Buckwild: “That was originally meant for Foxy. Tone from Trackmasters picked the beat for Foxy, and Foxy heard it, then she said, ‘It’s the worst beat I heard in my life.’ But you can’t knock it because Foxy’s album is so dope and has so many hits on it. So fast forward to next year. Biggie does the song, Foxy comes in, she hears it, and goes, ‘Big, this got to be the best record on your album.’ And then I called Tone and said, ‘Yo, this the same beat I gave Foxy. I thought you said she didn’t like it.’ Tone was just like, ‘Man, don’t pay attention to her.’ [Laughs.]

“Big would call for beats. We would go to Brooklyn to get Big beats. Or he would say, ‘Yo, I’m going to send Cease here, drop off the beats to him.’ He did the foundation of the record before I came in, but he did the outro, and other layers when I was there. Big knows how he wants to sound, but he makes sure the producer’s also cool with it. He’ll be like, ‘Yo, let me know if you like the way it sounds. Because that’s your job.’

“I worked with Big on Tone’s album and I did couple other things with Big like commercials and several unreleased joints. Even working with him in the studio, I can say it’s easy because you’re communicating with an artist who isn’t acting like he knows everything. The people who were most humble and the easiest to work with, came out to be the best. And they were Biggie, Jay-Z, and Nas. Some of these dudes who thought they knew the most, ended up failing the most.”