"I remember being in the club and the vinyl was still popping then and you could play six or seven records off that album and send the club into a frenzy. "'What Up Gangsta,' 'Poor Lil Rich,' '21 Questions,' and of course 'In Da Club'." "P.I.M.P" was hard too, that was mean. 50 was in the zone. He was coming off hot mixtapes. That was kind of the first time an artist was riding and he brought his whole team with him.
"Usually an artist comes out, sells a little bit then brings out artists. He kind of had the artists next to him in the whole album. From the freestyles to mixtapes. I remember him, Yayo and Banks coming out and doing a freestyle on my show and they all kept yelling '50 could retire if he wanted to!'
"The freestyle was mean that night. That album was a combination of every part of the United States. He had Nate Dogg giving you that West Coast feel. 50 always had a little South in him to me. Queens was always represented. It was an amazing album. It was also a hard album for him to top, a hard album for a lot of people to top.
"'In Da Club' was so hard, man. I spoke to him or something and he eluded towards having a single and I didn't hear it but if you listen to that freestyle on my show, he does the hook to "In Da Club." He knew he had a smash. I remember in the club to tell a girl 'Go shawty, it's your birthday' was disrespectful. It wasn't cool, that wasn't nice. That was usually leading towards a woman being loose. The whole thing is we know it's not your birthday but we're saying it's your birthday just because you're on the dance floor acting silly. I thought that was funny and his verse was mean. That beat was so—that 'boom boom cha boom boom' was so crazy.
All those records I mentioned off his album still crank in the club. It's a different energy, it's a 10-year later classic type of remembrance to it.
"I never go into the booth saying I'm going to play a record on the radio for an hour straight. I'll play it and then they'll be people in the station and I just get a vibe. Like you know when a record is doing good, it's this feeling. It's all on gut feeling, I never go in there saying I'm going to play it a bunch of times. I just heard it and was like this is hard. Sometimes I hear something through a computer and then I hear it through the big speakers in the big DJ booth. Sometimes it's a better feeling, sometimes it's a worse feeling.
"That record in particular I was like, 'This is cranking!' There was no stopping it after that. I probably did that whole playing a record an hour straight on the radio with a Dre record, a Jay-Z record, and 50's record. I think Cam'ron had called a few days later like, 'I was riding the highway up to Harlem, had that record on and then when I was riding back down you still had the record on.' All those records I mentioned off his album still crank in the club. It's a different energy, it's a 10-year later classic type of remembrance to it.
"When it used to be big years ago, it was like hearing mixtape cuts in the club. It went from there to now—it's like a classic movement and people like those records. The album represented a special artist. He's been through a lot. He got shot nine or 10 times, labels weren't signing him, he got dropped from Sony. He had to regroup—come back with mixtapes. He appeared that he was still persecuted, he was being blocked, he was beefing with Ja Rule and Irv Gotti. So he was kind of in trouble and then those mixtapes man, making those mixtapes over, having those little beefs here and there-that album was reflecting the voice of the current crown holder of the street. This was like getting a dope polished mixtape from a guy that was holding the street crown so it was a big deal."