“I’m On Everything” f/ Mike Epps

Produced by: Mr. Porter

Royce da 5’9”: “That was actually the first record we recorded, and it was going to be for my album. After we had been cool for a while and spent some time building the relationship back and I got this beat from Denaun [Porter]. What made me want him on there was that I’m such a fan of vintage Em, and I’m real Internet savvy.

“I pay a lot of attention to comments and shit like that, and I seen a lot of people asking for vintage Em. And I was trying to see if old Nickel could bring vintage Em out because I wanted him to actually rap about drugs. So once we talked about how serious we take his sobriety and shit like that, and I was just like, ‘He’ll figure out a way to pull it off.’ He always does.”

Eminem: “Yeah. I had trouble with that, too. It took me a second to think, ‘What the fuck do I want to rap about?’ I had to just step back from it, ‘cause when I first heard the record I was like, ‘Yeah, it’s dope. I like it.’ He played me his verse and the hook, and I was like, ‘The beat is crazy. His verse is crazy. But what the fuck do I rap about?’ I’m not on everything. I’m not on anything!

“So I had to think back like, ‘Wait a minute. What about when I was on something? Let me just go back to that state of mind.’ It’s a fun record too, and obviously not based on a real situation.”

Royce da 5’9”: “That’s when it got fun.”

Eminem: “Yeah. That was the first time we ever did it to that caliber, that much going back and forth. Then it got so fun that we were like, ‘Yo we should do it some more.’ So we did, and that’s pretty much how the EP happened.”

Mr. Porter: “I’m a stand-up comedy fan. A lot of times stand-up comedians say things that are so catchy. Mike Epps is a very off-the-cuff-type comedian, he doesn’t really have a script. That piece that was about how kids were on every drug possible caught my ear and I thought it was funny. I took it, chopped it up, made a beat around it, and I gave it to Royce.

“When Royce was doing Slaughterhouse, me and him reconnected. We always had respect for each other, but once we started working together, it was magic. I felt like we were onto something so we just kept doing songs. But we didn’t know what the fuck we were using them for.

Paul Rosenberg (Eminem's Manager, and President of Shady Records and CEO of Goliath Artists): “I’d say they started recording this stuff like the middle of October, November of last year. When they had three or four songs done and then they started playing them for me, we obviously said, ‘Well, what are we doing with this stuff, it sounds really good.’ They just said, ‘Well, let’s record more and maybe we’ll put something out.’

“So we had started the process we normally do where myself, Dart, and Riggs get beats sent to us and part of our job is to go through them and pick out the stuff that we like. So, we did that and sent some more stuff over to them and that’s where the Bangladesh, Havoc, and Supa Dups stuff comes from.

It did happen pretty quickly. If you think that they only started toying around in the studio last fall and for them to have a record out by June. I mean we decided to definitely pull the trigger on it in January and February. That’s not a lot of time. We said, ‘Hey let’s get it out for the summer and we still have to get the Slaughterhouse album done and the Yelawolf album done, and 50 is gonna put out his project so we gotta get this out of the way in the first half of the year.’”

Mr. Porter: “Before Slaughterhouse, before Em and Royce even reconnected—our initial idea was, ‘We should get Em on this and it would be crazy.’ But with Em being sober, it was like, how could he approach it? I played it for Em and he was like, ‘Yo, let me sit with this for a minute, I don’t know how I’m going to get back in this space.’

“But Em being the genius that he is, he just jumped back into that character. It was just a lot of trash-talking and jokey fun. It was that Slim Shady thing and I feel like even Royce’s approach was crazy and zany. It’s an emcee thing—we know what you’re going through personally, but sometimes you’re just having fun.

“When I first heard ‘I’m On Everything,’ I was like, ‘Listen, this is rap overload.’ You’ve got to listen to that shit five or six times to get it. The respect level for each other as artists is the kind of respect you want to have when you’re doing a project like this. One person is like, ‘You’re doing that? Well watch this’ or ‘If you’re doing that style then watch this one.’

“I’m pretty sure Em will tell you this himself, if he’s writing a verse, I’m pretty sure he’s thinking like, ‘I bet you this motherfucker’s going to say some crazy shit, so I need to say some even crazier shit.’ The way that they feed off each other is really remarkable. I’m really interested to see how many people pick up on that and and start doing that.”