Puffy actually asked me to do that, because it was a sample, but he didn’t want the sample to sound just like it had sounded before. So that it would be level with the first song. So it’s like ba-bu-da-na-na-na-na, and louder, ba-bu-da-na-na-na-na. One of the things that I did is, all the way through the song there are two parts of that piano figure, and the second part I had to keep riding, so I had to raise the level. That song has a piano figure that goes ba-bu-da-na-na-na-na. “Prince” Charles Alexander “One More Chance,” I remember specifically. If you’re around and he need you-“Yo, I need a hook done.” My little niece, she did the intro part before “One More Chance”: “All you hoes calling here for my daddy…” It was just people that was just around. The other girls on it, that’s just my sister’s friends. Lil’ Cease My sister did the interlude for “One More Chance”-with all the girls on it. Produced by Norman & Digga/ Bluez Brothers, Chucky Thompson and Sean “Puffy” Combs So when you bring it regularly it’s like, “Bad.” Turn the knob off, “Baaad”-slower. You get a different effect on the record. Each time that I brought the record back, it’s a different effect to where you turn the knob off on the turntable to where you stop the turntable. I used Kid Hood’s verse from A Tribe Called Quest’s “Scenario (Remix).” And how I did the turntables and made the word “Bad, bad, bad” from turning the knob off on the turntable from pressing the stop button. Mister Cee I clearly remember “Gimme The Loot,” because I did the scratches on it. Even just last year, I was around somebody who was playing that, and still after all this time he was like, “Yo, who was that-that was Puff?” I was like, “Man, y’all really can’t hear that? That’s him! He did two voices.” That just shows you how good he was. I was like, Yo, that’s creative! And he really had cats fooled. He would do one voice, then come behind and do the other one later-just like, leave a gap so he could come back and fill the spaces. , he went in the booth and then it just kind of happened. So it worked out the way it was supposed to. But I guess later it made sense to him-even without him coming back to me. And I just walked away in my mind like, all right. Because you could have all kinds of Christian rights and women’s rights organizations trying to pull your stuff down off the shelves and all that.” At the time, Puffy kind of brushed it off.
Maybe Puff didn’t necessarily respond to me at the time when I came to him and presented to him, but I remember telling him, “Yo, the shit about being pregnant, and the ‘Number One Mom’ pendant? Yo, be careful with that. I guess that was their of being “sensitive.”
I don’t want no records getting snatched off the shelves.” That’s my whole thing. So when I was in the studio, I was like, “Yo, man you sure you ain’t sayin’ too much?” And I remember Cease and Chico sittin’ back and sayin’, “Yo, Mo, just chill! You sensitive!” I was like, “I just wanna make sure we get sold. I ain’t never really worked with nobody that really spit that hard before. I remember very clearly that that song was done during the daytime. If you heard everything he said in his lyrics, you won’t live. So when I went in and did that, that really broke a whole lot of ice.Įasy Mo Bee When he did “Gimme The Loot” I was like, Whoa-dude’s got problems! People who wanna battle him, go up against him? Nobody’s gonna wanna battle this cat. ’Cause I’m about 10 years older than Puffy, so I was really professional. That was one of the things that kind of helped me to bond with the whole project. I mean, Goddammit, Wilona! What the fuck you doing?! I was way, way up in it. You should let me try that.” I went in there and I screamed. And they’re like very stiff-sounding: “God damn it, Wilona.” And I’m like, “Yo Puff, I am an angry Black man. I was engineering and a couple of guys who were just hanging around went in and tried to do that part. I was there, Puffy was there, Biggie was there. And the reason that they used me is because three guys had gone in and tried, I forgot who. And the guy at the end, the guard that lets them out of jail and says, “You’ll be back,” that’s me also. That “Wilona, what the fuck you doing? You can’t control that goddamn boy!” That was me. “Prince” Charles Alexander First of all, I’m the father on the intro. He said he wanted “Rapper’s Delight,” Audio Two’s “Top Billin’,” “Superfly.” We had “Got To Give It Up” by Marvin Gaye, probably for sampling reasons. He just gave me a list of records that he wanted and I brought them back to him. Easy Mo Bee The whole story line for the album-starting in the beginning when you hear the robbery happening on the train and “Rapper’s Delight” in the background and everything-that was Puff’s concept: to create a story line for the album.
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