No Limit Worker's Union

Hi-lites from Beats by the Pound Murderdog feature (Vol. 12, #3) post to precede detailed No Limit family tree:

KLC: What were you doing before you got with No Limit? I had my own label called Parkway Pumpin Records. Where do you think the No Limit come from. I had Soulja Slim, Mystikal, Hound, Mr. Serv-On, Mac, Fiend! Serv brought me to No Limit because he knew P! P was interested in Serv and Serv was like I gotta bring my nigga up there. They were all on my label but I just didn't have the finances to put the niggaz out.

Did you ever work with Mannie Fresh back before you got with No Limit? Me and Mannie are real solid. A lot of niggaz don't know it because of the little beef between No Limit & Cash Money, but amongst all that shit we were cool. We worked on projects together and shared sounds. Some of the early Cash Money records with some of the songs he produced were some of the sounds he got from me, and some of the songs that I produced on Slims record were the sounds that I got from him.

Odell: I used to do music over at Cash Money. A lot of the records that was coming out of there me and Mannie would play music on. I wasn't a producer but more like a hired musician over there. I couldn't get on there as an actual producer for whatever reason so I had a point to prove.

What songs did you play instruments on for Cash Money? One of the most notable songs was "Drag Em In the River" which was a diss record from UNLV to Mystikal. All that music you hear on top of that is me playing and Mannie did the drums on that. We did that in Slim & Baby's house on their kitchen counter on a eps16 plus I believe. I did stuff on Ms. Tee's first album and BG's True Story. Also played on Mr. Ivan's 187 in a Hockey Mask. Some of the stuff I did they held and I think they used it after I left.

Craig B: On C-Murder: C was the black sheep of the Miller brothers so when he saw something wrong he already knew him and P was gonna have some words. He didn't care and would stand up to him! If we felt we needed to be compensated for something at a certain time we would take a break. This particular time happened when C was working on his first album, and we pretty much went on strike. He went up to bat and was like the negotiator between Beats By the Pound and Bout It Inc, so he could get his album done and make sure that we were straight.