My parents were fairly young in the city of Compton. So the things that they played - you know, that was the hip crowd. So I was being exposed to all these ideas, from Big Daddy Kane to Eazy-E to the Bay Area - Too Short, E-40 - you know, back to Marvin Gaye and the Isley Brothers.
My parents only played Isley Brothers, Marvin Gaye. That's when New Kids came out, and we wanted to jam that. My mom was like, "Put that thing off and put my damn record on". So from old school to '90s to recent, it's just always been there.
I was a big fan of Marvin Gaye, and when my parents were at work, I would get in front of the mirror, put my father's clothes on and pretend I was singing Marvin Gaye songs.
I was raised on Marvin Gaye. Before I knew Babyface or anyone else, I knew Marvin Gaye. My mother played Marvin Gaye.
My pops and my mom started playing Marvin Gaye and the Isley Brothers and all these people, but at the same time, they always had Snoop on right behind it in the same mix.
R&B stations don't say 'We have old school artist Ronald Isley in the house.' They say 'We have the legendary Ronald Isley.' But if I come do an interview, they're gonna say 'We have old school rapper Big Daddy Kane in the house.' We belittle ourselves, our music and our culture. It's hard for a lot of legendary artists in hip-hop to overcome.
You know, I did records by myself and I always will say the Isley Brothers, and featuring Ronald. I won't, you know, just, I won't try to deviate from the Isley Brothers, because that's what the family dream was all about.
Eazy-E is going to remain Eazy-E. But I will not portray Compton as a bad city.
When we were making 'Juvenile Hell,' we were listening to the Jungle Brothers, Big Daddy Kane, Rakim, Biz Markie, A Tribe Called Quest.
Kendrick Lamar is from Compton, but his Compton and how he expresses that is completely different than NWA and Eazy-E even though they were from the same environment.
What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.
Being a student of hip-hop in general, you take technical aspects from places. You may take a rhyme pattern or flow from Big Daddy Kane or Kool G Rap.
The ghetto music of my era is hip-hop. And Parliament, and Curtis Mayfield, and Marvin Gaye, that was all the ghetto stuff when I was a baby, and then when I was a teenager it was hip-hop and we were taking all those old '70s sounds and recreating them and putting them into a hip-hop format.
My favorites are Stevie Wonder and Marvin Gaye, but those are a little off in terms of getting Detroit right on the head. But of course, you know, "Dancing In The Streets." You can't forget the Motor City. And we can't forget the Motor City.
I actually get a lot of messages with people saying, 'What's a Marvin Gaye?' and, I mean... Oh, wow. I must be getting old, because someone who was born in 2004 just asked me what a Marvin Gaye was.
Marvin Gaye is an inspiration to me. He was one of the first Motown musicians that my mom and dad introduced me to, and I always thought it would be a good idea if I was ever an artist, and now I am, to make a record called 'Marvin Gaye.'
I know who Michael Jackson is, I know who Prince is, I know the Isley Brothers, all that. Still, I got my own thing going with this music.