DJ Premier: That’s just another dope record. Kris and I were working on some stuff, and he said, ‘I need a single from you.’ So he brought his thing, and I remember playing that intro with the thump. He already liked it when it just had the bells, but when I added that additional sound he just went, ‘Ohh, yo, this is going to be big.’ I definitely enjoyed that record. Kris is just bugged out, man. He’ll go, [imitates KRS-One’s voice] ‘Go to the car, and get me the black, blue, and green bags. And bring those here.’ They bring them in. ‘Great.’ He unzips these duffle bags full of stacks and stacks of rhyme notebooks. Rhymes he wrote in the ‘70s and ‘80s. He’ll go, ‘Umm, let’s see here, and that, and here, give me that yellow one, okay, and give me that brown one. Okay, let’s go lay the song.’ And he uses like three different rhymes, but they all sound relevant. And they sound like something he just wrote. He just skims through it, and murmurs then goes, ‘Okay, I got it.’ These are rhymes he been had, and they sound like today. That’s amazing.
“As far as production he’ll debate, and be like, ‘No, I think we need to add this and this and this.’ But he’ll let me fight him, because I know what I’m talking about as well, and he doesn’t get offended when I do that. That’s what tells me that he’s human, he’s real, and he’s not trying to run the show. And he’s a producer too. I watched him make ‘Mad Izm’ here. Kris was always in this room. If I wasn’t here, it was always KRS and our other engineer, Norty Cotto.”