We had mutual friends but we never kicked it. We had mutual friends and I knew him and his folks B.R.
On the topic of the Bay, talk about your friendship with another local legend, Too Short. That’s how it was, at least where we were at in the Bay. It’s trippy because these days you can pay like a couple hundred bucks and have thousands of your songs stored somewhere. But those fucking two-inch reels held at most three songs! And each reel was something ridiculous like $350 each. Then a couple years later, we would mix everything onto two-inch reels. I remember doing it all on half-inch reels. What do you remember about the actual studio process and technology of the time? Once I got to the studio, I’d finish like four or five songs easily and all of those those tracks over time became Federal. I’d walk down to Vallejo Check Cashing then walk straight to the studio and be like, “I need four hours for next Tuesday, here’s my deposit.” So while I’m at the store cashiering or stocking or whatever, I’d write lyrics and jot everything all down while listening to beats.
Whether it was $40 or $400, I used that money to invest back into myself. I was cold turkey out of the soil, you feel me? I was new and was leaving my old life behind to work on this life and use the money we’d to put into studio time. Tell us what you remember about the making of your first solo album, Federal. We would just buy our stuff from New York or LA’s garment district and distribute them here in the Bay. So we bought a clothing store in the late 1980s and called it New Fat Clothing. D-Shot did 22 months in Preston CYA, a California Youth Authority and after he was released, we decided we needed to slow down and stay out of trouble. Tell us about the beginning.Į-40: My brother, D-Shot, and I had a clothing store around the time we had just finished college. VIBE: You started Sick Wid It Records in 1986. Here we talk about the early schemes of a young Earl Stevens, his relationships with other Bay giants, his time with Tupac, and other seminal, and at times peerless, moments in the career of the great Earl Stevens. Musical landscapes change, and we grow older, but E-40 stays the same- there’s a comfort in that. Whether as E-Pheezy, Charlie Hustle, or 40 Belafonte, he’s one of the most uniquely consistent personalities in music, finding his style early on and never deviating. Swaths of guests include Method Man and Scarface, but also Chris Brown and G-Eazy, Schoolboy Q, Rick Ross, and others. Practice Makes Paper, his latest release, is brimming with guests who not only add to the album’s interest factor, but also reflect E-40’s continual and far-reaching relevance. E-40 Gifts $100K To Alma Mater Grambling State University, Studio Named In His Honor
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