Former G-Unit Soldier Kidd Kidd Reflects On 50 Cent, Indie Life + More!

G-Unit alumni Kidd Kidd talks to Percy Crawford about all the changes he's experienced from 50 Cent and beyond.

By Percy Crawford

"I had to grow up." - Kidd Kidd

“I’ll tell anybody, one thing about, Wayne, that nigga got a hell of a work ethic, man. So, just being around him and you coming from nothing. You don’t have nothing to lose, so it’s like, you gotta work just as hard as him and try to be five times better than him at the same time. I actually gained that work ethic from dude for real. I became a studio junkie,” stated Kidd Kidd recalling his days being a member of Lil Wayne’s “Sqad Up” clique.

Percy Crawford talks to the New Orleans emcee and got the download on every move he's making to date, including 50 Cent, the days of G-Unit and his new ventures. How is everything going, my man?

Kidd Kidd: Everything good, you feel me. Shit, Happy New Year! Likewise, my brother. Speaking of the New Year, you left us two hot ones in 2018 with the “Unquestionable” and “Reallionaire” album. Did you feel that going the independent route was the best way to put your music out there consistently?

Kidd Kidd: Yeah! You know what I mean, for real. Being independent, there is no control on doing what you want to do. And, as an artist, you’re in the studio every day and you’re doing a million songs a month (laughing). You want to get it out to the people and there are so many politics involved and so many things that’s holding you back from doing what you actually want to do. So, being independent is the way. Anybody will tell you that. Even now the major artist in the game… nobody is signed to a big company. Everybody is independent. I personally feel that the “Unquestionable” album is some of your best work to date.

Kidd Kidd: Yeah, you think so (laughing). You really snapped on that V.I.P. joint.

Kidd Kidd: Thanks, bruh. I appreciate that. I ain’t gonna front, I’m gonna keep it a hundred, I feel like my hardest shit, for real was this tape called “The Legacy!” I feel like that was my hardest shit out. For one, that was my first solo mixtape I ever did. Where I was at with it as far as mind frame wise and shit like that and the way I recorded it and everything, I felt like that was my best work right there. You gon feel like that for every project, but that “Legacy” was special. It’s so many things that’s on there that I will never get back. I got a lot of my homies on there that did skits on there that’s dead now. When I go back and listen to it, I listen to it just for that, fa real. I can understand that. I think your beat selection is top notch as well. The lyrics always compliment the beats you pick.

Kidd Kidd: Fa real! When it comes down to me, bruh, I don’t go off of what’s poppin. I don’t look for what’s poppin. I look for what I feel. If I can’t actually feel the beat, I’m not gonna rap on it. Don’t get me wrong, I could rap on anything, but when it come to me in the studio and I want to do something for me. I want to record one of my songs, I’m gonna pick a beat that I feel, you know what I mean? Facts! That’s a great point because I feel you have a sound and one thing, I enjoy is you never deviate from that sound too much. When I purchase a Kidd Kidd album, I know what I’m getting. How important is that for you to stay within who you are in terms of your sound?

Kidd Kidd: It’s important to me, bruh because once I get to the height where I need to be, I want people to like me for me not because I rode the next man wave. One thing about riding a nigga wave, it’s always going to come to the show and disappear. If you take a look at the game, all these people that ride a wave, it’s always going to be a newer version of them. They move away from the old version. It’s only a couple of people that’s really vintage. That’s why you got people like Jay-Z and Nas who are forever in the game. No matter how long they stay out the game they can come back because they paved they own lane. They made they own way and it’s nobody else that’s like them. I wanted to bring you back to the “Sqad Up” days because it felt like you guys either lived in the studio or just penned a lot of rhymes; that’s how often ya’ll were dropping.

Kidd Kidd: (Laughing) it was both. You know what I’m saying, it was both. Every day we were in the studio and we were all young and hungry. And being around, [Lil] Wayne… I’ll tell anybody, one thing about, Wayne, that nigga got a hell of a work ethic, man. So, just being around him and you coming from nothing. You don’t have nothing to lose, so it’s like, you gotta work just as hard as him and try to be five times better than him at the same time. I actually gained that work ethic from dude for real. I became a studio junkie. How did putting that much music out during the first part of your career mold you and help what you are doing now?

Kidd Kidd: It made a lot of people recognize me as far as my lyricism. They saw that I could actually rap. It’s a lot of big artist to this day that be like, “Man, I remember you from “Sqad Up.” You were my favorite one. You was on them tracks going toe-to-toe with, Wayne.” It helped me to gain the respect that I needed. It helped me gain the respect that I needed when it comes down to rapping. But on the flip side I didn’t have a face. It was street albums, so there were no album covers or videos.

Kidd Kidd: There were niggas standing right there with me bumping that shit and not even know it’s me. You bumping my shit and I’m smoking a gar with you and you not even know it’s me (laughing). And, I’ll tell a nigga it’s me and they be like, “Man, stop lying.” You have moved on from G-Unit, but I equate 50 Cent coming to sign you to when Uncle Luke came to New Orleans and signed Bustdown. That was big time to me to see such prominent figures sign our local talent.

Kidd Kidd: Huh bruh! It came from grinding, bro. It’s a real funny story. I was rocking with the nigga, Sha Money that used to manage 50 and shit like that. He had this beat and it had 50 Cent on the hook. I went in on that motherfucker because you know me, I don’t know no better. I felt like that was a song with 50 Cent (laughing). I went in on the song and shot a video for it and the director was my camera man before he blew up. We shot the video and everything. So, he heard about the song. And, his first intentions were to get the song shut down and sue Sha Money and all kinds of shit like that. Then, he actually listened to the song, ya dig, he was like, “Who the fuck is this nigga?” He went and did his research on me and shit. That showed me, bruh, if you got enough money, you can find any motherfucking body. Say bruh, this man called me at like 3:00 in the morning; called my phone. He called personally. It wasn’t no assistant or anything. Were you tripping thinking someone was playing a prank on you or did you know right away it was him?

Kidd Kidd: Something in my mind made me know it was him. Look, I was dead asleep, bro. I was knocked out. Matter of fact, I was in New York, in his hood for real. You know how it is in the city [New Orleans], nigga be into all kind of shit. I was just wildin then; average New Orleans stupid nigga. I was just into some dumb shit, bruh, so I was just out there in New York at the time. Like I said, I was in his hood. My people come waking me up and they were like, “Man, this 50, on the phone.” So, I’m like, “50, on the phone?” I don’t know. Nigga might be talking about a $50 sale. I get on the phone and I’m like, “Yo!” He was like, “Aye, what up Kidd?” Right then and there you could tell it was him. So, I’m like, “Wassup?” “This 50, 50 Cent!” I’m like, “What the fuck?” You gotta think about it, I’m like, there is no way in the world. You ain’t expecting this nigga to call you. At the time when he called me, he was in New Orleans shooting a movie and shit. He was like, “Yo, I’m in New Orleans. You from New Orleans, right? I’m in New Orleans shooting a movie and I want to meet up with you.” I’m like, “Shit, I ain’t even out there right now. I’m in New York in yo hood.” This is real talk. The set that he be claiming 134… that’s where I was. I’m telling him that I’m in his hood; like directly on your block. He was flipped out over the whole thing. I told him I was going to come fly down there. I booked my flight as soon as we got off the phone. I flew out the next morning. Flew out back to the city, back to New Orleans, got down here and I went and met the nigga, right? Lord bless the dead, I had my cousin Mike with me. I go meet him. We did interviews and shit. Man, when I pulled up, I had every gun known to man because like I said a nigga was into a lot of shit. So, he was in the middle of filming and he said, “Hey man, I really want to fuck with you. I want to work with you,” and I’m like, “That’s what’s happening. I’m with it.” He had a studio inside of a van. That was my first time ever seeing that. He was like, “Hey, I got these beats, take em home, right songs to them, ya feel me?” he had to go finish filming. Man, nigga looking at me, trying to send me the beats and I’m like, “Look here, dog, I don’t have nothing else to do. You think I’m about to go hang back on the block? Pull that shit up.” Man, I knocked out all four of them tracks. By the time he got finished filming his lil scene and shit, he came back. He was real surprised I was still there. He was like, “You still here?” “Yeah, I knocked the tracks out.” He was like, “Oh alright, pull it up.” So, they pulled up the first one and he was like, “Goddamn, alright. Shit.” He asked me how long it take me to put one down and I’m like, “It don’t take me long at all, bro. I get it in.” So, I’m like, “Play the other one.” He was like, “Play the other one?” “Yeah man, I did all them motherfuckers.” He straight up told me he ain’t never met nobody that work like that. I told him, “This all I got.” So, I went hard. Me being down there and shit like that is how that happened as far as the lil situation; getting hit up and shit. Right after that that nigga was like, “I got you.” I swear to God, man. This man had me straight from therapy and the hospital to going all over the world. Oh okay, you got hit up when you were down there meeting with 50. I thought it happened before then.

Kidd Kidd: Yeah! Lil Boosie said once you reach a certain level you gotta move around and get out of your hometown, do you believe that or was that just some street stuff that happened to you?

Kidd Kidd: Yeah, it was some street shit. When you do dirt, bruh, dirt gonna come back on you. That’s just karma. That’s just life. It’s a blessing I made it out of the situation, and everything is cordial now with me. I’m just on another level as far as my mind frame and shit like that. I had to grow up. When you stuck with that ignorant ass mentality you inviting all those kinds of people. You’re inviting them demons around you. It was a blessing to get out of that environment, go see all kinds of shit and elevate. It made me grow up. Six bullets will make you grow up really fast if you live to tell about it.

Kidd Kidd: Yeah man! For real, my nigga. I’m running around with a whole shit bag on me. I had a whole shit bag on me. That’s wild. Drake did a dedication song with a Louisiana flare, Big Freedia got her own space and you’re starting to hear more mainstream songs with New Orleans bounce beats. It seems accepted now more than ever. Do you ever think of some of the people that came through that was very talented from Louisiana that didn’t get the platform you have because the music and the sound wasn’t as accepted when they are on the scene?

Kidd Kidd: What it was, bro, being in New Orleans… everybody that lives in New Orleans don’t think outside of New Orleans. That’s what I learned. We only worry about what goes on here. I feel like when they were doing they thing and was out there, they wasn’t worried about, “Man, let’s go to Atlanta and let’s see if we can get it popping out there.” I’m going to give you a fire example, if Master P would have had that same mentality and not felt like, “Man, I’m going to Cali and blow this up.” That showed you that we can do that shit. He took the whole New Orleans slang and demeanor ya dig, took that shit to Cali and blew all the way the fuck up. I feel like we all could do that. We just gotta get from outside the city. Lord bless the dead, I think of Soulja Slim and Lil BTY. That’s the thing, bro, the city is going to keep a hold on you. Think about it, man, Soulja Slim was that nigga, man. He was loved and accepted everywhere, but he wasn’t going everywhere. He was staying right in the city. Lil BTY, the same shit. He was blowing up and everybody was accepting him everywhere but staying in the fucking city. You gotta move around. There is nothing wrong with staying grounded and keeping it real and shit like that, but at the same time when you a rapper you not doing the same stuff that everybody else is doing. You can’t be on the same time that everybody on. You gotta be smarter. One thing I pride myself on is my city. I love reppin my city. I shouted out T.T. Tucker on my song V.I.P. I love my hood because a lot of people look over us. I’m gonna keep it all the way 100, I feel like the people that actually did make it out the city, they not reppin the city. They’ll mention it to get a little street cred, ya know what I’m saying, but they not mentioning it when they on these major ass platforms and all of this shit. Ya’ll forgetting about the niggas that’s actually supporting you, looking up to you and playing your shit. Before I let you go, tell us about the Reallionaire Brand, RLLNR Entertainment and everything you got going on with that.

Kidd Kidd: Yeah man, Reallionaire, we working on Reallionaire Clothing, we’re working on Reallionaire Films and I’m going to be releasing two new projects this year. I’m going to release one either next month or the beginning of March. They are finished projects already. I’m actually working on my third one right now. I got the “Peanut from Mazant II” and I got “Undeniable!” “Undeniable” is actually a follow-up from “Unquestionable.” I’m kind of caught up in between the two. If you listen to the “Peanut from Mazant” that I dropped last year and “Unquestionable,” the “Peanut from Mazant” was more street shit where “Unquestionable” I was trying to be an industry nigga (laughing). So, it’s kind of like the same thing with these projects. The “Peanut from Mazant II” I’m talking about more New Orleans related shit. “Undeniable” is more industry related shit for the world. I’m just caught up in between the two and which one I’m going to drop first. Lately I’ve been shooting a lot of visuals for it. Like I said, a lot of people know my music, but they don’t know the face. I never had the chance to get all the way fully out there. My main focus has been being on the visual side of things, so my main focus has been on shooting a lot of videos that I’m going to be dropping this year also.

Comments (1)
No. 1-1

I'll always root for New Orleans. Go ahead Kidd Kidd. Hadnt heard Bust Down in a minute West Bank!