Mista Don’t Play a.k.a. Project Pat has been enjoying the good hood life since his 2005 release from prison. The Memphis-native recently spoke with AllHipHop about his “Adventures in Hollyhood” with DJ Paul and Juicy J of Three 6 Mafia, how he feels about the direction of music from the Dirty South to where the East Coast went wrong to T.I.’s recent federal case. With Walkin’ Bank Roll due to drop October 30th with guest appearances from the Hypnotize Minds camp and Pimp C, Mista Don’t Play really don’t play at all, as he dropped his jewels as well as gave his opinion on the difference between the street life and the slow grind. AllHipHop.com: What’s been going on since Crook by the Book?Project Pat: Oh well, you know, we’ve been working on “Adventures in Hollyhood,” working on my new album and Three 6 Mafia’s new album.AllHipHop.com: Describe what it was like filming “Adventures In Hollyhood” for MTV.Project Pat: I got involved in it because I’m Hypnotize Minds affiliated and we just trying to get more exposure and get our faces on them TVs. A lot of stuff behind the scenes they didn’t show. A whole lot of stuff. Stuff like Treice Ray… just a whole lot of stuff.AllHipHop.com: Was it renewed for a second season?Project Pat: We got put in for a movie for it. Yeah, we’re going to make a movie out of it. God keeps blessing us down here.AllHipHop.com: You’ve been a known dirty south rapper for a while now, how do you feel about it being in the mainstream and where do you think the sound is going?Project Pat: Well, I’m gonna put it to you like this right here, one thing about the dirty south is that we real stubborn in our ways. You know how they say “South people are set in they ways,” so the thing is as far as the music and the rap… the South gon’ keep it forever. See, where New York messed up is they gave it to us and they ran the game all day but they didn’t let them other little towns, little cities get on like Connecticut, Boston, and all those little surrounding cities. If it wasn’t New York, then nobody from New York was trying to hear it. See in the South we don’t roll like that. We let everybody get on. We want everybody to get a piece. We don’t care. We not trippin’ baby, you know that there. Arkansas ain’t came out yet, Oklahoma City ain’t came out yet. You got plenty of people that ain’t came out of Memphis yet. Nobody came out of Knoxville or Chattanooga yet. I know some dudes in Johnson City, Tennessee, up that way; them boys are off the chain. They gon’ come out and when they come out, we gon’ buy it. We ain’t gon’ boo ‘em. We gon’ put ‘em on down here, we ain’t trippin’. As long as they talking about this money, this shine and looking good and hustlin’ and gettin’ it, that’s all we want to hear. And also, I want to say this, I don’t know who in the clown was but it was some guy up on the East coast talking about down south rappers is like bubble gum rappers. Well, I think he needs to start chewing a whole pack of Hubba Bubba because that’s what’s selling out here. All this ol’ Hip-Hop has no meaning, man, kill yo’self. It’s lots of money out here; we ain’t trying to think about that. Quit playing games, n***as got kids out here and the kids gotta eat. It’s got plenty of meaning. I’m feeding other folk and people around me are getting jobs and money for they kids. Now one thing about down South like I said earlier, people got they own styles in the things they do. We got a lot of styles in the South and we don’t trip. People support each other and it’s all good. As far as the sound, it’s getting more on dances now and hustlin’ in streets. And you always gotta be talking something about that money. See down South, we ain’t complicated. You ain’t got to be dotting your I’s and crossing your T’s in the dirty. We ain’t gon’ trip on that. We don’t say girl, we say guhl. Man, quit trippin’! We bringing our styles to the game and guess what, they diggin’ it.AllHipHop.com: Talk to me about your upcoming album Walkin’ Bank Roll. Any special guests or favorite tracks?Project Pat: Man, I got my boy Pimp C on there and Three 6 Mafia is on there. Me and my boy Pimp got a song on there called “Talkin’ Smart to the Pimpin’.” And it’s some flames on here, you know. It come out October 30th with the number one hit single in the United States called “Don’t Call Me No Mo’.”AllHipHop.com: How do you feel about T.I. and his possible federal charges? Aren’t they similar to what you went through in 2001?Project Pat: They exactly what I went through and it’s a shame. It’s a godforsaken shame. You know, that’s a hardcore blow to the South and I hate it from the bottom of my heart. I pray for the man and I truly believe that God is going to bring him out of this situation. But man, I’m gonna tell you something. You just got to be watchful out here, you know. I ask everybody that gets in the car with me “You got a gun on you? You got a gun on you? You got a gun on you?” I gotta know man because you can’t be riding with me because I don’t know man; I’m not having it. See dealing with rappers down South we got a lot of street poets. And for a street guy to have a gun is like waking up in the morning, that’s nothing. Now if the police pull me over for that, he’s arresting me. I got caught with two, a .44 and a .22 revolver and I said to myself, Memphis got a lot of crime. Memphis is guttah, it’s going down. It’s been bad; you know what I’m saying? We got plenty of gangs. Memphis is not a white-collar city; it’s a gangsta town. And this real talk, the drug dealers and killers could be riding down the street and they could be signing autographs. They got the fan-base in my city. To a dude that’s coming from that, old habits are hard to break. You just gotta be smart, man. The robber got the gun to your back and the police got they gun to your face. It’s like being between a rock and a hard place. It’s real out here but I mean in his situation, it could have easily happened to me. And a lot of people don’t understand, they say, “He could’ve did this and did that,” but believe you and me; I was in the same situation. I had bodyguards and all that but at the same time, my mind was “Can’t nobody protect me like me.” So I feel the brother, you know what I’m saying. I hate that it happened like it did. AllHipHop.com: What do you want to let him or people in the same situation as him know about what they’re about to go through?Project Pat: If there’s anything I’d just tell the brother man because he seems like a real spiritual man, just turn it over to God. God gon’ work it out and however way it’s lookin’ don’t go by looks, just go by what you’ve prayed for. And stand your grounds on what you’ve prayed for because God gon’ give it to you. Real talk. AllHipHop.com: Is there any advice you’d like to give these young boys out here that look to the streets as their only way of life?Project Pat: Well, you know, I’m gonna tell you this right here; the streets are not the only way of life. It’s a proprietor of the devil. And I tell my people that the key to my success is that I pay my tithes and offerings. The real dudes in the street, these real guys, we respect God. We real, we know the business. So I tell these guys to put it down and give God a try. Turn your life over to Christ man, that’s real talk. That’s [the] only way you gon’ make it out here. That’s the only way I’ve seen. That’s what got me out the hood. That right there and taking initiative, slow grind. And when I say slow grind, just go on ‘head and get you a job and just slow grind it, man. Because that slow money is fa’ sho’ money. AllHipHop.com: Anything else you’d like to share to the public?Project Pat: I want to say let’s send some prayers up for T.I. and hold your guns and expect to come good because a lot of people be talking negative and it hurts. A lot of people are like “ah, he shouldn’t have done this and he did this…” but hey, it’s done now so quit talking like that. Send something to his lawyer. Real talk, quit talking about the man so much and speak something good. Pray for the man or something; don’t be sitting around here just talking. And I want to also say that you need go pick up this album Walkin’ Bank Roll coming out October 30th. Trick or treat man! Go cop that, real talk! Now while you copping Walkin’ Bank Roll go on head and cop the entire Hypnotize Minds catalog!

It’s

a treasure when a group birthed in the early ‘90s can still come together

to create classic music for 2008. Such is the case with Tha Alkaholiks

who, despite recording their “final album” and embarking on a drawn

out ‘Farewell Tour,’  are still recording

together.

Talking

to DJ E-Swift, it’s clear that not much has changed besides their

location. J-Ro’s been living in Sweden, Tash is still in Cali, and

Eric Brooks is now out in Las Vegas, where he purchased a home and

took a little hiatus to watch his son follow in his musical footsteps.

But

despite the distance between them, E-Swift is still in the lab going hard on the

boards, building his cache of beats to shop, as well as putting together

his long awaited solo album. A recent chat with AllHipHop.com finds

him taking a stroll down memory lane, as well as dispelling all myths

that Tha Liks’ reign on the West is over. 

AllHipHop.com: You’ve come

a long way from the days when you were rocking house parties in L.A.

How does it feel in hindsight, realizing you career is going on 20 years? 

E-Swift: You know what? I think

about that every morning when I wake up, like “Wow…” It was just

something that I did for the love of it, cause I loved music. Now twenty

years later I’m making a living off of it, and man it’s a blessing.

That’s just God’s work. I didn’t have aspirations of being a performer,

producer, DJ, and all that when I was little.  It was just something that

happened, and I’m glad it did. 

AllHipHop.com: To briefly go

back for those that aren’t up on Tha Liks history, you guys were always

kind of a novelty for the West, but early on cut your teeth on some

definitive tours with A Tribe Called Quest, Ice Cube, and damn near

everybody throughout the ‘90s. 

E-Swift: Yeah man, we were

really known for our stage performance. When I came out, I was deejaying

for King T, who was on Capitol Records at the time. That was big, and

I got to travel the world with him and get seasoned for Tha Alkaholiks,

and it seemed like it never stopped. Once I hit the road, I just stayed

on the road. It was cool though, I worked with a lot of the greats coming

up, been around a lot of people and learned a lot.

AllHipHop.com: What was one

of the things you really learned from back then?

E-Swift: Back then coming up,

I learned you really have to handle your business, and no one’s gonna

look out for your best interest more than you are. As far as being a

producer, I definitely learned how to be more productive and not just

sit around the studio like it’s a playground. I’m going to work

when I’m officially in the studio. A lot of people back in the day,

before they had the ProTools and the home studios, they used to go to

the studio and pay all this money every hour. Hourly in the studio not

making any songs, that’s money out your pocket. So I learned early,

get your own studio with your own equipment and be self-sufficient.

I rely on being really self-sufficient and I don’t rely on anybody

to make a move.

AllHipHop.com: What are some

of your fondest memories from those years, looking back on those tours?

E-Swift: You can get a group

like King T and Ice Cube and sell out a 10,000 seat arena in a heartbeat.

And the music back then to me was more genuine. Of course rappers were

starting to make money and all that good stuff, but a lot of rappers

out at that time was doing it because they had it in their veins. That’s

what they wanted to do, they were rappers. They really cared about the

art form, and they represented Hip-Hop to the fullest. Nowadays a lot

of cats are looking at it like “I’ma come with this joint, it’s

gonna be real catchy, I’m gonna sell a lot of ringtones, and I might

tour for a month or two until my single dies.” A group like Tha Alkaholiks,

we can tour year-round without even having an album out cause our fan base

has been built over the years.

So my fondest memory of back

then is probably just seeing Hip-Hop grow as a culture and hit the road

full time. We’d be doing shows with Biggie, we toured with Tribe Called

Quest and De La Soul was like our first major tour as Tha Alkaholiks.

They invited us on that tour, and I remember paying a lot of dues man.

They were all in the nice fancy tour buses, and we were taking turns

driving a rented Cadillac with all our luggage in it. But we’d be

beating them to the venues, get on stage and kill it. They respected

us for that. After grinding like that, finally at the end of the tour

we got a tour bus. But we paid a lot of dues driving all over the country

to concerts. We were real humble, and we had no shame. Sharing a room

and all that good stuff man. Those was the good ol’ days. (Laughs)

You haven’t paid any dues unless you’ve driven across the country

in a Cadillac touring with Tribe Called Quest and De La Soul, rockin

the house in front of thousands and thousands of people. That’s Hip-Hop.  

 

AllHipHop.com: You guys obviously

got a lot of love on those tours, and props from all kinds of artists,

but was there ever any conflict with another artist or group in all

those years? 

E-Swift: You know, we’ve

never had any kind of run-ins with anybody or made any kind of enemies

coming up in the game. That’s just pretty much cause that’s our

personalities, we’re not here for all that. We’ve always been here

to make music and have a good time. That’s why when you hear our songs

and you think about Tha Alkaholiks, listen to our CDs or whatnot, we’re

all about having a good time. We carry that with us in our regular,

everyday lives. That’s pretty much why we get along with everybody.

All the cats from New York always thought we were from the East Coast,

cause we didn’t sound like a typical West Coast group. So they treated

us like brothers and still do.

AllHipHop.com: Speaking of

New York, what was it like when you first collaborated outside the family

with Heltah Skeltah for what would be the final track on Nocturnal? 

E-Swift: That was a blessing

man, I was just grateful that they looked up to my work like that. They

invited me to New York to record the song at the legendary D&D studios,

and for me to be in there with legends like Premier, linking up with

Easy Mo Bee, Diamond D, cats that I look up to and to have them look

at me the same way I look at them…it was a trip. I got to really hang

out and work with some of my favorite artists, it was wonderful man,

I can’t even describe it. I’m still a fan of Hip-Hop! If KRS-1 comes

to town, I’m in the front row. I’m a fan of Hip-Hop period, and

I’m a real humble dude. I go to these joints with all these backpack

rappers and underground cats and they look at me like a legend. And

I look at them like, “I’m down here with y’all trying to have

a good time and hear some good rap music.” So going to New York, where

rap music started, it was like paying homage. It just felt good to be

a part of that whole culture, and that movement.

AllHipHop.com: Now Tha Liks

are officially split, but that in itself took a while to really happen. 

E-Swift: Here’s the thing.

We’re just taking a little hiatus from Tha Alkaholiks because we all

had separate projects. We’re still together touring as a group, and

we’re even in the studio together recording material. But for over

a decade straight, that’s all we did was tour and make records. We

never really got a chance, aside from Tash’s solo album [Rap Life],

we never had the chance to do a lot of stuff individually. So we all

just agreed to chill for a couple years and work with each other on

different projects. But we’re still strong, we’re still Tha Alkaholiks

together forever, we will have another new album coming out. It wasn’t

a gimmick like “This is our last album, go buy it cause this is your

last chance.” We didn’t want it to be looked at like that. It was

just a little hiatus, letting a lot of the b####### music pass through,

and then we’re gonna come back strong. Watch out for us man, we don’t

stop. (Laughs) 

AllHipHop.com: I saw you guys

on your Farewell Tour, and then it was more than a year for Firewater

to even drop.

E-Swift: Yeah, it was like

the never-ending Farewell Tour man. We’ve been saying “Farewell”

for like 20 years. People like “I thought y’all said goodbye?”

Nope, we’re still saying goodbye. It’s a long-ass farewell. And

when we drop another album we’re gonna have another Farewell Tour,

cause nobody wants us to come back. (Laughs) But as long as the love

is there, and the people continue to support us, we’re gonna be around

for a long time.  

AllHipHop.com: So even though

you guys amicably went separate ways for a minute, you’re saying there’s

a possibility that Tha Liks might get back for another album. Is that

something that’s been discussed? E-Swift: J-Ro moved to Sweden

like two years ago, which made our last release very difficult cause

the formula wasn’t all the way there. It took a lot more work than

usual. So when we’re together we work, and when we’re apart we work

on separate things. So when J-Ro gets back out here, and everybody gets

their individual projects done, we’re definitely coming with a collaborative

effort. Matter of fact, a lot of people don’t know this, but the whole

Likwit Crew is getting together to put out our long overdue album. Everybody

from Tha Alkaholiks, Xzibit, Defari, Madlib, Lootpack, everybody. We’re

like the legendary Likwit Crew from the West Coast and we haven’t

really put out an album yet, collectively that one major album. We’re

focusing right now on doing shows together, touring, having fun, and

getting back to the basics of being together as a crew. Everybody’s

had their careers and a lot of success individually, but collectively

I don’t think we can be stopped. So we’re getting ready to take

over the West Coast music scene with all these groups together to show

people how Hip-Hop music is supposed to be done. 

AllHipHop.com: Now that everyone

is up to speed, what else is good with E-Swift in ’07? 

E-Swift: Right now I’m in

the lab working on my solo album that I’ll have complete early next

year, which is basically me bringing in a lot of new artists over my

production, as well as my whole crew and getting everybody involved.

Besides that, definitely making a lot of beats for upcoming records.

Outside of my own camp, I’ve never really put a focus on outside production

cause you always want to keep the best stuff for your crew. So it wasn’t

in our interest for me to be doing a lot of outside projects, but now

I’m taking advantage of that cause I get a lot of requests for production.

As well, I’m developing my own artists and my label Street Soul Music.

I’ve got a 22-month-old little boy, so I’m being a father raising

him and giving him a good start in life. He’s getting ready to be

the next big producer to come out, I already got his little studio in

his room. He’s got a little keyboard, drum machine and all that stuff,

so he’s just practicing right now. He’s be two in January and he’s

already playing keyboard. He’s about to be a monster!

Video Producer: Steve Raze

Videographer: Antione Charles

 

 

When Mood Muzik 2 (Can It Get Any Worse?) dropped last year and the mixtape’s rapture spread through the country, Joe Budden firmly solidified his lyrical ability in the Hip-Hop game. Yes, he had a gold selling album and plenty of mixtapes to his credit, but MM2 elevated Jump Off Joe’s status from the latest punchline wonder to one of the rap game’s prime lyricists. Forced to sit on the Def Jam shelf month after month, The Growth his 2nd LP, has yet to see the light of day. With a tormenting time at Hov’s home and fans screaming for music by the self appointed “King of New Jersey,” Joe Budden’s options became very clear. After over a year in the making, Joe’s position was to give the people what they want, Mood Muzik 3.

 

AllHipHop.com and Joe Budden spent an afternoon at Fight:Klub studios to get an exclusive listening session with the newly freed from Def Jam artist. Joe gave us a sneek-peek at Mood Muzik 3 along with some of his thoughts on a few of his favorite songs.

 

Joe Budden: The song that we about to play now, it’s called “Dear Diary,” and there’s no hook on the record. It’s about five, five and half minutes, maybe six minutes, I’m not really sure, of just bars. It’s straight spittin’, there’s no hook, just the way a lot the songs on Mood Musik 2 came out. Actually I feel like this song could have been a lot longer. It’s one of my personal favorites because of that exact reason, because it’s so personal to me. I’m not going to give it away too much. I’d rather play it. I’d rather play it first. Where we at? We are here …

 

 

Joe Budden: Chill, we good, we good. You can see where the direction of that was going. I’m actually, in that song I’m talking to maybe three or four different people in particular. The people will know who they are when they hear the record. But uh, in dealing with those people, you learn certain things. Well, I learned certain things and I talked about it and spoke upon it and people can apply those things to other areas of their life. I try to do that a lot in my joints. The song will be personal about something that I personally went through myself but I try to expand it and make it a bit broader so other people can pick up on some of the things that I picked up from a certain situation. It’s crazy, like I said it’s about six minutes long, 5 and half minutes long and it’s one of my favorites. I play it over and over. This was actually one of the last joints that we ended up recording for the tape. I just felt like this was definitely needed. And my man Sultea/TK came through with the beat and we blazed it.

 

Ya know, the Joe Budden fans enjoy the personal music and enjoy the jewels and the gems that I would drop inside of it even though they may not actually be able to relate to the experience. I’m anxious for people to hear that, definitely. It’s called “Dear Diary”. The title is pretty much self explanatory. It’s a n#### just opening up a book and talking about some things that are heavy on his mind .

 

Joe Budden: This next song that we about to play is called “Hiatus.” Again, the title is self-explanatory. It’s one of the first joints that we did. I couldn’t even tell you exactly who produced the beat cause that’s how early in the process we recorded the joint. A bunch of producers sent me tracks, this one stood out the most. I was gonna save it. This one I was gonna save for the album but once the situation started looking like an album was not coming, I said okay, I’m not just going to keep holding on to this record. It’s another one I’m excited for people to hear. Let’s get into it. Let’s do it. Let’s play the crack. 6:18

 

Joe Budden: I got um, I got phone calls playing in the beginning of this record because it just adds to the imagery, adds to the scene, adds to the mood, the feeling that I’m trying to give off to it. When it actually comes out on a CD the phone calls will be a separate track and then the song will be a separate track but as of right now it’s all together. Again, this track is pretty long also. There’s a lot of long joints on the CD. It’s maybe about five plus, or four plus no hook, straight spittin’.

 

.

 

Joe Budden: Umph, definitely one of my favorites. That’s crack right there. Again, everything is in the title. The name of the song is “Hiatus.” I think it explains a lot of things. And when it’s not explaining, it’s more so spiritual, to me. It’s basically just talking about some of the reasons why I haven’t been putting music out. Totally aside from my label situation. People have grown accustomed to me releasing music just pretty often and out of the clear blue sky I stopped. Some people around me where actually questioning whether rapping was still something that I wanted to do. Whether he was built for it…ya know, just a lot of questions that were surrounding Joe Budden and his approach to music, and a few perspectives were f##### up.

 

Some people got the impression that I just didn’t want to do it or people got the impression that I was lazy or my work ethic was f##### up and even when meeting with some these labels, it’s a question that they asked. So obviously it’s not a knock that you could ignore. The beat just took me there. The beat took me there to speak upon it and to talk about it and even deeper than that talk to my higher power about it. And basically what’s the next step. Where do we go from here? That’s the gist at the end of this record.

 

The state that Hip-Hop is in at right this second, and me being the lyricist that I am, and the type of person that I am, do I even fit in here? Even if I do or if I don’t, what is the next step to take? I think that’s where that song ends at, and it’s crazy. Got some length on it and I like I said it’s amazing I can’t wait…the same way on Part 2 “Dumb Out” was one of the songs that I couldn’t wait to perform and I couldn’t wait for people to hear in its entirety and then when I performed it, just the way I pictured it in my head that’s the way it happened. Everybody went crazy and it was insane. I think this record will have that some effect, but it’s a totally different record. It’s not Dumb out at all.

 

AllHipHop.com: Why did you go with the approach of no hook, just straight rhyming?

 

Joe Budden: I’m just…to me right everything is based around a hook. Everything is based around your beat and your hook. So when you on a label you have to kind of conform to that. The song has to be structured a certain type of way. Even in you trying to freak it…like 50 tried…he doesn’t try he freaks it. He stays within the structure but he always does something different. Like “In The Club” that record is probably two minutes and 30 seconds long. “I Get Money”, verse-hook, verse-hook, the bridge is the third verse He always does something different in there. But aside from a n#### like that, everybody pretty much does the exact same thing. So on the mixtapes, and I can’t really continue to call this a mixtape cause everything is original on it, it really is like an album, but on the mixtapes or when I’m in my own zone and I don’t have those restraints on me, I like to do s### a certain way. I know that when I sign my deal I’ll have to do things a different way. So I like to try and take advantage of it.

 

Most of the times when I’m writing, and you can hear it on this tape, you’ve heard it in the past, I’ll start out with a certain mindset for what the record should be and by the time you get to the 16th bar, the record is talking about something totally different. The topics continue to change depending on the mood. I kind of just let the pen go. So I don’t ever want to stop that to put a hook in there to tell you what the record is about. ‘Cause that’s basically what the hooks is for. The hook is to give people a general idea of what the song is about. And I can’t really do that on Mood Muzik. Not on this one anyway because the topic is going to change every few bars. You lose the momentum when you do that, and I don’t want to do that.

 

My mixtape n#####, this is for them. I’m catering to them at the same time doing the things that I want to do. I don’t want no hook. I don’t want to do the club, the b######, I don’t want to do anything in the norm. that was the whole idea of Mood Musik in the first place. Cause everybody wanted to think, everybody seemed to think there was no audience for this type of music and I been successful in putting this type of music out. I always try to do something different.

 

There are a few songs with choruses on here but the ones without choruses tend to be my favorites. And I mean honestly if I started with choruses on some of these records they’re going to come out to be like 8, 9 minutes long cause I’m just spitting bars right now and if you notice as soon as that beat drop, bars came on. It’s not a n#### taking up space on the beat. It’s not me talking. It’s not me bullshitting around, not even on the end. On the end of that record when the bars go off the fade is coming, I’m not talking s###. So that’s about 5 minutes of bars. To the artists out there, the n##### that rap, you can do the math on that. I don’t have one verse on here that’s just 16 bars. Maybe three songs are stuck to that formula, with 16, 16, 16. Everything else, when I start going off, everything is about 60 bars minimum, the minimum. On there that’s probably about 84. I mean I’m not sure, I’m just going off of what I remember writing in the pad cause I always mark it down. It’s a lot of bars. I’m just trying to get some things out, so that’s all. Those tend to be my favorites, and that right there, definitely one of my favorites.

 

Joe Budden: This next track is called “Send Him Our Love.” I mean it’s really hard when you ask a n#### to pick favorites cause it’s like trying to pick your favorite child or some s### like that. All of the records have a different meaning to me and they all my favorites. But this one again is personal and I’m speaking to somebody directly and it just came out crazy. It’s one of the earlier joints that we did and it’s another beat that I was going to hold on to and I said, Ya know what, f### that. I’m a let it all hang out, like I’m not going to hold on to s###. Even though I ended up holding on to like five or six. But um, yeah, I’ma blast off. Play damn it.

 

 

Joe Budden: Yeah, you get the gist of that one. Another one that’s pretty self-explanatory. That’s my $tack Bundles tribute. But, it’s not really a tribute. It’s not one of those records like “We’ll Always Love Big Poppa” or one of those. That’s me just directly — how you gonna come in late and not have the phone on vibrate, n####! — that’s just me directly speaking to him. When I get in the booth I act like it’s just me. Act like I’m not actually releasing the music and people aren’t going to hear what I’m talking about. That’s me just talking to my n####, let him know I miss him. Let him know I love him and that’s pretty much it. That’s one of the songs that are in the format of 16, 16, and 16. N##### will appreciate it because he was loved by many. Loved by many.

 

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