Damn that sounds like hella classic shit comin up
I must say that no other Bay Area producer impressed me as much as Mike Mosley , he embodies the MobbMusic-Sound to me
I always felt his Shit from E40 to Pac and C-Bo
The beat that Mike did for ''Divide'' offa Blocc Movement is my favorite Beat of the last two years
And sam Bostic? damn, he always got that ''Gorilla comin out the trunk'' sound goin on 4 Sho
Thanks 4 the Info Senator , looks like Ill have to make some more Skrill to start actually BUYIN some of these many upcomin releases
They need to Hook up wit C-BO IMO, that's long overdue
I must say that no other Bay Area producer impressed me as much as Mike Mosley , he embodies the MobbMusic-Sound to me
I always felt his Shit from E40 to Pac and C-Bo
The beat that Mike did for ''Divide'' offa Blocc Movement is my favorite Beat of the last two years
And sam Bostic? damn, he always got that ''Gorilla comin out the trunk'' sound goin on 4 Sho
Thanks 4 the Info Senator , looks like Ill have to make some more Skrill to start actually BUYIN some of these many upcomin releases
They need to Hook up wit C-BO IMO, that's long overdue
@the Senator
DAAAAAMN Cuzzolini,
What u posted almost had me ready start Screamin like a Groupie
4 Sho 4 $ho , Classic Times ahead for the Northern Cali-Scene
Looks like Bo about to get the Gold for that new Gas Chamber
I couldnt imagine anybody lacin Bo wit more Slump Material than Mike & Sam !!
Thank you for those insider news
I might not need my CD-Burner as much in the Year 2002
Peace Out :classic:
DAAAAAMN Cuzzolini,
What u posted almost had me ready start Screamin like a Groupie
4 Sho 4 $ho , Classic Times ahead for the Northern Cali-Scene
Looks like Bo about to get the Gold for that new Gas Chamber
I couldnt imagine anybody lacin Bo wit more Slump Material than Mike & Sam !!
Thank you for those insider news
I might not need my CD-Burner as much in the Year 2002
Peace Out :classic:
I just shitted on my pants...........damn this is hella good news to hear........been waiting for them to hook back up since they split in '95.........I was just thinking the other day about posting something about them getting back together. They both dope, but how come Sam doesn't get more credit???? Everytime somebody talks about Mob Boss, they think Mike Mosley, it was/is 2 people doing it, wake up y'all!!!!
I went out and bought both Mike and Sams comps a couple years back. I have to say I did not feel either one of them. When they was together doing they thang they was off the hook. But now I am not so sure about that. I would have to hear what they come with before I say that they lost they platinum touch.
Yeah I bought "Platinum Plaques" and "MVP'z" both were pretty shitty...A couple good songs on each but not very solid at all.
Here is a article about Mike Mosely if anyone wants to read...It's from '96‘Mob’ beats have made Mosley a hot commodity in the studio
by MATT PEIKEN
Fairfield Daily Republic, August 25 1996©
FAIRFIELD — Mike Mosley was a horrible rapper.
"I had ideas, you know, but I just couldn't spit 'em out," he said. "My friends kept pushin' me to be a rapper, but my mind just didn't work that way. I'd be in the studio for hours just trying to deliver 10 words."
Through the studio, though, Mosley discovered he had an ear for beats and music. And today, at 26, he's one of the West Coast's most in-demand producers.
Mosley has composed beats for every rapper to break big from this area, leading to work for Tupac Shakur, Dogg Pound producer Daz and upcoming albums from Shaquille O'Neal and Bone Thugs N' Harmony.
Snoop Doggy Dogg recently drove Mosley around Los Angeles in his Bentley, discussing possible involvement with Snoop's next record.
"It's getting to where I barely have time for my own thing," said Mosley, one of three producers behind Steady Mobbin' Productions, which runs a recording studio tucked into a Fairfield office complex, where Mosley works to all hours constructing beats and music for rappers to use on their albums.
Producers are as important to rap as the rappers, themselves, and Mosley's reputation has soared so high — he's known for his "Mob beats" — that he can charge several thousand dollars for every song he puts together.
Mosley has a library of full of beats and half-finished concepts, ready to be shaped for any rapper with a healthy budget.
"The 'Mob' music brings out the Lerch to the fullest," said Lerch, a 6 foot 7 rapper who moved here from Dallas this past year to work with Mosley. "It's hard to stay focused sometimes. You have to watch who you hangin' with and the women you're around because people get jealous when they hear you're with Mike Mosley"
Mosley moved to Fairfield with his mother as an early teenager, escaping the gang life nighttime sirens and people outside his bedroom window - that had threatened to swallow him up in Los Angeles.
"Coming here saved my life," he said. "Even though I cut up a bit here, I would have been into true violence if I stayed in L.A. People think the gang problem is really bad up here, but a lot of rappers are coming here because this is a calm place compared to that. They can chill and get some work done and sleep better."
Here, Mosley quickly found friends in people like Gigolo Jack, DJ Small, Del Gant, T-Mack and the Gandy Brothers, getting together after school to "scratch" records and competing to see who could put together the "fattest" beats.
Armed with turntables, a drum machine and an effects pedal, Mosley began working as a DJ for weddings and parties by ninth grade. He spent three years at Fairfield High and transferred to Sem Yeto for his senior year in 1987, freeing up time to pursue music.
"There was this radio DJ who lived up in Travion Gardens, and I used to go to his house every day after football practice. He just had hundreds and hundreds of records," Mosley said. "There was this other guy named Hoosto. He was from New York City and he used to tell us what was happening on the East Coast."
Around the same time, unbeknownst to him, Mosley was playing a role in the early growth of local rap, using his one-bedroom apartment on Fairfield Avenue as an after-hours studio.
"When I was workin on C-Bo's 'Gas Chamber' album, just throwin' down beats, the neighbor would beat up on the ceiling to get us to shut up," he said. "Then the cops would come by and we'd be on pins and needles, because you know we have a phobia about the police anyway. But we'd ask them to come in and, eventually, they were cool with it."
Mosley often worked for free, to gain experience and also build a resume. Possibly his greatest challenge, at least early on, was finding a regular place to work.
"I've been kicked out of three or four places," he said. "The old ladies at the Red Cross kicked me to the curb. They'd see these big niggaz get out of a Lexus at these odd hours — odd for them — and call the cops. But we weren't having a party; we were workin'. "
Producing cuts two years ago for E-40's "In a Major Way" launched Mosley's reputation beyond the East Bay, and the jobs have come non-stop since.
A wall in Mosley's studio features a gold record for his work on "In a Major Way" and a platinum record for his contribution to a Tupac Shakur album. Mosley has left plenty of white space around them, anticipating more metal on the way.
Though Mosley spends much of his time traveling to Los Angeles for various projects, he doesn't foresee taking his main studio out of Fairfield.
"There's a lot of talent here, but I think one of the reasons (local rappers) have done so well is because we re hungrier. We have a hustling mentality up here and we fight for everything we get in this industry," he said. "The money is still a surprise to me. It's unreal the money that can be made, and if people knew how much, they'd stop doing whatever it is they're doing — robbin', druggin', whatever — and get into this."
Here is a article about Mike Mosely if anyone wants to read...It's from '96‘Mob’ beats have made Mosley a hot commodity in the studio
by MATT PEIKEN
Fairfield Daily Republic, August 25 1996©
FAIRFIELD — Mike Mosley was a horrible rapper.
"I had ideas, you know, but I just couldn't spit 'em out," he said. "My friends kept pushin' me to be a rapper, but my mind just didn't work that way. I'd be in the studio for hours just trying to deliver 10 words."
Through the studio, though, Mosley discovered he had an ear for beats and music. And today, at 26, he's one of the West Coast's most in-demand producers.
Mosley has composed beats for every rapper to break big from this area, leading to work for Tupac Shakur, Dogg Pound producer Daz and upcoming albums from Shaquille O'Neal and Bone Thugs N' Harmony.
Snoop Doggy Dogg recently drove Mosley around Los Angeles in his Bentley, discussing possible involvement with Snoop's next record.
"It's getting to where I barely have time for my own thing," said Mosley, one of three producers behind Steady Mobbin' Productions, which runs a recording studio tucked into a Fairfield office complex, where Mosley works to all hours constructing beats and music for rappers to use on their albums.
Producers are as important to rap as the rappers, themselves, and Mosley's reputation has soared so high — he's known for his "Mob beats" — that he can charge several thousand dollars for every song he puts together.
Mosley has a library of full of beats and half-finished concepts, ready to be shaped for any rapper with a healthy budget.
"The 'Mob' music brings out the Lerch to the fullest," said Lerch, a 6 foot 7 rapper who moved here from Dallas this past year to work with Mosley. "It's hard to stay focused sometimes. You have to watch who you hangin' with and the women you're around because people get jealous when they hear you're with Mike Mosley"
Mosley moved to Fairfield with his mother as an early teenager, escaping the gang life nighttime sirens and people outside his bedroom window - that had threatened to swallow him up in Los Angeles.
"Coming here saved my life," he said. "Even though I cut up a bit here, I would have been into true violence if I stayed in L.A. People think the gang problem is really bad up here, but a lot of rappers are coming here because this is a calm place compared to that. They can chill and get some work done and sleep better."
Here, Mosley quickly found friends in people like Gigolo Jack, DJ Small, Del Gant, T-Mack and the Gandy Brothers, getting together after school to "scratch" records and competing to see who could put together the "fattest" beats.
Armed with turntables, a drum machine and an effects pedal, Mosley began working as a DJ for weddings and parties by ninth grade. He spent three years at Fairfield High and transferred to Sem Yeto for his senior year in 1987, freeing up time to pursue music.
"There was this radio DJ who lived up in Travion Gardens, and I used to go to his house every day after football practice. He just had hundreds and hundreds of records," Mosley said. "There was this other guy named Hoosto. He was from New York City and he used to tell us what was happening on the East Coast."
Around the same time, unbeknownst to him, Mosley was playing a role in the early growth of local rap, using his one-bedroom apartment on Fairfield Avenue as an after-hours studio.
"When I was workin on C-Bo's 'Gas Chamber' album, just throwin' down beats, the neighbor would beat up on the ceiling to get us to shut up," he said. "Then the cops would come by and we'd be on pins and needles, because you know we have a phobia about the police anyway. But we'd ask them to come in and, eventually, they were cool with it."
Mosley often worked for free, to gain experience and also build a resume. Possibly his greatest challenge, at least early on, was finding a regular place to work.
"I've been kicked out of three or four places," he said. "The old ladies at the Red Cross kicked me to the curb. They'd see these big niggaz get out of a Lexus at these odd hours — odd for them — and call the cops. But we weren't having a party; we were workin'. "
Producing cuts two years ago for E-40's "In a Major Way" launched Mosley's reputation beyond the East Bay, and the jobs have come non-stop since.
A wall in Mosley's studio features a gold record for his work on "In a Major Way" and a platinum record for his contribution to a Tupac Shakur album. Mosley has left plenty of white space around them, anticipating more metal on the way.
Though Mosley spends much of his time traveling to Los Angeles for various projects, he doesn't foresee taking his main studio out of Fairfield.
"There's a lot of talent here, but I think one of the reasons (local rappers) have done so well is because we re hungrier. We have a hustling mentality up here and we fight for everything we get in this industry," he said. "The money is still a surprise to me. It's unreal the money that can be made, and if people knew how much, they'd stop doing whatever it is they're doing — robbin', druggin', whatever — and get into this."