Buckwild: “My favorite cut off that album was ‘O-Zone.’ I first linked up with O.C. on The Source tour through Finesse. O.C. was on ‘Fudge Pudge’ by Organized Konfusion. So I ended up doing all of O.C.’s demos. Some of the songs on Word…Life were actually his demos. I was kind of like the guinea pig.
“O.C. liked the beats I had and we got with Serch, who I think was managing O.C. at the time. MC Serch had both Nas and O.C. at the same time. Serch heard the songs and he thought they were really dope.
“We were doing a lot of things people weren’t really doing. At the time, everyone was straight jazzy. The only jazzy record we had on that album was ‘Word…Life.’ Everything else was hard, chopped up, and grungy. Q-Tip was jazzy, Primo was jazzy, even Pete Rock was jazzy. We did something different because we didn’t really have the money to buy these expensive records, so we just used what we had that were bits and pieces.
“Taking the sample, chopping it up, adding the horns, and playing it out and experimenting with SP-1200. I think O.C.’s album opened up a whole other way for a lot of dudes to do beats if you look at that time.
“Even with that album it was exhausting. O.C. and I would be in the studio and we would fight over things. I would be like, ‘Yo, you need to do this.’ And he would say, ‘Nah, I don’t like that beat. That’s wack.’ We cut so many records it wasn’t funny. If I had all the reels.
“For instance, the Faith Evans record ‘I Love You’ was actually an O.C. beat. It was a beat we had some time between Word…Life and Jewelz. I used to tell him how dope the record is, and he'd be like, ‘This shit is wack.’ He broke the DATs, and said, ‘I don’t want to hear that record no more.’ This is how our sessions would be. That’s why I liked working with him. I brought the best out of him, and he brought the best out of me. We would sit there and argue.”