At first glance, a collaboration between Queens kingpin Kool G Rap and Brooklyn wordsmith Necro may not be the smoothest of mixes. Necro’s technical word play and dark subject matter perhaps puts him at odds with the seasoned Mafioso raps of G Rap—a godfather in more ways than one. However, if you listen to the two speak about their visions, particularly regarding their debut joint release, Once Upon A Crime, it all starts to make sense.
“G Rap fuck with Necro on this, and seeing that this project made sense, this dude said, ‘Rehearse in a hearse / Evil like a verse reversed,’” Kool G Rap said when asked about the duo’s compatibility. “Like, come on. There’s nothing else to say after that. Shit like that is right up the G Rap alley.”
The group’s name, “The Godfathers,” signifies many different elements according to G Rap and Necro. Each says they believe they had a heavy hand in bringing about their perspective sub-genres (Kool G Rap in Mafioso and Necro in Death Rap), and both worked together on bringing about an album that displays their strengths.
In a recent interview with HipHopDX, The Godfathers hopped on the phone and told the story of how they met and why their dynamic of working together was flawless. KGR also dropped some noteworthy gems. When asked about production, the former Juice Crew emcee said he brought a lot of the early samples used in his records to producer Marley Marl and directed a lot of what was to be his first album, Road to the Riches.
Kool G Rap & Necron On Film Ventures & Co-Owning “The Godfathers”
HipHopDX: What’s been up recently non-musically for each of you?
Kool G Rap: Me and Necro have been kind of tampering with the filming side. We’ve both invested in cameras, and we starting to tamper in that side of it—being behind the camera as much as being in front of it. Necro’s a little ahead of me though.
Necro: Well, you know, I’m here to share any information with G as far as that goes. And I’m very confident that when G gets his foot up under things, he’s going to bring some magic to all of us in the world, because he paints real crazy pictures and he’s one of the best storytellers. It is a difficult process, but I think once G just gets the handle on filming, I’m sure it’s going to be something that we watch and say, “Wow, that’s pretty amazing.”
Honestly, we’ve been focusing a lot on this record. G does certain things on his own time that I don’t even pry into. Me personally, I’m working on this record, because on the label side of things, G isn’t really the label. He does his contributions lyrically, approving everything and all creative ideas and then anything interview-wise. I’ve been the direct connection with our label partners with the CB or the digital and all that kind of shit. It’s just by default, because I’ve done it before and I’ve done it correctly. G is kind of new to being an independent label owner, but he’s a 50% owner of this record. Once this record’s done, released and G goes on tour, I’m personally going to get myself in shape. That’s my goal, once G is on tour getting out of shape, ‘cause G’s going to be eating horrible fucking European food and barely sleeping [laughs].
DX: Yeah, talk about the tour coming up.
Kool G Rap: I’m already knowing that tours is crazy work; it’s a lot of work involved with that, but this is something I look forward to ‘cause I haven’t toured in so many years. So I’m spiritually ready to get back out there and feel the energy from the fans.
DX: You guys mentioned the latest record, Once Upon A Crime. How would you describe this album and what can fans expect to hear?
Kool G Rap: They can expect to hear exactly what they would expect to hear [laughs]. Whatever would cross somebody’s mind that’s familiar with the body of work, whatever they could probably concoct in they mind about a project like this is exactly what they are going to hear.
Necro: It’s everything you expect, but it’s different though. It’s not just going to be a Kool G Rap solo record. There is some Necro influence on G Rap, and then there is some G Rap influence on Necro. On the mafia theme songs, I never really did that. I did the Jewish gangsta tracks, which is my first time really delving into naming gangstas. We’ve all been naming gangstas occasionally in our rhymes, but G Rap is the king of that.
I think we both influence each other just off the tip of working on this record. I always say he’s an amazing beat-picker, ‘cause I love the beats that we’ve rhymed on. I’ve never fucking said G Rap’s beats suck. I see people say shit like that, and I never agree with it. I don’t know what the hell they’re talking about, because I think that G Rap’s choices are the best.
Kool G Rap: Necro sees the vision…
Necro: Look at the shit that you’ve dropped: “On The Run,” “Executioner Style,” “4,5,6,” all them beats are hot as a motherfucker. Even back to beats like “Go For Your Guns,” he always picks fire. And beyond him picking fire, he bodies it. Some people pick hot beats, and then they’re kind of eh on it. I had the fucking opportunity, which is a very great privilege... It’s kind of like it was pretty cool to do a beat for Raekwon’s Only Built 4 Cuban Linx... Pt. II, because [the original] Cuban was so legendary. What trumps that? Producing a whole record with G Rap is fucking... That’s the illest level. What could be bigger than that unless you focus on the sales perspective?
Necro Credits Domingo For Introducing Him To Kool G Rap
DX: Between the two of you, you do have quite different backgrounds in life and Rap, which makes this collaboration very interesting. How did you two come together?
Kool G Rap: His discography is crazy…
Necro: Yeah, but he’s slept on; it’s kind of like how I’m slept on. So, Domingo was talking to one of my die-hard fans, by the name of Tina. Long story short, Domingo asks G, “How come Necro never did something with G?” When she told me, I was like, “What? I don’t got no connection with G. I don’t even think G knows who the fuck I am.” You kind of wonder if people have heard of you. I had to talk to Chino XL about that. And he was like, “I think G Rap has heard of you.” And I was like, “I don’t know man, I wonder, and I kind of don’t want to know.”
Kool G Rap: And I did!
Necro: But I’m saying imagine if he’s one of those dudes that was like, “Nah, that dude Necro sucks, man.” That would have crushed me. I would’ve been like, “Ah, fuck. I don’t wanna know what G Rap thinks.” When I was talking to Domingo, I finally got on the phone with him, and I was like, “Yo, Domingo, I would love to work with G.” And he was like, “Ah ok, I’ll set up a song, and it’ll be done this way.” He spoke to me about how it gets done, and I was like, “Nah, nah, I don’t want to do a fucking song. I wanna do a whole EP. I want to do something they won’t be able to predict.”
We spoke about logistics, he brought it to G Rap and G said he was cool with it. I had to break down how shit would work, and we had a meeting that we would agree to do a five-song EP. There wasn’t no awkwardness. I paid homage. I think G Rap knew from jump, because you can tell when you’re talking to someone if they’re a real fan. You can recognize street kids from Queens and Brooklyn, because we’re the epitome of street kids, so the connection worked out.
G was liking what I was bringing to the table. I said, “Everything I drop, G I want you to approve it. If you don’t like it, you tell me. I don’t want it to be something in some way... Basically, there has to be a hierarchy.” G Rap’s the master, and I’m the sensei. I respect the hierarchy. He kept liking everything, and he was so open to everything and that energy. G was just down to doing a whole LP, and it wasn’t even about talking business at that point. Now we’re doing an album and splitting it 50/50, and it’ll be something we both own forever.
Kool G Rap Recalls Exploring Necro’s Music Via YouTube
DX: So you were already pretty familiar with Necro?
Kool G Rap: To build on what Necro was saying, that’s pretty much it. When we decided to do the EP together—five songs being done—and our relationship was being established along the way as well. We clicked and the chemistry was obviously there, as far as people fucking with what we dropping...the pre-releases to the album. I already heard of Necro before we sat down and discussed any type of business. I would see his name come up in comment sections on some of the stuff I was dropping, whether it was HipHopGame.com or YouTube. I would hear his name come up as a comparison, so it made me interested in finding out who Necro is.
I started pulling up a couple videos and stuff, and I see Necro’s spit game was definitely what people said it was in the comments. I didn’t know his whole body of work at the time. I was just kind of learning myself about Necro at that point, but then I sat down and really got to see the full capabilities of what he do. Like you said, it was a crazy combination to you, but the compatibility to me was he was a lyrical spitter. He didn’t do Mafioso, and I didn’t do Death Rap—even though Necro thinks some of the things I was doing was Death Rap…
Necro: G definitely has some joints that are straight murder to me. I put him up there with Geto Boys and Scarface and all that earlier shit that’s really brutal, evil and lyrical. I mean even like “Hey Mista Mista” is Death Rap because you’re beating the shit out of someone in the streets. That’s fucked up. That’s death right there, and you’re the grimiest fucking scumbag of the streets right there. Or “Break A Bitch Neck,” I mean some of that shit G was talking... During the process of me sitting down to write something, knowing I’m sending it to G Rap to listen to and he comes back and goes, “Yo, you bodied it.” Like every time, I’m telling you for real, every verse. There was never a time where he was like, “Yo, Nec that was OK.” I’m questioning him now. I’m like, “Yo, G, you bullshitting me man, just to get this shit done? I didn’t want all that, man.” And he was like, “I don’t say nothing that ain’t real. If I tell you it’s hot, it’s hot.” That’s like being a martial arts dude and Bruce Lee is like, “Your jump kick is good.”
Kool G Rap: In Necro’s case it was the jump kick, the roundhouse and the front kick, [laughs]. It wasn’t like I could compliment him on one thing, ‘cause it was a multitude of things. So I just had to put the next level belt in his hand...that would better describe it.
Necro: G made me a made man in this game. I’m officially a made man like the cover—a made man like Fat Joe, Joel Ortiz, Papoose, MF Grimm, Nas, Prodigy and Big Pun. All those dudes fucked with G Rap, and all those dudes were sons of G Rap at some point—meaning they loved G Rap and they all came up under him. Not sons like bitches, sons like students. Everybody saluted G Rap before they really popped. So to even be someone fucking with him, I’m kind of inducted into that fraternity. I’m very fucking humbled by it.
Kool G Rap: Ayo, Paul, to simplify everything. G Rap fuck with Necro on this. And seeing that this project made sense, this dude said, “Rehearse in a hearse / evil like a verse reversed.” Come on? There’s nothing else to say after that. Shit like that is right up the G Rap alley.
How Mafioso Rap Found Its Way Onto “The Godfathers”
DX: Switching gears a little bit, the song “Omertá” features a sample from The Godfather. G Rap you have a heavy history of Mafioso-type rap. Why was that brand something you wanted to portray in Once Upon A Crime?
Kool G Rap: It wasn’t an immediate angle we focused on when we first jumped into making this record. The first angle was just focusing on the chemistry of Necro and G Rap, point blank. We know the differences between Necro and G Rap as far as subject matter or what we’re known to do. But the one compatibility is straight up being a lyricist, a wordsmith and a spitter. That was the first angle—just getting that out of our system. The Mafioso angle came a little bit later after we got into a certain depth of the album. We came to the decision like, “Yo, the name of our collaboration—Me and Necro together—is The Godfathers. That shit don’t really make sense if we don’t take it that route, so we got to go along the lines of something affiliated with The Godfather.” Necro put the perfect, signature tracks for that angle, and we did what we had to do.
As far as it being prevalent and all that right now, no, it’s not prevalent in the mainstream market. But we don’t want to do the same thing the mainstream market does over and over. That market is, “Who got he most money? Who got this car, that car and all that?” That’s something that’s crazy redundant to me right now. Everybody got the same ambition and lifestyle. Everybody goes to the club. Nobody goes to a fucking movie theater anymore? Nobody sits home and watches movies no more? Everybody’s in the fucking club? Everybody? So everybody got the same personality, same character, same everything.
That’s why this album is all over the place. We touch on a lot of different things, because we ain’t the same. I’m not Lil Wayne. I’m not Drake. I’m not Rick Ross, so I don’t rap about the same things consistently over and over again. I was always known to jump around and touch on different topics, and this is why there may not be a crazy mainstream audience checking for G Rap. But I have a consistent following throughout my whole career, because I’m always going to do something intriguing. I’m not going to be predictable.
Necro: To touch on the mafia shit being relevant and all that, I’m a good case of a dictionary of Hip Hop from back in the day until now. Hip Hop’s my life. I know more than most people, so, I don’t recall too many people doing the mafia/mob-type shit. A lot of people do thug shit and may call themselves a name from mafia shit. But if we’re talking about dudes that did it, I would say, things that pop into my head is G Rap’s “On The Run,” and “Ill Street Blues.” Basically, it was G Rap or G Rap with Nas on some shit like “Fast Life” and things like that. Maybe a song here and there with AZ, or some Mobb Deep shit here and there. Mobb Deep never rapped mafia shit; it was more them doing street shit and rapped over mafia themes like “G.O.D. Part III,” but they rhymes wasn’t mafia shit.
It hasn’t really been done a lot so it’s not that it isn’t relevant, it’s just done when G Rap really does it ‘cause he’s one of the only artists that pulled it off correctly. When I started doing this with G, of course we didn’t originally want to be in that realm; the name comes from being godfathers of our style. G is the godfather of Gangsta Rap, and I call myself the godfather of Death Rap. I’m the one who has done the most brutal fucking lyrics besides G Rap’s stuff. In the underground where I come from, nobody fucks with me. I always go though the lyrics and they’re the most extreme, but yet they’re not Horrorcore where I’ll kill your mother with a shovel. I’m saying technical shit, so it’s in the realm of what Nas or G Rap would do lyrically, but the subject matter might be a little bit more foreboding. So that’s why I decided to call my shit Death Rap, because it has a good ring to it and it’s for anyone who likes real dark Hip Hop.
Usually all thug shit was dark, so anything G did or anything Queensbridge Hip Hop, it’s all real evil, evil pianos. It gives off a real dark vibe. So, when we were doing this now, it wasn’t planned to sample The Godfather. But I was like, “Let me listen to the movie and see if there is something that hasn’t really been freaked.” Then I noticed nobody’s ever really used the piano, and I was like, “That shit is pretty fucking hard.” That’s already a key to me, because I do things people never did before. I couldn’t find anything, so it was like, “You know something? Let me try to hook it up.” Sometimes you try to hook some things up and it ain’t hot. It got hooked up, and it just so happened the drum kit I used was fucking bumping. Then it comes down to, “Let me try and write something to it. And now, G Rap’s going to hear it, and if he doesn’t like it, maybe we won’t do it.”
Like I said earlier, G ain’t no slouch. At all. He’s not a dude where an A&R will pick some shit for him; he picks his own fuckin’ beats and then bodies them. Even if he has outside production, he’s choosing shit that fits his style. It’s almost like he’s producing the beat in a way. G’s a dude that tells people what he wants like, “Nah, don’t do that…do this.” So when G wanted to fuck with the “Omertá” joint...
When it popped into my head, I was like, “Yo G, we should call that shit “Omertá’” The fact that it’s called that adds to the package. Every track has to have the proper beat, lyrics, hook, samples, title and everything. You have to figure that out. So that’s why we did that. It could have been cliché to sample the movie like that, yet we fuckin’ executed it perfectly. And the reason we did was because of how much we cared about the craft and who we are. Salute who G is, and let it be done. I wasn’t even thinking about doing it if it wasn’t for me fucking with G.
Kool G Rap Details His Influences & Work With Cold Crush Four
DX: It’s kind of ironic that the movie has been sampled a number of ways, but the main theme has never really been sampled to my knowledge. Tell me about matching your respective rhyme schemes while still producing all the records too.
Necro: I wanted to make everything fresh from scratch, and I know it would come off different if I sent G Rap some shit that I didn’t make. He might not have liked the beat. I know that when I sat down to go through samples and go through drums, I’m putting a lot of hungry, exciting effort into it. If you’re not excited, it can be grueling to produce a record like this. You have to fuckin’ want to do it, and there’s not many emcees that would make me go out of my fucking way.
The only times I ever did that was for my brother, because I felt he was that dope. I produced him like 50 beats and let him choose. And I did it for Mr. Hyde, where he could choose from a spectrum of like 40 beats I had. These are people who I believe in. And to work with G Rap, it’s gotta be done from scratch. I would specifically find things I thought we needed to have. This wasn’t an easy album to make, and I can say right now that it’s a guaranteed double classic. If someone wants to say it’s not a double, fine. People might not agree that all 16 songs are classic, but I will slap the shit out of anyone on this planet that disagrees. I mean, I’ll slap the shit out of people in general if they disrespect me. But if anyone has the balls to tell me to my grill that The Godfathers doesn’t have eight [classics], I’ll fight them. And that’s if I don’t crack them first, because once I crack someone they’ll usually fall like a fucking faggot anyway.
DX: So, it’s pretty clear you also wanted G Rap to be an integral part of the production process.
Necro: I’m a fucking beast at producing because I love it. I’ve been producing since 1990 when I was getting Russian records in the project garbage. The old Russians would throw out their records, and we would find them, bring them back to the crib and find crazy breaks. They were like 10 years behind, so if you have a 1980 Russian record, then they’re playing like it’s 1970.
So for me, production is a big fucking deal. I wanted to point out that G Rap is amazing at production. I learned a lot of the earlier shit from talking to G, and he would bring stuff to Marley Marl, right G?
Kool G Rap: That was mainly on the first album, and that was the most I ever played a major part in production. With “Road to the Riches,” I brought that to Marley. On “Rikers Island,” the only thing I didn’t do was the patterns of the drums. But I told Marley how I wanted it to sound. I told him how I wanted the snare and the kick to go.
Necro: Where is that from, if you don’t mind me asking?
Kool G Rap: It was some horn or something, and Marley just did it with the fader.
Necro: So you brought him a horn you were feeling like, “Take this horn and freak it?”
Kool G Rap: I would come to the studio with a bunch of records, and pretty much have a vision of what I wanted to do. On “Rhymes I Express,” that was my idea to use Trans-Europe Express. On “Road to the Riches,” I brought the Billy Joel shit.
Necro: So you brought that drum break and the “Road to the Riches?” How the fuck did you find Billy Joel?
Kool G Rap: I always knew about the record, because some of my favorite groups—before I started making records—would do routines over certain break beats. Billy Joel was one of them. Cold Crush had a routine off of that, and it would come on with that same break. It was like, “The Cold Crush Four…The Cold Crush Four.” And I used to love Cold Crush, so I always wanted to fuck with that break beat. When I got the opportunity to be in studios and all that with Marley Marl, I pretty much had a good insight on a lot of production I wanted to rap over.
Necro: Was there ever a conversation with Cold Crush about using that routine?
Kool G Rap: I did bump into them, because I had them in the studio when I was working on the Giancana Story album, I had Grandmaster Caz in the studio with Almighty KG. But they never brought that up like, “Ah, you used our shit.” They pretty much knew, and they weren’t the only rappers even in their time to ever rock that beat or rhyme over it. That’s just a classic routine, but it became signature for them more than anybody else.
Necro: I was just curious if they picked up on it, because you obviously took it to a new plateau lyrically.
Kool G Rap: Absolutely. They didn’t even acknowledge “Road To The Riches.” By them being in the studio with me and listening to what I’m doing now, they pretty much established that they appreciate G Rap and what I do. By me having them in the studio, that established that I appreciate them for what they did and what they mean to Hip Hop in general.
Necro: This is like me interviewing you, G. Paul totally got his interview jacked.
Necro & Kool G Rap On Sample-Based Production & Pop Radio
DX: I never knew that Marley was so influenced by what G Rap wanted to do. Do you feel the scope of what’s being used for production in Hip Hop is becoming more limited?
Kool G Rap: I don’t even know if a lot of cats are sampling as much as much as we did during what would be considered the Golden Era of Hip Hop. The late ‘80s and ‘90s were the times when people sampled the most. A lot of dudes are playing keyboards and stuff now, so I don’t even know if there’s a whole lot of sampling involved now. A lot of these younger artists kind of shun that sound. When you sample records, it gives your production a certain sound. A lot of young artists shy away from that sound because today’s sound is more drum machine oriented. There’s a lot of keyboards.
Every once in a while you get an artist geared more towards sample-based production like Kanye. He’s obviously still sampling, and you saw it on the record he did with Jay Z where they sampled Otis Redding. That’s obviously a sample, so it’s still alive. But in grand scheme of what artists are doing now…
DX: Why do you think that’s the case?
Necro: Women are morons. Let’s keep it real. I’m speaking for myself now, and I’m not speaking for G Rap. In general, most chicks are morons. So when you’re dealing with the moron breed… And I love women. I’m saying the majority of chicks are on some dumb, fucking moron, club shit. Everyone wants to cater to them to get the club filled so they can get money. Clubs are made off of women going. And I got my own female fans who are not morons, and I love those girls. They like what I’m doing, and they like what G’s doing. That’s fine, but the majority of females don’t like that hardcore shit, but the ones that I know are down to get fucked to it. You have to make a choice, man. Do you wanna be 2 Chainz or do you wanna be Kool G Rap?
Kool G Rap: It’s always been a known fact too that simplicity creates hits. I’ve been hearing about that since I got in the game. The simpler you make it, the more liable it is to become a hit. Most people are not complex, and they don’t gravitate to something complex. People don’t want to take the time to get it. They want something simple and catchy they can sing along to like, “Started from the bottom, now we here.” It’s the same fucking thing…who in the fucking world can’t catch on to that?
I’m not knocking the simple things, because music is a whole spectrum of different approaches. It doesn’t just cater to one group…
Necro: That’s why it’s difficult to diss that shit. We want to be like, “Yo Drake, that shit is garbage.” But, at the same time, we kind of get it. I guarantee you it’s gonna make a lot of money.
Kool G Rap: A 13-year-old can sing that with no problem. But they won’t catch on to, “Your best verse is worse then my worse verse / Prepare for death, rehearse in a hearse / Evil like a verse reverse…” A 13-year-old is most likely not going to know anything about spinning old Rock records backwards and getting some evil, satanic kind of message. They’re not gonna have that kind of information…
Necro: That’s G Rap’s attack on me. He’s like, “You wanna take my guns, you white, satanic motherfucker! Don’t take my guns.” But I support G’s guns! I was a little, white motherfucker hearing about his guns and wanting my own [laughs]. I eventually did have them by like the age of 16.
Kool G Rap: Nah, that’s what made that line so ill, because it’s true. Certain Rock bands were known for having records that said something else when you spun them backwards. It’s a true statement, and it was an ill thing to put together in lyric form. But kids ain’t gonna get that. You gotta have a certain knowledge already to get that.
Necro: I don’t know who said it, but it’s almost like these corporations are trying to erase the real Hip Hop. They’re taking Hip Hop out of what it really is and acting like what we did never happened. Maybe I’m old…
Kool G Rap: It’s a lot of people that aren’t really from that culture, so it doesn’t resonate with them.
Necro: Right. You can’t be mad at someone if they don’t know. Props to HipHopDX, and I’m not dissing y’all. But if other media was more open, then more people would know. Then it would be a story of them knowing what’s hot and making a choice not to support it. You have to actually know.
Why Necro Champions Longevity In Hip Hop Artists
DX: Right. Some people genuinely just don’t know, and you can’t give everyone a history lesson in Hip Hop.
Necro: How old are you?
DX: I’m only 24, but I know because I cared to know.
Necro: Well, 24 is old enough to know. I can tell you sound young, but the bottom line is that if you want to know, you’re gonna know. I know about Curtis Mayfield, and I was born in ‘76. So I wasn’t even alive when he made his first record, but I’m aware of Curtis Mayfield, and I fuckin’ salute him. It wasn’t like somebody told me, and nobody in my family stepped to me and put me up on Curtis Mayfield. But I consider him the illest soul dude. I love James Brown, but to me, Curtis was like a psychedelic mess. Everything about his shit is so weird, and every time I listen to it, I hear something new. That shit is so next level, and nobody put me up on that.
In 1991, when I got my first Curtis record, Sweet Exorcist, I didn’t get the style. I was lookin’ for other shit besides soul at that point. I thought all the black rappers did soul. I said, “Hmmm, if I just look for soul records, my sound is gonna be like everyone else. Let me look for shit other dudes don’t fuck with like Jazz-fusion and horror movies.” But the fact of the matter was, I was too young and didn’t contemplate Curtis. The records were crazy.
DX: So how did you come around?
Necro: I heard Superfly, and that made me a fan.
Kool G Rap: Superfly was crazy! The record, the movie…everything. You know what? The truth of the matter is that the IQ levels in America have dropped drastically. These are real statistics. So what kind of music is gonna resonate with the masses of people with lower IQ levels? It’s gonna be music that doesn’t really challenge your intelligence. It makes sense. But the new generation is rocking to what the classic legends did whether they know it or not. It’s just like the example I made with Otis Redding. As far as putting out a record, Otis Redding was popping before I was even born. I was very much aware of him growing up, but he came out before I was born. But look how he’s still moving the masses all these years later. So people are still gravitating to the original core of where everything branched off at anyway.
Necro: And nothing can fuck with that music. There’s no Hip Hop that’s really better than G Rap’s shit. Yesterday, DJ Eclipse said one of his favorite verses ever is “Men At Work.” When something’s good, you rock it forever. I was never a Beatles fan as a kid, because I thought songs about love were gay. If you were talking about, “I love you, and I wanna hold your hand,” that was “gay” to me. I’m older now, and I realize that the Beatles are fucking incredible. And that’s because they’re four dudes playing in a fucking band without all that bullshit. When you listen to it, it’s sonically banging. And it was done in the ‘60s.
The same goes for what G was talking about with Otis Redding. Those songs can be rocked right now, and they’re fucking fire. We’ll see what stands the test of time, and we know right now G Rap stands the test of time, because I love him. Eclipse loves him. There’s so many like us—we love the Beatles, Curtis Mayfield and Otis Redding, and that stood the test of time. The question is, will Odd Future stand the test of time? Let’s come back in 2024 and see if anyone gives a fuck about Tyler, The Creator if he’s still rhyming. Maybe he just decides to quit and start skateboarding. We’ll see if he’s still doing shit with a fan base and wasn’t just a fucking fad. Let’s see if a lot of these dudes out now are still around in the next 10-plus years.
One reason that Necro gets respect—and I’ll never say I’m on the level of G Rap. I’d have to put in the amount of work he did to get any kind of respect like that. So sure people salute me. People salute rappers that have been out for a year. I’m not gonna act like it’s weird that people salute me, because I’ve been doing this for 13 years. I’d be a fucking loser if no one liked me by now. G has been doing this for 25 years, so we at least display longevity. A lot of newer dudes only really last a couple years.