Buckwild: “I was under the Roc management before Just and Beanie. It was between The Blueprint and Vol. 3… Life and Times of S. Carter. It was during the time of The Truth and Bleek’s first album, Coming of Age. I remember during Beanie’s first album we cut like 12 records. A couple of them had the same samples that were on The Blueprint. I had the same Tom Brock sample that was used in ‘Girls, Girls, Girls.'
“I just remember a lot of dudes calling me and saying, ‘Yo, Jay-Z has a whole lot of records that sound like the beat tape you had.’ Long story short, I felt things weren’t working too well. I probably jumped ship too soon. But that was the end result. Out of all those records they picked ‘What A Thug About’ for The Truth. That was the first record Jay-Z was running around playing for everybody. That’s the one they felt really comfortable with. If I had those reels, I could probably put out a Beanie Sigel album that people will think is pretty dope.
“Beans in the studio consists a lot of blunt smoking and a lot of dope rhymes. Working with him is always smooth because he’s not one of those cats that are overly cocky. So it’s like boxing. The producer’s the coach. So what I say, he follows the rules and the guidelines. I think that’s how we always made good records. I think we worked well together in the studio.
“Even now, I approach him and say, ‘We should cut some records and put that spark back in the game.’ Not many people have that chemistry. He’s real and aggressive. So I think he needs to get back to doing him. When he did The Solution, I told him, ‘Yo, I’m not really feeling the R. Kelly thing. I think you need to get back and make a part two of The B.Coming.’ And they were like, ‘Nah, this is what Jay says to do…’”