You became painted as this champion of the boom bap era and the golden era of hip hop,
like this savior.
Did you feel that was a fair title?
Was that pressure to live up to?
Because obviously you're appreciative of that era, but you're from this era.
Right.
At first, it was something that I was proud of.
As I started progressing through my career, I started seeing it as something that people
were using to marginalize me.
You don't want anybody to tell you how to paint your picture.
You know what I'm saying?
You just don't want to be marginalized.
I don't think it's an artist part, I really think it's a human being thing.
What's up everybody?
Six years ago, a 17-year-old emcee, unknown, came out of Flatbush, Brooklyn and dropped
a mixtape so ahead of his years that it really propelled him to be one of the top artists
of this generation, so you know we had to have to him on 'For The Record,' man.
I wanna welcome my man, Joey BadA$$.
Much love, King.
How you feelin'?
I'm doing good.
How are you, man?
I'm doing good, man.
Just doing what I gotta do.
Right.
Yeah.
Shifting culture-
Maintaining it.
Propelling things forward.
Yeah.
Normal for you.
That's a normal day for you.
Yes sir.
Yes sir.
Man I wanted to have you over here, man, so we could talk, because actually for the fans,
for the Day One fans, something really special is happening.
Your first mixtape, '1999,' is streaming now.
It's everywhere, right?
Tidal-
Available everywhere now finally.
It's been six years, you know what I'm saying?
We finally got it up on the six-year anniversary, but yeah, 'cause a lot of people don't know,
but this project, which is my first project ... I was only 17.
I was actually still in high school at the time, but this pretty much was my claim to
fame, you know what I'm sayin'?
Me dropping this project was the moment that, like, changed my life, so I always thought
that it was important to get it ... 'Cause back then, it was a whole different game.
Like streaming didn't even exist yet.
Right.
Right.
We could download it.
It definitely didn't even exist yet.
Yeah.
It was like-
We could download it or for DatPiff, you put it on your iPod.
You put it on your-
LiveMixtapes, DatPiff ... It's so crazy now because if somebody dropped a mixtape right
now and it's only on like LiveMixtapes or DatPiff, I would not hear it.
Right.
And it's no disrespect to them 'cause-
Nah none at all.
I know what the mixtape culture has done for hip-hop-
Absolutely.
Because it really allows us to get up, but the way that technology is moving so fast-
Yeah, nah.
Things changed.
It just exists in that world only.
Six years later, it's a whole different game, you know what I mean?
And it's interesting, too, because sometimes I think, like, damn, what if streaming existed
back then?
Like, this would be a whole different ... I'd be a whole different, like, I'd be in a whole
different place, you know what I'm sayin'?
Not that I don't like where I'm at, but it's just an interesting thing to think about,
so I'm glad that I even got the opportunity to put it out on streaming platforms now and
owning it 100 percent, you know what I mean?
So I already know this is, in my future, gonna be, like, just something great.
That's dope, man.
Yeah.
Let's go back a little bit, man.
I mean, I remember the first time I heard Joey BadA$$ is I saw a video for "Survival
Tactics."
Which was with Capital STEEZ.
Rest in peace.
And it was exciting.
I couldn't believe what I was seeing because y'all were so young but y'all we're spittin'.
Like it just seemed beyond y'all years.
The other thing that I don't know if I ever told you this ... You got the beat, the instrumental
was a Styles of Beyond beat.
Right?
And they had sampled the record called 'Fried Neckbones and Some Home Fries,' which was
the original sample.
For "Survival Tactics?"
Yeah.
Oh that's crazy.
The original sample ... Here's where I'ma fuck you up.
The original sample…
My great uncle made that record.
Wow.
So that's my grandmother's brother, Willie Bobo, old Latin jazz musician.
Wow.
So automatically, when I heard the beat, my ears perked up like, "Oh wow."
That's crazy.
Because I used to grow up listening to that music and it was such a part of me that I
didn't know ... I was like, "Yo it would be ill if somebody flipped it."
With that, "Oh, oh ..." ?
Yeah.
No, no, no.
The horn part.
Oh that's crazy.
And I just never really heard it flipped like that, and it was hard, just a hard record.
So, like I said, my ears perked up then, what y'all was spittin' about then, the video with
y'all with the masks.
Yeah.
We was hooked.
We was just staring at YouTube like that.
How did that song come about?
I feel like that was the one that really got everybody kinda looking.
So I'll tell you, right?
Like I said, I was still in high school at the time.
Steez had already graduated because he was two years older than me, but we still hung
out every time I got out of school I would still go link him, so I actually wrote my
verse to that song to a MF Doom instrumental called 'Monkey Suit,' and I remember,
one time, like ... Yo, wait.
Am I trippin' or was Steez still in school?
Because I definitely ... Nah, he was actually still in school, so I was actually a sophomore
when I wrote that record because he just got back from prom or whatever.
He was a senior and shit, and I just seen him in the cafeteria.
I'm like, "Yo, bro, you gotta hear this verse," because he had just put me onto MF Doom, so
I was going crazy discovering tracks, records.
And then, me, back in the day, what I would do is ... I probably wouldn't even listen
to the song.
I would listen to the beats first because I was so attracted to the sounds of, like,
you know what I mean?
Of just whatever era that was that we was exploring.
But long story short, I rapped a verse for him in the cafeteria.
He was fucking with it and he was like, "Yo I think you should rap it to this beat though,"
and he sent me the 'Styles Of Beyond' instrumental, and he got put onto that beat
by one of his, like, I say, like, big homie.
He used to just put Steez on a lot of just underground shit, so he put Steez onto that
and then Steez put me on and then literally after school, we just went back to my crib
and we just recorded that shit in my room.
And it's so crazy because I was recording my shit first, my verse, and then he said
something like, "Yo you gotta put more energy," like, "Let me show you how to do it," and
then he went and recorded his shit in one take.
Wow.
Bodied it.
And I was like, "Damn," so I came right after him and boom.
I laid my shit and that was the song.
That's crazy.
Yeah.
Y'all did that after school?
Mm-hmm.
Literally in my room.
My room is, like, probably was not even the size of this, and we was all in there.
And that's the same version?
You didn't go back in and re-record it or anything?
This is the same version that exists today, is that same version?
Same version.
Actually the only thing that got changed, there was this intro in the beginning on the
original song.
I'm saying some shit like, "Yo, don't be too loud 'cause my moms might come home," or some
shit like that.
I was saying some shit like that, but we took that out on the version that the people know
today.
That we heard.
That's dope.
So let's go back a little bit.
This '1999' mixtape, was it like an afterschool thing for you?
Because first of all, Edward R. Murrow high school in Brooklyn, I always wanted to go
to that high school.
I didn't get accepted, but Joey and the pros went to Edward R. Murrow ... Most of the pros.
Was this just like an afterschool thing with ... I guess the question is, was it a hobby
or did y'all really know…
Was there really kinda, like, a purpose and a plan?
It's interesting because, for me, it was always like a plan.
It was always something that I felt like was not gonna fail, something that was just gonna
happen, something I was just meant to do.
Like I remember when I first met Steez, before we formed Pro Era, we was just hangin' out.
We were just ... kids around the school who knew, was aware of each other, that we rap,
me, Steez, CJ, and a few of the other pros, and I remember seeing Steez all the time,
and it's like, I seen that he wasn't going super serious, like, with his craft, so I
used to always tell him, like, "Yo, bro.
Is this not what you wanna do?
Is this not something you're tryna take serious?"
He's like, "Yeah.
I mean, I will, eventually," like, that was always his attitude, so I feel like I almost
kinda pushed him a little bit too.
I was like, "Yo bro.
Get serious on this 'cause I never met somebody as talented as you."
You know what I mean?
Like, "You should go hard 'cause I'ma go hard, but like, if anything, we should do this shit
together."
You know what I mean?
That was, like, the whole thing, so that just turned into us hanging out more, us creating
music more, like cutting class, and we used to go in the auditorium and behind the stage,
there was, like, this super wardrobe room, so we would cut class, we would go back there,
and we literally set up the whole studio.
Me, Steez, Powers, CJ, and a few other homies in the school, and then that just turned into
an everyday thing, and then, eventually, we was just like, "Yo, we're a thing."
You know what I mean?
"We gotta make it official," and then Steez came up with the name, and then, boom.
What equipment were y'all using?
Were y'all walking around with a Mbox or something like that?
Yeah, just a Mbox and a fucking microphone, you know what I'm sayin'?
Like, we had a musical department in our school, so we had access.
Powers was in the music program, so we had access to a little mini keyboard, a little
drum machine, and a little microphone, you know what I'm sayin'?
Dope.
Yeah.
Shoot, I remember the first time we met.
Before we met, I was working at MTV, and...
Oh man.
It was so bad that day.
We had you Skype into MTV, that show we did called Rap Fix.
Oh shit, yeah.
Oh, man.
I featured you with a guest and you were, like, in gym class or something like that
or you was like by the lockers.
Like, you were Skyping for MTV in high school.
Yeah, nah.
I was literally in the staircase and shit.
Like I had to, like, just duck off to the side or whatever because I'm live in school.
I'm like, "Alright.
Let me just come out this class real quick."
Bradley like, "Yo, you gotta do this interview."
I'm like, "Alright.
Bet."
Me and Powers.
We found this little secret staircase and shit.
We just did it in there.
Yeah.
That was so dope.
I always felt like you was mad at me because the idea was…
We knew we had Odd Future as a guest and Sway was supposed to host, and Sway, big homie,
way more experienced than I was, he had got sick the last minute.
He said, "Yo you gotta host," and I was experienced, but those were some wild dudes and it was
all 10 of them at once, so I said, "Man, I gotta find an artist that's so dope that they
can't front on him," because I just knew what it was.
And picking Joey BadA$$, I said, "Man, they gon' love this.
They have to," and Tyler was a little flippant about it.
I mean, he was just so...
And it's like, I could understand where he was coming then.
Even now, it's like, he was on some shit where it's like, "Yo we're promoting our shit,"
like, "Why the fuck you tryna get somebody else to get some type of notoriety off of
us and shit?", so I understood his anger but everybody else was pretty much showing love.
But it was cool.
The funny thing that impressed me about you too is, you know, obviously they were joking.
Odd Future, lots of times, they not even serious.
They just be funny to be funny.
Yeah.
And you was throwing it right back.
Everything they would hit you with, you hit 'em right back.
Oh, yeah, because to be honest, I was a fan.
We was all fans.
Pro Era, at the time, we was totally aware of Odd Future.
Like, if anything, they inspired us, you know what I mean?
To actually kind of become a collective.
We was aware that, like, okay, we're almost like the East Coast version.
Not that we was tryna be like them, but we was aware.
They were kids on the West, formed a collective.
We're kids on the East, formed a collective.
You know what I'm saying?
So I was already aware of their personalities and their characters, and I was pretty much
prepared.
I was like, "Okay.
I don't know what you thinkin', how you thinkin' this gon' go, but I'm ready for whatever...
You know what I'm saying?
They gon' say or whatever."
I definitely felt so bad about that day, man.
Nah it was funny to me, honestly.
Right.
I thought me and Left Brain had real beef though.
I was like, "Alright.
When I see him, we fightin'."
But y'all good?
Yeah.
We was chillin'.
I seen him a couple times.
I was just like, "Whatever, bro."
No you did.
I remember this.
You did say that, Left Brain, you said that his face looked like Squidward's house.
Like yo y'all gotta understand it.
If y'all go even find this interview on the Internet, it's hilarious.
No, it's something to talk about, definitely.
Moment in history, moment in history.
So, let's go back.
And then I remember you actually coming up to MTV for real and we had to wait.
We were trying to do the interview in the morning.
We had to wait 'til you got out of school and then we got a note.
They was like, "Yo, he wanna bring all his friends with him-"
Yeah.
From school and I feel like 15 of the pros came up and they were in this interview with
you.
How important was it for you, from then ... Okay, so '1999' is the Joey BadA$$ debut mixtape,
but it introduced us to Steez in a lot of ways, to Chuck, to Caution-
CJ.
CJ was on that.
Yeah.
All of that.
Not even Caution yet.
Wasn't he on "Suspect?"
Well, yeah.
Yeah, yeah.
He was on "Suspect."
Yeah.
Pretty much everybody.
Yup.
So it wasn't even just this dream for you.
You were bringing everybody with you from day one, no matter what.
Right, right.
I mean like, for me, at that time, we had formed something that I felt was greater than
any one of us just being on our own, in a ...
...On our own, just in an individual capacity, so me being the one to get the most shine
at the beginning, I thought it was very important to make sure that I still got to shine that
light on the crew, you know what I mean.
But in hindsight looking back, I thought that it would go a little different when I would
bring my crew to interviews with me.
I wasn't mindful of the fact that, okay, these people are only trying to ask me questions,
you know what I mean?
Had I been more mindful of that, it would have been a different type of approach, you
know what I'm saying?
Instead of just having my gang just sitting there, you know what I'm saying?
But, yeah, it was was always important for me to bring the whole team along because I
feel like we all have something special and that just us as a whole was special, so I
always wanted that to be known.
I always respected that about you.
I remember at the time getting the note from my boss like, "Yo, we can't have all these
people up here."
For me, I was like, yo-
And I be on some shit like, all right, I'm not coming.
You're not coming, but my whole thing was like, you, they in high school.
They might not never ... and not that we didn't think there was a future, but this may never
happen.
This may be a once in a lifetime ... think about when you was in high school, how much
that meant, it was like, alright, cool.
The dope thing about it is, that's the, Kirk Knight comes up that day, Chuck Strangers
like ... And we all get our own relationship, like, Genius just shot a piece with Kirk Knight
without Joey BadA$$ anywhere.
Facts.
Yeah it had nothing to do with me.
We've done things without Joey BadA$$ anywhere.
I kind of feel like you spoke into existence, and I'm looking up the lyrics now, "Waves."
You got this lyric, right, like: "These brothers today is loco.
You'll get it in ya vocals if you ain't a local.
Yeah, that's why I'm tryna go global.
Yeah, that's why I'm tryna be a mogul."
Was this what you envisioned?
Were those just lyrics back then or did you see this coming?
It's so crazy because, "Waves," man, anytime I hear it again, I'm just like, damn.
Everything that I spoke about, I really manifested.
You know what I mean?
It was like a manifest destiny song in a type of way, because my mom's driving a Rover now.
I met Hova a few times.
You know what I'm saying?
I've got gold records.
I've met up with Madlib.
Global now.
At that time, I was just overly ambitious and like I said, at that age, I just knew
that it was going to happen for me.
It was just a feeling inside, I'm not going to fail.
It's just going to work.
Writing it down I feel like made that even stronger, made the possibility even stronger.
When they say when you write your ideas down or whatever, it's easier to attain them.
How did you get ... So you impressed, one, just because you can spit, I think was super
impressive.
Like your talent was impressive.
It could have been over any type of beats and with those lyrics and the flow and the
intensity that you were spitting at, the talent was evident.
I think that you caught the hearts of a lot of hip hop fans based off of your musical
choices.
Now, I had seen you say somewhere, I think it was on '47 Minutes,' that necessary
the beats that you were picking from MF Doom or Lord Finesse or whatever, you weren't quite
maybe familiar with the songs.
You were just searching instrumentals on YouTube, so there was a vibe that you was going for
and you weren't necessarily maybe a big fan of the Lord Finesse record that you picked,
because you had never heard it.
Yeah to this day I still haven't heard this record.
To this day.
I like the beat that I used.
I still haven't actually heard the record that was made over that beat.
That was something that I did a lot at that age, because I was easily influenced.
So because of me knowing that, I didn't want to hit it, and especially if I had a beat
that I really loved, I didn't want to hear anybody else over it.
I just wanted to get my fresh approach to it without hearing how this guy came on the
shit or how the song sounded originally or anything.
And also, I just didn't have no beats.
I had no producers really at that time.
I had Powers and Kirk but they was really just starting up.
They wasn't at the level yet where they was able to make the exact sounds that I wanted
all the time, you know what I mean?
That's really what I started at.
I feel like that's the precursor to the Type Beats era-
Which is crazy.
... because now you can go on YouTube and type in "Joey BadA$$ type beat."
Which is crazy.
I've used two early.
Like, my 'Christ Conscious' song, that's from me searching "Joey BadA$$ type beats,"
and then the song that I got with X on his latest album, we was just in his crib and
that was a "Capital Steez Joey BadA$$ type beat."
We just heard it.
It was like boom.
This is it.
What were you searching back then to get the beats, to get the beats that you selected
for '1999.'
What were you searching?
What were the search terms?
MF Doom instrumental, and then that would take me down a rabbit hole.
It would bring me to Madlib, and then Madlib would bring me to J Dilla, and so on and so
forth.
J Dilla to Lord Finesse, and so on and so forth.
That's pretty much just how I found them.
YouTube was probably like ... YouTube don't get the cut that it deserves, because I feel
like YouTube's helped a lot of people, especially musicians.
That's dope, man.
I just wanted to talk about that, to give the lesson, because I think the Type Beat
coaching that was really a business, there's a lot of producers who survive off of Type
Beats.
Yeah, no, really though.
And just knowing that stuff's on- Motherfuckers is lit off of Type Beats.
Right, absolutely.
But this stuff don't live in a vacuum.
It's not that one day, somebody woke up and said, "Oh, I'm going to do a Joey Badass Type
Beat."
It really kind of starts from you just being young and other musicians like yourself being
young, searching for old instrumentals, and then it evolves into something else.
That's a fact.
And you know what I think is cool about Type Beats is like, as an artist, we all go all
through our phases where we want to get experimental, we want to do this or we want to do that.
So the fact that I can just go on YouTube and just search up my Type Beats and I can
hear the sounds that people automatically think that I'm supposed to be on is like a
way to never get lost, almost.
You know what I'm saying?
It's like, boom, oh, shit, this shit just came out two months ago.
This is still ... this is the frequency that people hear me on, or if I was to search anybody
Type Beats, this is the frequency that they hear these people on which they think is the
right thing.
I think that's a cool aspect about it as well.
Let me ask you a question because then, that's interesting, after '1999,' you became
painted as this champion of the boom bap era and the golden era of hip hop, like this savior.
But at the same time, you're young.
You're 17 at the time, right now, 22?
23.
23.
Just turned 23 this year, right?
Yeah.
Did you feel that was a fair title?
Was that pressure to live up to?
Because obviously you're appreciative of that era, but you're from this era.
Right.
At first, it was something that I was proud of, because it was different for the era that
I was in.
Nobody else was on that wave.
I was a '90s baby at heart, you could come to my crib and you see my baby photos, the
way I was dressed, I had the jays on with the polo on so I feel like that was always
naturally me, you know what I mean, like who I was since literally a baby.
I wanted to keep that going.
I just felt like that was something that was so true to me.
But as I started progressing through my career, I started seeing it as something that people
were using to marginalize me and that became a problem for me as an artist, because I felt
like people were limiting me.
You know what I'm saying?
They were only thinking I could only do this, so then very quickly the urge or the passion
changed for me.
It became to show people that that's not the only thing I can do.
You know what I mean?
But looking at it all in hindsight now, I feel like it's just phases you go through
as an artist.
You don't want anybody to tell you how to paint your picture, or you don't want anybody
to tell you that you can only paint a certain picture.
You know what I'm saying?
You just don't want to be marginalized.
I don't think it's an artist part, I really think it's a human being thing.
It's funny, I hope you don't get mad that I say this.
I hope so now.
Fuck it, we was here with London on da Track and he was playing some joints that he had
in stash, some joints that he's working on for his project, and he played this one joint
and this MC came on and I'm like, yo, we killed it.
Yo, who is that?
He was like, "Yo, you don't recognize, you don't know who that is?"
Because the bounce was so different, I said nah.
He said, "Yo, that's Joey BadA$$ running on the track."
How is it for you even to work with somebody in the A or something like that, how freeing
is it for you?
I mean, it's dope, man, especially London.
London is such a ... me and him, we're very similar.
We're very open-minded.
At first when we started together, it was kind of like this thing where he kind of wanted
to meet me in the middle but I had to communicate to him, like, nah, don't meet me in the middle.
I want to just come at your world.
Just set me up so I can come to your space and from there, we just have a great chemistry
to say the least.
I like stepping out of my comfort zone, because if I don't, I don't feel like I'm challenging
myself.
What I can say is it's a balance.
It's a balance.
If I do three of those type records, whatever you might call it, then I gotta do three of
these other type records.
Yeah, I gotta balance it out and shit, I'm like, oh shit, I'm weighing too much to this
side, and then boom, balanced again.
But you have that freedom to go and create.
Oh yeah, absolutely.
And when they hear it, hopefully they'll get to hear it if it ever comes out, but it sounds
really dope, bro.
I was super impressed and it just made me really excited for what's to come.
Thank you.
For our first episode of 'For the Record,' this show that we have, when you talk about
balance, because you low key a journalist now, too, man, you got '47 Minutes' podcast.
Oh, shit, I didn't know I was a journalist.
We put you in the journalist category, I mean, you had Styles P up there, you had Vince Staples.
I ain't interview Vince Staples yet.
You know what I'm saying?
Zombies.
Zombies.
Just had Yachty.
And Lil Yachty.
Yeah, Lil Yachty was on the same chair that you were sitting in and said that he wanted
to have a conversation with you about this hip hop.
It's funny because I seen that interview and that's what made me reach out to him, like,
yo, let's make this happen, you know what I mean?
So shout out to you.
I was so happy to see that happen.
We're still kind of on this topic about really not putting artists in a box and I really
feel like in this generation more so than ever, y'all breaking down so many walls and
barriers, it's different from the generation before y'all.
What did y'all come up with that conversation of the state of hip hop between Joey Badass
and Lil Yachty?
What did y'all come up with?
What was the conclusion of that?
Trying to think, was there actually a conclusion?
I mean, I feel like the whole purpose of the show that I do, the '47 Minutes' thing,
is to just bridge the gap more than ever, more than it is about trying to find a conclusion.
You know what I'm saying?
It's really more about just trying to understand each other and our perspectives.
You could think something about somebody that you never met and then you meet them and actually
have a conversation about them with topics that you've been wanting to speak to them
about, and it would totally change your whole perspective on that person.
The thing with me and Yachty is like, this year, i was already awakening up to the idea
of just what the game is today.
So, having that conversation with him kind of like just ... it just gave me a deeper
understanding of where we are and the different sides of the spectrum and why things are a
certain way.
You know, he was in college and he was broke and then he just started doing this thing
that was fun to him and it worked.
I don't think there's anything wrong with that, you understand what I'm saying?
I don't think everybody gotta be a lyricist, I don't think everybody gotta necessarily
take it as seriously as other people.
I think that's just the way it is.
I feel like it's kind of always been that way.
People may argue, like, oh, in the '90s, there was more talented MCs across the board, but
there's always been people just doing it for fun.
We look at this wall over here, I don't know if the cameras can see it, but we got a Kid
'n Play record.
You know, Kid 'n Play was from the era, the same era that Rakim and Big Daddy Kane were
getting it in.
And they just dancing and having fun.
Partying and pushing it.
People enjoyed that and we never compared them.
They couldn't rap like Kane or rap like Rakim, but it was like, man, throw that house party.
To have fun.
We want to turn up, you know what I'm saying?
You need all sides of the spectrum.
Everybody going to do what they're supposed to.
You need your Lil Yachtys.
You need your Joey BadA$$es.
You need your so on and so forth, you know what I'm saying?
What's the biggest change from the '1999' drop until now with Joey BadA$$?
Biggest change ... Like, personally?
Artistically, however, however much you feel different, however much you feel ...
I mean, life-wise, I've lost two very important people.
Two people who were extremely close to me, extremely impacted my career, so that definitely
had a life toll on me.
Currently, now, I am a dad.
I had my first seed, so ...
Congratulations.
Thank you, that definitely changed a lot for me, and you know, I'm older now, I'm wiser,
I'm much smarter.
I look back, in hindsight, all the time to those '1999' days, and just being young
and inexperienced, and seeing a lot of things for the first time, and probably not going
about things the way I should have, but learning.
So, I'm just glad that I could be at this point, now, where it's like, I've started
early.
So, to still be here at 23 and still feel like I have a whole nother 15 years to go,
like, that's probably the greatest change, the best change, to still be young in the
game six years later.
Like, in four years, I'll hit my ten year mark, and I'll only be 27.
Jay-Z, we always say this, Jay-Z didn't drop 'Reasonable Doubt' until he was 26.
Till he was 26, exactly.
I will be one year older than that, probably on my fifth project, and still going.
I'm just blessed, man, I'm just thankful for where I'm at.
Grateful that I could provide for my family, and for my loved ones.
And, yeah, I think the greatest change is just going from a boy to a man.
Did you ever think that, too, in '1999,' you also, at 17 years old, was rapping about
having children, and the wife and kids, and starting a family of your own, and that's
already starting.
You really did manifest so much of those lyrics on that album.
Yeah, it really is crazy, man.
Alright, man.
Yo, last couple things before we get outta here, man, the show's called For the Record;
I wanted to throw some rapid fire questions out at you, and the first thing that comes
to your mind, you say what it is, alright?
What's your favorite '1999' record?
Your favorite record off the '1999' mixtape?
I've got a couple.
Can I say a couple?
"Pennyroyal," just because that was so, at the time ... It just captured my emotions.
I was going through feeling heartbreak for the first time, or being in love for the first
time, and just giving it this dark, twisted spin.
I always, super revered that record.
Once I made it, I was like, aw man, this is one of my favorite records I've ever made,
so "Pennyroyal" for sure.
I love "Funky Ho's."
Just because like, I don't know, how playful I got with it?
It's funny, because that was one of the last records I made for '1999,' because I was
at this point where I was looking at all the records I had, and I was like, I ain't even
really got nothin' that's like, playful, or maybe you wanna, you could play it at a party
or some shit, so I just made that, boom, and I loved the way that turned out.
And then, I gotta say "Daily Routine," that was the first song that I didn't use
a pen to write.
Wow, you freestyled that, kinda made it up on the edge?
Yeah, just, like, boom.
And I loved that song, just the message I'm talking about in it, and ... Yeah, that's
it, I- the whole goddamn thing.
The whole tape.
Alright, what was the hardest '1999' record to write?
That's a good question.
Let me just think real quick.
Oh, damn, fuck it, we off that question.
I was gonna say "Snakes" is also probably one of my favorites, but the hardest one to
write was probably the intro, because it came last.
It came dead last.
Like, I had the whole project, and I had no intro, and I was like alright, how am I gonna
start this thing?
And I literally just took a walk down my block, East 34th Street, and they had this, I went
inside this school yard, and I'm just chillin' there, I'm in the little jungle gym, like
deadass by myself, and I'm just like coming up with this verse in my head, acapella, and
I was like, "How am I gonna start this?
What is the first thing I want people to hear from me or get from this project, as soon
as they put it on?"
And there was, "It's been a minute since they seen a style with no gimmicks," soon as I
came up with that I was like, that's it right there, because that's exactly what this is.
Everything at that time, was coming out, it had a gimmick, it was this, it was that, I
was like no, this is just what it is.
And then, boom, I had eight bars.
I went to my man Chuck crib, and he played, literally the first beat he played, I was
like boom, that's the intro.
And then I just finished it, right there.
Shout out Chuck Strangers.
Shout out Chuck.
Let's do this last one.
Who had the best verse on the '1999' record "Suspect?"
I'd say it's between me and Steez.
I mean, I'd say Steez, of course, but I don't wanna downplay my verse, because to me, at
that point, I was like this one of my best verses, too, like, "God made three Big's,
two Pac's, but he only made one error," I was like yeah, this shit is ... definitely
between, I'd say Steez, my vote is Steez.
But, I know it's between those two.
Did it get competitive between y'all?
All the time.
All the Pro's are on "Suspect?"
Yeah we all wrote that at the same time, together, we just had this ... It was one of our first
big studio sessions, we all got there, let the beat loop for hours, we all sat there
around the room, and just wrote our verses.
But yeah, that's what made it so fun, and that's what made it so good, because we was
constantly pushing each other, especially me, Steez, and CJ.
Like, at that time, we were literally coming to school each day ready to tear each other's
heads off.
You know what I'm saying?
Like, Steez would come through, boom, kill us one day, so we like, alright, next day,
like yo, we gotta get this nigga, you know what I'm saying?
We gotta come back with the firest verse, come back, boom, yeah, I won today, let's
go, like, keep it going, and on the tracks, it was the same thing, we always wanted to
...
It was friendly competition, more than anything, but we always wanted to push each other, or
be the best.
Still sharp as steel, like they say, right?
Mm-hmm.
And then, finally, man, again, the show is called 'For the Record,' so I want you
to finish this sentence, it will allow you to say anything you wanna say, you can set
the record straight-
I like the way your shirt matched with the cards.
You know, we did that, genius, what up?
So, just finish this sentence for me, man, you can tell the world anything you want,
"For the record ..."
For the record, lot of new music on the way, lot of new announcements coming up, so stay
tuned, for the record.
Alright, Joey, man, to have you on the guest here means everything.
To be here means everything, for sure.
And I'm so happy this record is out on stream, and I don't gotta fumble around on my phone
or look on my old hard drive to listen to it, so thank you for coming on the show, good
luck with everything, brother.
Thanks a lot, king.
Thank you, brother.
Much love.
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