songs fromBetter Dayz is a posthumuous release from 2Pac. This was the second double album with a majority of songs from 2Pac's 'Makaveli' period, but also includes other tracks from his Deathrow era. The production on this album was a lot better than Until the End of Time. This CD contains a lot of great tracks. Even though it was barely promoted, it still debutted at #5 on the charts and eventually went double platinum. 1 Intro 2 Still Ballin 3 When We Ride On Our Enemies 4 Changed Man 5 Fuck Em All 6 Never B Peace 7 Mama's Just a Lil Girl 8 Street Fame 9 Whatcha Gonna Do 10 Fair XChange 11 Late Night 12 Ghetto Star 13 Thugz Mansion (Acoustic) 1 My Block Remix 2 Thugz Mansion 3 Never Call U Bitch Again 4 Better Dayz 5 U Can Call 6 Military Minds 7 Fame 8 Fair Xchange Remix 9 Catchin Feelins 10 There U Go 11 This Life I Lead 12 Who Do U Believe In 13 They Don't Give a Fuck About Us 14 Outro
05.10.200617.1KB
released february 13, 1996 on deathrow chart position: #1 r&b #1 gold april 25, platinum april 25,Released February 13, 1996 on Deathrow Records Highest Chart Position: #1 R&B #1 Pop Certified Gold April 25, 1996 Certified Platinum April 25, 1996 Certified 5x Platinum April 25, 1996 Certified 6x Platinum September 19, 1996 Certified 7x Platinum December 9, 1996 Certified 8x Platinum June 16, 1998 Certified 9x Platinum June 18, 1998 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. Having been certified 9x platinum, this album is the number two selling gangsta rap CD of all time. However this album hasn't been recertified since 1998, making it quite likely that it is already 10x platinum and thus the number one selling gangsta rap CD of all time! 1 Ambitionz Az A Ridah 2 All Bout U 3 Skandalouz 4 Got My Mind Made Up 5 How Do U Want It 6 2 Of Amerikaz Most Wanted 7 No More Pain 8 Heartz of Men 9 Life Goes On 10 Only God Can Judge Me 11 Tradin War Stories 12 California Love (Remix) 13 I Ain't Mad At Cha 14 What'z Ya Phone # 1 Can't C Me 2 Shorty Wanna Be A Thug 3 Holla At Me 4 Wonda Why They Call U Bitch 5 When We Ride 6 Thug Passion 7 Picture Me Rollin 8 Check Out Time 9 Ratha Be Ya Nigga 10 All Eyez On Me 11 Run Tha Streetz 12 Ain't Hard 2 Find 13 Heaven Ain't Hard 2 Find Produced by: Dr. Dre, Dat Nigga Daz, David Blake, DeVante Swing, DJ Pooh, Mike Mosley, Johnny J, D. Rasheed Co-Produced by: 2Pac Executive Producer: Suge Knight Project Coordinator: Roy Tesfay Mastered by Brian "Big Bass" Gardner at Bernie Grundman Mastering Recorded at Can-Am Studios. Guest Appearances by: Rappin 4-Tay, Richie Rich, Redman, Method Man, D-Short, E-40, B-Legit, Roger Troutman, Dru Down, KC, JoJo, C-Bo, Outlawz, Snoop Doggy Dogg, Kurupt, Dat Nigga Daz, Nate Dogg, Danny Boy, Storm, Dramacydal, George Clinton, Jewell, Mutah, Michel'le, Big Syke, CPO Nominated for 1997 Grammy Award for Best Rap Album. THE MAKING OF 2PAC - "ALL EYEZ ON ME" (from XXL Magazine) "Skandalouz" Featuring Nate Dogg Produced by Dat Nigga Daz 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 their long enough. 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 deal 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 Dat Nigga Daz, Kurupt, Redman and Method Man Produced by Dat Nigga Daz 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...."Thaat's inspectah Deck. I went and picked up Red and Meth and Deck personally and too 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." Daz: We did that song at my house. Kurupt had brought 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 2pac song. I had transferred it at Dr. Dre's house and had left it out there. 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." 2pac 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. "California Love " Featuring Dr. Dre and Roger Troutman Produced by Dr. Dre Tommy D: f##k it, I can say it: Dre really didn't want nothing to do with that record. He didn't like it at all that 2pac 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 2pac is here." I was like, "What the f##k!?" 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, ughhh, that was going to be his single for Aftermath, right? And Suge heard that shit and said, "f##k it," and rushed up to Dre's house and made him put 2pac on there. So basically he lost his first single for Aftermath, and it ended up being the first single for 2pac. 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, "f##k it, we're putting 2pac on that shit, and this is going to be the single off the record..." that shit was dope. Suge ain't no dummy. "Life Goes On" Produced by Johnny J 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. just had so many people emotional 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 nigga 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. "2 Of Amerikaz Most Wanted" Featuring Snoop Doggy Dogg Produced by Dat Nigga Daz 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...." He's so big, and he walks up. Snoop's kinda talll, 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 like that. And they ended up doing that song. Daz: '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" "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 was doing up there. 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 go. 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." "Ambitionz Az A Ridah" Produced by Dat Nigga Daz 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 at the studio at that time was 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. Dave Aron: That's the first song I ever did with 2pac. 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." 2pac 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: The idea came from the me sampling Pee Wee Herman. So if you listen to Pee Wee Herman , I just put the gangsta twist on it. I gave it to 'Pac. Came back to the studio, and it was done. "All About U" Featuring Snoop Doggy Dogg, Nate Dogg, Fatal and Yaki Kadafi Produced by Johnny J And 2Pac Nate Dogg: It was me, him and Snoop, and we was talking about all the girls that we had seen before. The whole thing came from a video shoot. We was at a video shoot, and it was so funny how, if it wasn't Snoop that knew the girl, 2Pac 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 aight. 'Pac was one-taking his verses. He did that a lot. We was having so much fun, the song just came out. Johnny J: That was one of the most hilarious records i've ever done with 2pac....I used Cameo's old school cut . Nate Dogg, Snoop, everybody sitting around on speakers, doing their thing. Next thing i know : "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" Dru Down: It was me, 'Pac, Syke, Rage and a couple Outlawz in the studio. We always had bitches in the studio. The only thing crazy was, the Outlawz niggas-Fatal Hussein and Yafeu Fula-was gonna get on the track. It was like an interlude at the end. I did the beginning : they was gonna do something at the end. Then them muthafuckas did something where they fucked up. They couldn't get it right. They was too high and too drunk. They was messing up. They was in the microphone booth, and they was fucking up, and 'Pac said, "Y'all gotta get the f##k up out of there. I don't know what the f##k ya'll are doing." They was just playing around. They was taking too long, wasting time. They laughed they ass up in there and all the way out. "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. "I Ain't Mad At Cha" Featuring Danny Boy Produced by Dat Nigga Daz 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 f##k? This ain't too goddamn hard. All you have to do is press fuckin;' 'record.' Press fuckin' 'record. 'NOW!" "Tradin' War Stories" Featuring Outlawz, CPO and Storm Produced by Mike Morsley and Rick Rock for steady Mobbin' Productions Rick Rock: I don't know where the f##k 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. 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." "Only God Can Judge Me" Featuring Rappin' 4Tay Produced by Doug Rasheed for Mad Castle Productionz and Harold Scrap Freddie Dave Aron: I thought that was pretty introspective. Pretty Straightforward. beats weren't that complex. They usually were comprised of a few loops and some percussion and a good solid drumbeat. I recorded Rappin'-Tay's vocals for that. He's a fun guy. He had his little pimp status going on. He really fit the Oakland mold. "Ratha Be Ya Nigga" Featuring Richie Rich Produced by Doug Rasheed for Mad Castle Productionz Richie Rich: 2pac called me and told me to bring some bay area niggas to put on the album. As many people from the bay. Everybody was in this one big studio. 2pac 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 f##k with you. You know exactly what the f##k I'm talking about." "All Eyez On Me" Featuring Big Syke Produced by Johnny J 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 2pac. 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. Big Syke: 'Pac was going on the pac of, "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, "Nigga, on your mark, get set, go. And you better have some cutting shit." "Run Tha Streetz" Featuring Michel'le, Mutah and Storm Produced by Johnny J and 2pac 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
01.08.200616.5KB
ti-aduci traiai din sunetul acesta cald si uitat tot!!!.... si te-ai intors la ptmti-aduci aminte.....cand studiai...cand traiai din sunetul acesta cald si lasciv... ai uitat tot!!!.... si te-ai intors la 2pac....:))
27.07.200633.3KB
greatest hits - released 2 years after his death, contains a collection of his past hit songs asGreatest Hits - Released 2 years after his death, contains a collection of his past hit songs as well as previously unreleased songs and new versions of past songs. Released November 24, 1998 on Amaru/Deathrow/Interscope Records Highest Chart Positions #1 R&B Certified 5x Platinum on March 2nd, 1999 1 Keep Ya Head Up 2 2 Of Amerikaz Most Wanted 3 Temptations 4 God Bless the Dead 5 Hail Mary 6 Me Against the World 7 How Do U Want It 8 So Many Tearz 9 Unconditional Love 10 Trapped 11 Life Goes On 12 Hit Em Up 13 Troublesome 96' 14 Brenda's Got a Baby rics 15 I Ain't Mad At Cha 16 Changes 17 California Love (original version) 18 Picture Me Rollin 19 How Long Will They Mourn Me? 20 Toss It Up 21 Dear Mama 22 All About U (Topp Dogg Remix) 23 To Live & Die in L.A. 24 Heartz of Men Project Coordinator: Michel'le Various Producers, Guest Appearances, etc from the other albums.
04.10.20064.9KB

 
r u still down? - second cd after 2pac's passing, released about 1 year after the date of hisR U Still Down? - Second CD after 2Pac's passing, released about 1 year after the date of his death; this CD is packed with alot of older pre-Deathrow material Released November 25, 1997 on Amaru Records Certified Gold December 15, 1997 Certified Platinum December 15, 1997 Certified 4x Platinum December 15, 1997 1 Redemption 2 Open Fire 3 R U Still Down? (Remember Me) 4 Hellrazor 5 Thug Style 6 Where Do We Go From Here (interlude) 7 I Wonder If Heaven Got a Ghetto 8 Nothing To Lose 9 I'm Gettin Money 10 Lie To Kick It 11 Fuck All Y'all 12 Let Them Thangs Go 13 Defination of a Thug Nigga 14 Ready 4 Whatever 15 When I Get Free 16 Hold On Be Strong 17 I'm Losin It 18 Fake Ass Bitches 19 Do For Love 20 Enemies With Me 21 Nothing But Love 22 16 On Death Row 23 I Wonder If Heaven Got A Ghetto (hip-hop version) 24 When I Get Free II 25 Black Starry Night 26 Only Fear of Death Produced by: We Gotz Kidz Productions, Arkshun, Tony Pizarro, QDIII, Soulshock, Karlin, 2Pac, Mike Mosley, Warren G, Johnny J, Choo, DJ Daryl, Chris Rosser, Conrad Rosser, Live Squad, Co-Produced by: Khalid Hafiz Executive Producers: Afeni Shakur, Lisa Smith-Putnam Project Coordinators: Evan Bogard, Jill Rose, Stephen, Levy-Mazin, Liza Joseph, Kath Angstadt Mastered by Brian "Big Bass" Gardner at Bernie Grundman Mastering Guest Appearances by: Dramacydal, Stretch, Big Syke, Spice 1, Warren G
29.07.20063.8KB
sa bag si eu cate ceva pentru a putea lua sau pentru a putea vedea poze cu 2 pac accesatisa bag si eu cate ceva
05.10.20065.7KB
the orlando anderson theory involves the idea that contrary to popular belief, suge knight did notThe Orlando Anderson Theory involves the idea that contrary to popular belief, Suge Knight did not set Tupac up. Those who support this theory will say that it's true that Tupac was going to leave Death Row Records but Suge wouldn't kill him for crying out loud-after all, former Death Row founder, "Dr. Dre," is still breathing without any war scars. It is also rumored that Tupac had Dre pushed off the label but that is probably just another Tupac strategy against his enemies. It all started about three months before the shooting in a Southern California mall, just near Long Beach. Three members of The Mob Piru Bloods (one of them was Tray from "Death Row Records" (Most of Death Row Records is maintained and ran by the Mob Piru Bloods aka M.O.B., including the infamous and shaddy CEO Suge Knight.), went into a Foot Locker to purchase some shoes. One of the blood gangmember's (Tray) worked for Death Row Records and was wearing the infamous diamond cut medallion (worn by Death Row staff and artists). Just after leaving Foot Locker, they headed back to thier 1996 Lexus, about 8-10 rival Southside Crips rushed the three blood gangmember's and one of the crips manage to get the Death Row medallion. The person who stole it was Orlando "Baby Lando" Anderson. Now this is the blossoming of Tupac's early demise. Now, three months later we enter The MGM Grand and Tupac is with his Death Row entourage among many is the same Mob Piru Blood that was jumped by the Southside Crips in Lakewood, California. He spot's Orlando Anderson and Tupac heads over to start what appears to be a royal ass beating on one Anderson. After Tupac's entourage beats Anderson repeatedly, they make their way out before the police show. Anderson get's up and talks to the police, then leaves and joins his entourage of Southside Crips as they look for Tupac. It wouldn't be hard to find Mr. Shakur on that night because he was going to Suge Knight's Club 662 (Which spells out M.O.B. on a telephone pad). The rest is only self-explanatory. Several police informants identified Orland Anderson as the one who killed Tupac. A couple weeks after Tupac's murder, Metro Police arrested Orlando Anderson. Anderson's family released a statement denying he is connected to Shakur's killing in Las Vegas: "Tupac Shakur, the talented musical genius, fell at the hands of a violent cruel drive-by shooter or shooters in Las Vegas. That's a fact. That person, however, is not Orlando," the statement said. Metro Lt. Larry Spinosa said Anderson was arrested on a 1994 murder warrant out of California. Well that sorta kicks Anderson's innocense in the ass. Note: MAY 29, 1998: Orlando Anderson is killed during a dispute at a LA car wash In the December 1997 issue of "VIBE" Suge tells Sanyika Shakur (Monster Kody) that Orlando Anderson killed Pac.
25.07.20065.4KB
back backBack
05.10.200628.9KB

 
tupac thought that nas was trying to steal his style. nas's song sweet dreams sounded like Tupac thought that Nas was trying to steal his style. Nas's song Sweet Dreams sounded like "All Eyez On Me". On the song "When Thugs Cry" at the end, he talks about how he better go to the record store and checkout some of the albums he'd been putting out, cause Tupac'd been doing this Thug stuff for awhile now. And he knows he has been listening cause he's biting it.
17.09.20064.3KB
release date: january 29, 1997 director: vondie curtis vondie curtis gramercy score: stewartRelease Date: January 29, 1997 Director: Vondie Curtis Hall Writer: Vondie Curtis Hall Studio: Gramercy Pictures Musical Score: Stewart Copeland Length: 91m Rating: R Cast: Tim Roth, Tupac Shakur (Spoon), Thandie Newton The first major movie released since Tupac's death, it was also another good movie. This one was a comedy and I especially enjoyed the first scene, when they both think the ho has overdosed. Damn hilarious! Runaway excitement! Tupac and Roth are deadbeat musicians with a problem--they have something that a gangster will do anything to get--and the cops want it too! The only way to survive is to hit the streets and run. Features a dynamite rap soundtrack!
22.09.20065.8KB
first of all there is and never was a First of all there is and never was a "Eastcoast - westcoast beef". It all started of with the friendship 2Pac and the notorious BIG begun in 1994, Tupac suported BIG, they made some tracks (Pac & BIG - runnin'...) and met pretty often. The picture on the left shows Tupac, who is born in Brooklyn, NY - eastcoast & The notorious BIG, Bad Boy member - eastcoast havin' dinner at Pacs house. Tupac helped BIG, introduced him into Thuglive and even bought Biggies first rolex. These two started out a beef at the end of '94, which was the base for the later so called "Eastcoast - westcoast beef". BIG begun to copy Pacs style and dressed like Pac, In "Makaveli - Hit em up" Tupac says Now its all about versace / You copied my style, he calls BIG "a pac style taker, B writer". In the 1994 shooting in NY, tupac accused Bad Boy & Biggie to have set him up or did not warn him bout the set up, later Junior Mafia (Biggies crew) becomes convicted of setting up pac. Pac started up an lyrical beef with Bad Boy, he disssed Bad Boy, Biggie dissed Tupac... Then Chino XL said Tupac was raped in jail and things like this, The beef between Death Row and some East coast artists was born. Snoop, Pac and the whole Death row and some more Westcoast rappers dissed Bad Boy and the East, they lived the Cali way. Strech Walker, long time friend to Pac (who was with 2Pac when he was shot but didn't help Pac, he pissed of) changed sides and became Biggies Sideman. Pac accused Puffy of making Mainstream MTv HipHop, and the East coast artists replyed by saiing Pac did just Gangsta shit. One year after the NY shooting, Strech walker was shot, after Pac was released from jail, everybody said it was revange for Pacs shooting in 1994, cause Strech didn't help Pac. September 13 '96 2Pac was shot, 6 month later, 03-09-1997, Biggie was shot in an nearly identical way Pac was in L.A. So the east-westcoast beef had an end and I think its time for stopin' talking about "East or West" R.I.P BIG - R.I.P Strech - R.I.P Big Pun
27.09.200612KB
release date: january 21, 1997 director, julien bruce rubenstein and sir eddie new line home on:Release Date: January 21, 1997 Director, Julien Temple Writers: Bruce Rubenstein and Sir Eddie Cook Sudio: New Line Home Video Available on: New Line Home Video Length: 96m Cast: Mickey Rourke, Tupac Shakur (Tank), Ted Levine, Adrien Brody This movie flat out sucked, even Tupac's performance couldn't make it worth watching. This was released straight to video after Tupac died. White wannabe Gangsters. You only get one shot at revenge! In this gritty, street-wise thriller, Rourke is a freshly released convict who finds his old criminal lifestyle drawing him back into the line of fire. The late rap sensation Shakur is terrific as Rourke's old nemesis, an inner city druglord. Stylish and powerful.
18.09.20062.8KB

 
pt cine nu stie..e vb de ete asa tre sa arate unpt cine nu stie..e vb de megadeth...:D
01.09.200628.6KB
:razz: britney spears:razz:
25.09.200620.1KB
released november 5, 1996 on deathrow chart position: #1 r&b, #1 gold january 10, platinum januaryReleased November 5, 1996 on Deathrow Records Highest Chart Position: #1 R&B, #1 Pop Certified Gold January 10, 1997 Certified Platinum January 10, 1997 Certified Double Platinum January 10, 1997 Certified 3X Platinum April 16, 1997 Certified 5X Platinum June 15, 1999 The 7day Theory - Released under an alias: "Makaveli the don killuminati", the first album to be released after 2Pac's death. However, it is unlikely all of the other posthumuous releases because the production was finished by 2Pac himself and he was promoting it before he was shot and killed. The vocals for this album were recorded in just 3 days and it was originally entitled the 3day theory. For some reason, 2Pac later changed the title. The entire album including production took 7 days. One of the most well known songs on this album, 'Hail Mary' was recorded in only 30 minutes. Makaveli is a very dark and intense album containing 2Pac's most passionate and poetic works. He started once again to return to his commentary on social and political issues. This album featured 2Pac on a cross which played an important part to the proliferation of faked death theories. Another 'clue' that sparked the theories was the famous 'Suge shot me' heard at the begining of the CD. 1 Bomb First (My Second Reply) 2 Hail Mary 3 Toss It Up 4 To Live & Die in L.A. 5 Blasphemy 6 Life of an Outlaw 7 Just Like Daddy 8 Krazy 9 White Man'z World 10 Me and My Girlfriend 11 Hold Ya Head 12 Against All Odds Produced by: Darryl Harper, Hurt-M-Badd, Dametrius Ship, Reggie Moore, QDIII, Makaveli Executive Producer: Simon Guest Appearances: Danny Boy, KC, JoJo, Bad Azz, Outlawz The Making of Makaveli (from XXL Magazine) The recording sessions that yielded 2pac's last album took place over 7 hennessy soaked days in Aug 1996 While the rapper was concurrently filming two movies (Gridlock'd and Gang Related). Approximately 20 songs were put to tape at Los Angeles Can-Am studios, 11 of which made the finished product. Pac's final work was produced mainly by Tyrone "Hurt em Badd" Wrice and Darryl "Big D" Harper. Two Death Row records producers who failed to draw intrests even in the vacuum left by the departed Dr. Dre and featured guest spots mostly from Pac's childhood friends and family the Outlaws.Released nine months earlier Pac's double album "All eyes on Me" had been certified quintuple platinum, making the controversial star the marquee name at the most successful company in rap music. So with Snoopand the dogg pund in an adjacent studio, Pac closed ranks and rushed his supporting cast of underdogs through a blitzkrieg artistic process creating a dark, insular, paranoid collection of songs he sub titled "The 7 day theory" The urgency of the album is palable. Many listeners have in fact suggested that he was running out of time. Today, Makaveli, remains pac fans favorite memrial to their hero after his passing. 7 years later. XXl magazine spoke to some of the people who were working so closely with pac during his final days. and got a track by track run down on the making of a classic album. WHITE MAN'Z WORLD Young Noble That was one of those ones that 'Pac was just expressing himself on, just being a black man. 'Pac had love for White folks too. 'Pac had love for people in general. [ Das ist einfach ein Song, wo Tupac sich ausdrückt, einfach ein schwarzer Mann zu sein. Pac hatte auch Liebe für Weiße. Pac hatte Liebe für Menschen generell. E.D.I. He's talking to his sister. It's kind of personal, so I don't want to get into the personal side of it, but he's talking to his sister and he's talking to his mother. It's a personal record. I think it's like an open letter to his mother and his sister. He's like writing from jail. He's really just apologizing for alot of shit. At 25, we're all trying to grow up and change and figure out shit. Alot of people don't remember that dude was only 25. That's still a kid, really. 25 is a real young, immature age. But at the same time, he had the responsiblity of a 40-year-old. He had the responsibilty of a whole family, a whole label. At that point in the game, Death Row was on 'Pac's shoulders and he knew it. Darryl Harper: 'Pac wrote the hook. I had did a beat; he liked it. He wrote the melody and everything for the hook and I sung it. I wasn't really happy with a lot of the stuff, because he didn't let us do alot of parts over. On "White Man'z World" I could hear my backgrounds are kind of off there-like I'm saying something twice or something. But 'Pac said "That's it. That's it That song's Finished. Wrap that up send it down there to get mixed." ME AND MY GIRLFRIEND Young Noble: He got that concept from Nas. Remember Nas did that song about the gun? 'Pac used to like that song. When him and Nas Squashed their beef, I was happy. I grew up on NAS. Around my way, when Nas came out with "Live At The Barbeque" Shit. I could have been the first nigga promoting his ass. All the Outlawz were fans of Nas. 'Pac was too. He used to like Nas. That's all hip-hop do. You hear a nice idea, and you flip it and make it better. That was one of those shits. There was a lot of shit going on, and 'Pac was never a dude to hold his toungue. He put it out there. He felt like a lot of mutherfuckas was against him, and that didn't sit well with him neither. Muthafuckas made it like an East Coast/West Coast situation, when in reality 'Pac and all the Outlawz is from the East Coast. That was just one of those songs where 'Pac was riding on his enemies. 'Pac had nothing but love from New York. We was in New York for the MTV Awards two days before he got shot in Vegas. That's where we seen Nas and they squashed it. That was one of the happiest time I've seen him. He was happy to be in New York and feeling the love. We was all in New York Uptown, it wasn't like we was in the hotel all day We even walked for some damn blocks. in Manhattan somewhere. 'Pac said, "f##k it, let's walk." We could have walked for 30 minutes. People couldn't believe it. This nigga was giving bums hundreds of dollars and shit He had me holding a damn little briefcase with all this money. He was really happy to be back in New York. I think he wanted to get in touch with everybody out there - Rappers, and just the streets, period. He was happy about squashing the beef out there with Nas. E.D.I.: 'Pac had the idea for the song already. We was in the studio trying to come up with the right track fo ti. I rember Hurt M Badd was up there working on the drums and 'Pac wasn't really feeling what was coming up on there and then ricky Rouse just came up and said, "'Pac, I got something. I got a song I wrote." Ricky Rouse, he a session player. He a cool brother, but he was always worrying about his publishing. 'Cause he knew where he was at. He was at Death Row, And you got to be about your business or you won't get paid. So he's like, "'Pac, I got some shit for this shit, it's some Spanish shit. But I got to get my publishing on it. I got to get my writer's credit on that." 'Pac was like. "Hell yeah." 'Cause 'Pac was a fair nigga. He gave everyone their shot, Their credit. He was the only one who gave Val Credit, Even though half the dime he might have wrote the hook. Ricky Rouse started playing this guitar shit. 'Pac went crazy. He was like. "That's it right there. That's what I'm looking for." Then he started singing , just came up with the hook. He told us all to write verses for that, too. All of us wrote verses but he just shot us down like, 'Nah, that ain't tight enough." He had ol' gril Queen-she play the part of the gun in the song-'Pac had her come in once the song was done. I know her as queen she used to work at Death Row. She was the receptionist up there. She go by Virginya Slim now, and she's signed to Deaht Row. She the one that talking that shit like, "Like what? West side Nigga. Die Nigga Die!" Darryl Harper: "Me And My Girlfriend" was Tyrone's but I just played on it. Keys. We would work on eatch other's beats. He would do drums on mine and I would do something on his. We basically did the whole album together. The album was finished in three days, the mixing still had to be done. So the album was done in a week. As for 'Pac's parts, All of them was done in three days if I rember correctly. He would have ideas for it. He would know. He would instantly tell the Outlawz what they needed to be writing about. And they had to be on it, because the one that didn't have it, he wasn't going to be on the song. It was a trip because 'Pac would finish his Vocal and come out and point at one of them. If he stutterd, he would point to the next one. He just missed that track. If they wern't confident right away, he would let them know they wern't going to be on there. Lance Pierre: We had an idea to do an intro where the gun is talking. And we needed a broad. Finally, there was this one girl-actrully she's on Tha Row Records right now-Virginya Slim. She put it down with like one pass, ba-ba-ba! Hurt M Badd: On "Me And My Girlfriend," he tried to bluff me, he called me out. After we had done like four songs, Tupac had called me in my session one day-now mind you, I work in my own little production room-Tupac called me in his room one day and he said, 'You know what? I need a kind of up-tempo beat that don't sound like anything you ever done before." So my eyebrows raised and I was like, Whoa! so he said, "And I want you to stand right here and create it right in my face." Let me tell you something: Everything surrounding my heart went to my feet. Sweat just broke out all under my arm. But I'm also that type of person, I love a challenge when it comes to something I do, you know what I'm saying? So Tupac said, "Right now,in my face" So I stared from scratch. I just told the DJ to sample a kick and a snap from the keyboard. Everybody was looking at me like "What?" Looking at me crazy like, He Don't know what he's Doing." Before you know it. I had the drums going and I look over at the guy with the bass guitar. I told him to come in with something, and I gave him a little rhythem. He came in with it. Before you know it-Tupac was on the couch-he had this look on his face like, "I don't believe this guy." by the time we laid the guitar strings, he was up on the follor like, "Yeah!" Every time he'd get a track that he liked, he would listen to it and come up with the hook in his head. Then he'd turn around to the Outlawz and say, "Here's the hook, listen to this and came up with "Me And My Girlfriend." HOLD YA HEAD E.D.I.: That shit remind me of some Me Against The World shit. That's another one of those melodies where I sat watched this nigga sing to them like "Play this." That shit just came together. Hurt M Badd did the drums, you got the piano shit. It's some real shit that 'Pac was famous for. Hurt M Badd: 'Pac did the verse and the hook already. He came in my room and asked me if I knew how to sing. He said he wanted me to sing on the hook. I said, "I'll be right in there," When he shut the door, I started jumping up and down in a room by myself. When I went in there, I got real nervous. He gave me the notes to sing and everything. And fortunatly, it turned out cool. Anytime you had to like rap or sing with him, That's how he was. But as far as producers, I've seen him get at a couple of producers. Fortunatly-Thank God Me and him didn't have to go through that. AGAINST ALL ODDS E.D.I.: That just closes the album out. A lot of people don't know it's a replay of a Cameo song, "The Skin I'm in." 'Pac probably listend to it on the way to the studio, came in and played that shit for Hurt M Badd, like, "I want that bass line right there." Hurt M Badd played that shit . I don't want to take nothing from none of the producers that record himself. Almost every note that nigga was humming to them niggas, every drum kick, every beat, snare, hi-hat-That nigga was telling niggas what to play. Hurt M Badd: On that song he was going at Nas and his other adversaries. He was getting his weapons for war, his arsenal ready. The day we made that song Tupac said "I need a war song. I wanna go to war." He gave me an hour then came back and heard the beat, and he wanted me to add that cameo song baseline. Once it was in 'Pac started snapping, "This is it!" He called the Outlawz in and started reciting the hook: "This be the realist shit I ever wrote." While 'Pac was doing his vocals he wasn't just recording his vocals, he was also kicking over the music stand, hitting the microphone. There was a vibe in the room. We all knew what was goin on. As started reciting his lyrics we was just looking at each other like "Uh-oh, Here we go again." BLASPHEMY Young Noble: I rember after he did that song, riding back to the crib listening to it he even bugged himself out on that one. He got real deep on there, and he didn't even know where it came from. It was like he didn't Really... That dude, he was just a gift from God. But I remember that shit. He was like, "Damn, you hear what I'm Talking about?" He surprised himself with that like. "I don't know where the hell I be coming up with this shit." It ain't like he sit around all day and think about it, the shit just be coming out like that. God put that in certin people, and he was one of them dudes. God definitely put shit in that man's heart. He used to always talk about that kind of stuff. He just knew he felt like he was going to be a big star and just disappear. And that's exactly how it happend. He made his mark like crazy. Dude was definitely sent from up above. I can't explane everything. there's certain shit I don't know. He used to talk to us about that shit all the time. Like, we don't want to hear that shit. You ain't going nowhere. You better not go nowhere. But he knew it, I guess. E.D.I.: If you listen to "Blasphemy," There is a girl saying a prayer at the end of the song. That's Kastro's sister, Jamala Lasane, who's also 'Pac's Cousin. It was a little family Thing. She was just up in the studio, and she was like "I could just say this at the end of that shit." 'Pac heard what she was saying and was like "Go Ahead." And she ended up on the album. "Blasphemy" is deep song featuring Ital Joe. He passed away a few years ago. It reminds me of "Hail Mary." It's one of those Deep, spiritural things. A lot of Times in pac's music, he was talking to us, 'cause we was so wild and out of control--just so caught up in the rap lifestyle. I think a lot of times he wanted to snap us back to reality. Like, "It's real out here. It's not all fun and games." He used to say that a lot. So "Blasphemy" is one of those songs where I feel like he was talking to us on some personal shit. LIFE OF AN OUTLAW Napoleon: My Grandmother died Makaveli, so I had to leave early. When I came back, 'Pac had many of the songs done except for "Life Of An Outlaw," The song that I'm on. It was just me, E.D.I., Kastro, Noble and 'Pac in the studio. I remember the beat came on and 'Pac got one of the guys from six feet Deep, Sizz-Nine to do the hook. He said, "I'm going to do this song to let people know: Beware that the Outlawz is coming." It was like an introduction to the outlawz album we was going to do with 'Pac. 'Pac took it on another level. In the middle of the song before my verse started, "Hey Napoleon, would you die for me? Whould you kill for me?" And then I came in with my joint to end the song off. So it was deep song for me also. 'Pac was a one-hitte-quitter. He's a one-take G. HE could go in hyped up and be into it to the fullest. HE come out the booth sweating. He probably go in there with his blunt and his hennessy, do his thing. We all was in that state of mind. I call it the ignorant state. Just being drunk and not knowing what's going on. We didn't miss one day without drinking. We was caught up, living the life. We always got in the studio and did the verse. We didn't even know what beat. 'Pac would tell someone to play a beat. Next thing you know he would be like, "Alright, we're going to talk about this." And if you verse ain't done before 'Pac's, you don't get on the song. That's how 'Pac was. He'd be like, "I already got one verse done. Y'all don't got no verse, you ain't getting on the song". We just had to write, man try to keep up with this dude, He'd put the beat on, we'd be like, "Damn, let's get a head start." Some of the songs he would take to the neck, man. "Life Of An Outlaw" he was going to do one verse. He was like "I've finished one verse Y'all ain't ready " Then he'd start writing another verse. And do that verse. He would have kept it going. He would have took over the song and did it himself. 'Pac was one of those dudes in the studio where if you mess up, he get angry. Like, he want you to go in there and do it, as is. But sometimes, 'Pac will go in there and not even care if he'd mess up. You know how he'd be doing a dub, and you hear one of his voices come on before the other? He'd keep it like that. He'd go in there, do it and get out. That work we done--it was professional in 'Pac's way. He'd do his thing and if he messed up on the dub, he'd keep it. He'd say "We'll fix it when we mix it" E.D.I.: 'Pac actully played that melody on that song. He's not credited for it, but he played it. it's a little keyboard sound that you hear in the background. He's playing that. Any session player that was involed with Makaveli will tell you that. If they don't, they lying. Darryl Harper: We started working kind of exclusive. Like, it was me, 'Pac and Tyrone. We was always together when it came to the studio. He would lock the door and the other people got jealous of it at Death Row. They got a little bit peeved that he was spending days in the room with us. Certain people started claiming it was favortisim going on, 'Pac using our beats. But the ironic thing was, before 'Pac actrully gave us a shot, we had been presenting tracks to everybody on the label. Nobody would take them but the new people that was just signed to the label, people that would probably never get an album out. Nobody would even take beats from us. Matter of fack they used to call us "Wack Room" until 'Pac started taking our beats. Then people started complaing to suge that we were only giving 'Pac beats. JUST LIKE DADDY E.D.I.: "Just Like Daddy" is a song that was done for the Outlawz album. 'Pac was trying to teach us how to do some shit for the bitches, 'cause all our shit was hard shit, kill'em up shit, hard times, struggle shit. Why my life like shit? Type shit. 'Pac was like "That shit is cool and people going to love y'all for that. But y'all gotta give 'em something else. You got to get the girls. Y'all got to do some other shit, some lighter shit, some shit people can have fun to." So this nigga went up there, and we start doing "Just Like Daddy." The beat is the "Impeach The President" drums, Hurt M Badd just had them shits looping. 'Pac just start singing melodies like, "Play this melody here, play that right here." Then Val Young come in. "Val Young, I want you to sing this shit right here. This is the hook." Then We got love song and shit. Boom. "Just Like Daddy." for the honeys. Lance Pierre: 'Pac always used Val Young because he liked her voice. It was a little raspy, gospel-souning voice. KRAZY Young Noble: We was supposed to be on that song, but we took too long with our verse. Bad Azz was up in there chilling with us. 'Pac used to like Bad Azz; he had a nice flow. And 'Pac threw Bad Azz up on there and I'm glad he did, 'cause Bad Azz did his thing on that muthafucka. That's one of those classic 'Pac songs, too. "Time goes by puffing on la got a nigga going crazy..." We had started writing the shit and we was taking long. 'Pac was like, "Who got something? Bad Azz you got something?" and it fit perfect, so it was ment for Bad Azz to be on that song. We had already been on a million 'Pac songs. That was his way of motivating us like, "If y'all ain't ready, then you don't make the song." That's why some songs you might hear one on there or you might hear two or you might hear three. 'Cause when the song got just about done, if niggas ain't have no verse, we were scratchin that and going to the next song. 'Pac was surrounded by a lot of controvers, and a lot of people be thinking he that way. But that dude was really all about love, yo. He loved his family, he loved the kids and he loved black people to death. That dude was really all about love. That's why the streets love him. Through all that shit, through all the beefing... When I think about 'Pac I don't Think About none of that shit, I think about love. This nigga had so much love in his heart it was ridiculous. and you hear that shit in his muisc. E.D.I.: Bad Azz is another cat who was around a lot. He loved our music so he always came through. 'Pac was a fan of BA. 'Pac wanted us on that song, but the beat was so slow. We was used to rapping on the up-tempo shit. We wasn't really vibing to it. Here comes BA, the hands of fate just swung that nigga's way. 'Pac was like, "You got a verse write a verse to that." Bad Azz was like 'I already got a verse." 'Pac was like, Get in there and kick that shit." Darryl Harper: E.D.I. was interested in the beat from 'Krazy," because during that year there were a lot of planes crashing and churches burning. He wanted to speak to that situation. E.D.I. thought that the beat that I had would fit that. So I brought 'Pac in to hear it. 'Pac loved the beat, but he didn't hear it for that. He put another hook on it. Bad Azz just happend to be coming by the studio when we were doing it. 'Pac looked at him ad said "You got 16?" He said, "I have 16." He got busy. Lance Pierre: That song wasn't really put together, it was just a beat. Kevin Lewis, who was actrully the project coordinator, he's related to Ramsey Lewis. He was there and we kept saying, "Man, this is not a song." He said, "But Tupac wants that song on the record." I said, "Man, I got it mixed, but it's still not sounding right." He said, "It's just needs some piano." So he just went in there and he just played according to the vocals. The Song turned out a lot better then it originally was. BOMB FIRST ( MY SECOND REPLY ) Young Noble: They had a little production room up there, and I was up there writing I had rapped last. I had kicked a verse for 'Pac. We was up in there freestyling a little bit. we just went in there and laid the song. He came up with the first verse. E.D.I. wrote his verse and it came out pretty tight. I think "Bomb First" was one of those classic ones.' Pac let loose. I was talking to Biggie. you know the whole situation that was going on. 'Cause Biggie really was the king of New York at the time. E.D.I.: Makaveli is an album that 'Pac basically Did on his own. I mean production, Lyrics...A lot of people don't know that 'Pac was a producer "Bomb First" was actrully a beat he started on. Other people got credit for it, but 'Pac started that beat. The bass line was from Naughty By Nature's "Uptown Anthem." That we always loved. 'Pac was working on the Drums and shit, Then a Couple of other sessions players came in and we just put it down and it was like the reply to "Hit'Em Up" it was after "Hit 'Em Up" came out and everybody had their little comments on the song and how they felt about it. 'Pac was like, "All Right, I got something else to say and this one is going to start Makaveli Off. It's a Just a ride track. It's just niggas riding. Also it introduced Noble. He was the last official Outlaw. We was all learning that shit at the same time. So what 'Pac would do, is he would have it i n his head and just tell people to do it, like "I want the drums to go like this, I want the bass line to go like that." But also what's crazy is, he had just bought a new house and he had a grand piano up in there and a nigga used to just f##k with Melodies on the Piano all the time. One of those melodies is actrully the melody for "Bomb First". He just came up with it himself. He'd Rember the shit and just go to the studio, play that melody and have somebody loop it, and then just tell niggas to add drums here, add bass here, add guitar here, add that there, he ain't really know how to program drums and shit like that, but he know how to program people, Pac was good at that he could get the beat out of people. Darryl Harper: I presented a beat to 'Pac and he liked it, but he wanted the bass line changed. He wanted the bass line similar to the one someone had did on the Movie Juice. I didn't know what it was like, so I had to get it and find out what it was like. So I changed the bass line and it went like that. Lance Pierre: Tupac actrully did that bass line. He actrully sat up on the Moog and punched out each button on that. but Darryl did the beat. 'Pac did that song; a lot of people don't know that it seemed like 'Pac was getting off into production. That was one of the Songs that Tupac actrully had a lot to do with as far as the production of it. HAIL MARY Young Noble: When we first did that song, it was cool. but I didn't like that song like That. When it hits the street, you kind of hear it through different ears. Hearing it after it came out, it was like, Damn, that was an incredible song. I was just blessed to be a part of that. The Studio had two big rooms and a little production room. Snoop and the Pound used to be in the back studio a lot. We'd go in there and we would just work. It would be a box of liqour every day--Cristal, Alize, we was drinking that back then as young niggas. Drinking the Thug Passion, girls every where, weed smoke everywhere. We'd just be makeing music. Three, Four, Five Songs a day, Just banging shit out. Altogether, "Hail Mary" took maybe 30 minutes. it probably took about 15 minuets to write it and about five minutes to lay it. We laid the shit, my verse was already written. I had it in my book I wrote the last little hook part, "Outlawz on a paper chase..." That was going to be the hook at first. I had that hook already and I was like "yeah Pac I got a little hook." He was like "Nah, we going to put that at the end." And then he came up with the "Hail Mary" shit. 'Pac he wrote from the heart, so it wasn't even like writing it was like talking. E.D.I.: I give Hurt M Badd credit for "Hail Mary" 'Pac told him, "I need some slow, Thuggish shit." Hurt M Badd Made "Hail Mary" and when we heard it, 'Pac went crazy We just did the song in an hour and a half. It wasn't my favorite record on Makaveli. It reminded me of some down-South record. I didn't know it was going to be as big a record as it is today. 'Pac loved Kastro and Noble's part. How they Changed the whole Vibe of the song up on some outlawz shit. but really, I think he just loved what he was saying in it. It's some real cold shit he's saying: "Seein' niggas comin' for me/To my diamonds, when they glistenin'/Now pay attention, rest in peace, Father." because he knew niggas was coming for him. At the end of "Hail Mary, I just remember 'Pac shouting out "Snoop." That's another thing that sticks in my mind. 'Cause at the time, even with the tension, he still made it a point to shout-out Snoop on Makaveli. You got Kastro in the Background going 'Makaveli the Don, Don don" at the end of the song when 'Pac is talking about his conglomerates, you hear kastro in the background going, "Makaveli the don. Lance Pierre: That was the best song on the record. It also was the strangest song. What I mean by that is the way it came out at the end as far as the "Makaveli The Don," and all that. Tupac used to do a lot of that ad-lib. Just talking toward the end of the song. I was mixing it, and none of that shit was supposed to come out like that. But it came out and it sounds good. I'm talking about the outro, where you hear K in the backgroun: "Makaveli The Don". That was some extra stuff. That was a total fluke. The Song was suposed to stop there. But it sounded good. So we just kept it and turnd it into an interlued with the whole monk thing going on. That one turned out more than how we really expected it to turn out. Hurt M Badd: "Hail Mary" actrully only took me 15, 20 minutes to create the whole beat. I just came to work one day, I was feeling good. I was sitting behind the boards. I just touched a few sounds man, and it was like done. And so an enginner came into the room where I worked, and he heard the track--I told him to put the headphones on. He looked at me like "Damn, Hurt! This sounds like a hip-hop funeral, man" When I do stuff, I don't be feeling it like everybody else, I guess 'cause it's me. He said, "Why don't you let Tupac hear this?' When Tupac heard it, he really didn't say nothing but "Gimme that." I left the studio and when I came back the next day, everybody from the security guard to the phone lady to the engineer--Everybody ran up to me like, "Wait 'till you hear what this nigga done laid down over your trak." When I heard it, I didn't think it was a hit. I was like "Why is Tupac laying this stuff down over my track?" We all had a listening party for the album, and 'Pac was loving every song but when they played that song, he just went though a thing. He Threw his hand up in the air with his Hennessy bottle. He threw his hand up in the air like he ruled a nation. TOSS IT UP E.D.I.: That's a song that was already done Suge had it done with Danny Boy and Jodeci on it. Thats my least favorite song on Makaveli, 'Pac just got on the track and did his thing. That was some shit him and Sughe had already worked out. And the crazy part that alot of people don't know is that the song was originaly to "No Diggity" Beat 'cause Dre had did that "No Diggity" beat while he was still at death Row. And Suge had it. But then Dre Sold the shit to Teddy Riley. The Beginning fo those songs where almost exactly alike. I don't know who bit off of who. I ain't here to start no shit, but in the beginning, "No Diggity" and "Toss it up" were aknist exactly alike. Yeah you would have to be there to know that. TO LIVE & DIE IN L.A. Young Noble: That was like a different "California Love." 'Pac used to love LA. Everywhere we went out in LA, it was nothing but love. When we'd go to the malls, the whole damn mall would be following us. It was like they really loved that dude out there. Even to this day. We'd be in the streets, the esse's they love us to death...Making it, we were drunk as hell with a whole bunch of girls in the studio. We were getting head in the bathroom, all types of shit. It was never like we got to buckle down and work, 'cause even if we smokeing and high the whole time we was workin. Every 'Pac song you hear, that's how we did it; basically smoking, drinking, having fun. I don't think niggas did one that took over an hour to make. 'Pac was working on Gang Related at the time, and what's the other one? with the white dude when they were dope fiends Gridlock'd. So we'd get up and go to the set at like six, seven in the morning, and then go to the damn studio after that. We'd get to the studio at five or six, and not leave that bitch 'till three, four in the morning. We'd be leaving with four, five, six songs a day so if you doing six songs a day, in three days that's 18 songs. E.D.I.: That's QD3. He was the only outside producer on that album, besides the dude who did "Toss It Up." QD3 was one of 'Pac's favorite producers. He loved fucking with Q. That's a Sample of "Do Me Baby" by Prince. A lot of people don't know that 'Pac was a big Prince fan. He fucked with Prince. if you listened to alot of 'Pac's Shit, he sampled Prince in different ways. That was probably 'Pac's favorite song on Makaeli, besides "Against All Odds." He loved the whole groove--"To Live and Die In LA," a reall LA song. Drop tops, 80 degrees down sunset, it just gave him the feeling of being in LA. And he loved the city. QD3: I was in the studio with 'Pac, I had some records with me, and there was this old song that I played for him to see if he liked the vibe. He felt it and told me to go home and hook up a beat like that. I went home and hooked it up as fast as I could, and I think I came back the same night and he listend to the track three times, and in like 15 minutes he was already done with his lyrics. He went in the booth without telling anyone what the track was about he just laid it in one take--over about three tracks. Then he told Val Young what the concept was, and she went in and laid her chorus vocal in one take, too. After the vocals were done, 'Pac had Ricky Rouse replace my keyboard bass and guitar parts with live bass and guitar parts, and the song was done--less then two hours total. This song just flowed out of everyone that was a part of it. No one thought twice no one doubted anything. It was full speed ahead untill it was done--as if it was guided or ment to be. Ever since recording like that, without thinking twice like that, I have changed the way I look at making music.
31.07.200640.3KB
asta da poze haioase rau!(*)ASTa da iubire!!!!!
29.07.200631.4KB

 
2pac + outlawz: still i rise - consists of 14 tracks recorded by 2pac before his death and later2Pac + Outlawz: Still I Rise - Consists of 14 tracks recorded by 2Pac before his death and later touched up with new producers and by the Outlawz. Also features one solo Outlawz song Released: December 21, 1999 on Interscope Records Highest Chart Position: #2 R&B, #7 Pop 1 Letter 2 Tha Prezident 2 Still I Rise 3 Secrets of War 4 Baby Don't Cry 5 As the World Turns 6 Black Jezuz 7 Homeboyz 8 Hell 4 a Hustla 9 High Speed 10 The Good Die Young 11 Killuminati 12 Tear Drops and Closed Caskets 13 Tattoo Tears 14 U Can Be Touched 15 Y'all Dont Know Us Produced by: QDIII, Johnny J, Soulshock & Karlin, 2Pac, Big D, L Rock Ya, Daz, Damon Thomas, Tony Pizarro, Kurupt, EDI, Quimmy Quim, Reef Mastered by Brian " Big Bass" Gardner at Bernie Grundman Mastering Guest appearances by: Big Syke, Outlawz, Ta'He, H.E.A.T., Val Young, Nate Dogg, Storm,
05.10.20066.3KB
te iuesc :p..dingte iuesc maimutoiule...
21.08.200621.7KB
release date: fall 1997 director: jim jim orion james belushi, tupac shakur lela rochon, dennisRelease Date: Fall 1997 Director: Jim Kouf Writer: Jim Kouf Studio: Orion Pictures Cast: James Belushi, Tupac Shakur (Rodriguez), Lela Rochon, Dennis Quaid Tupac's last movie.. doesn't that say enough? Tupac must have liked the fact that he got to play a corrupt cop in this one..definately one of his best. no-holds-barred police thriller! Belushi and Shakur (in his final role) are corrupt detectives who murder drug dealers for their money. But when they kill an undercover cop, it traps them in a web of deceit they may not be able to escape!
22.09.20064.6KB
tupac and biggie were at one point good friends, and in an interview once done, you hear tupacTupac and Biggie were at one point good friends, and in an interview once done, you hear Tupac talking about how he helped Biggie out. Trying to get his career going. When Tupac was shot in 94, he found out Biggie knew about the shooting and didn't let him know. Which started the battle of know as East Vs. West. In the coming years Tupac wrote many diss songs towards Biggie, most notebly "Hit Em Up" and many unreleased songs
22.09.20065.5KB
Inainte