DJ Clark Kent: “They made a remix to that song for the video, but the original version on the album [that I produced] is fire. Tim Dawg was my man, and he was signing them, and I was part of all that Uptown shit before it got big, so I knew everything that was happening. There were certain people that were involved that they just kept in the loop. Like, ‘Why was I on Mary J. Blige’s album talking?’ Because I was [one of the most popular DJs] at that point.
“Plus Andre Harrell is my man, and I was cool with everyone at the label, so when things were going down, they’d be like, ‘Let’s see what Clark thinks.’ So you get those calls. I guess the word ‘taste-maker’ was never around back then, but you were one of those trusted guys. Like, ‘He’ll tell us the truth.’
When things were going down, they’d be like, ‘Let’s see what Clark thinks.’ So you get those calls. I guess the word ‘taste-maker’ was never around back then, but you were one of those trusted guys. Like, ‘He’ll tell us the truth.’
“Back then, every A&R dude knew what every other A&R dude was doing. Why? Because you never knew if you would need their artist on something. A&R dudes were friends back then. Now they’re just clowns. They’re like rappers [Laughs.]
“That beat was made for them. They were cool, and once I like you, it’s not hard to make music for you. I went to the studio, and made like four joints for them, and they heard ‘Get Up,’ and they were like, ‘That shit’s crazy Clark, we’re gonna do that one!’
“Mr. Cheeks was an easy rapper to work with, because he’s not trying to be too lyrical, he’s just trying to have fun. If you notice, all his records sound like they were fun. Even the ‘Renee’ shit, which was a sad story, still sounded like it was fun.
“It was done fast. The illest shit was when Freaky Tah, Rest In Peace, went in that booth. The record went somewhere else. When he gets on it and gets behind it, it just [went to a different place]. His energy was crazy. He was like the human ad-lib.”