Mystikal Breaks Down His 25 Most Essential Songs

The New Orleans rap legend talks about the making of his biggest hits.

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If an explosion could be condensed into human form and taught to rap, that rapper would be Mystikal. The New Orleanian rap legend's manic, scatter-shot flow took him from local hero to the de facto general of the No Limit Soldiers at the height of their success and propelled him towards genuine pop star status by the turn of the century.

In 2004, his career was abruptly derailed by a six-year prison stay stemming from extortion and sexual assault charges, but he returned to the world and the rap game last year. A seemingly changed man, but no less of a ferocious rapper, he's since inked a deal with hometown hit makers (and his one time rivals) Cash Money.

With today being Fat Tuesday aka Mardi Gras, we got Mystikal to tell the stories behind some of his biggest hits, telling tales of how he opened for Run DMC, beefed with an entire rap sub-genre, and almost slept through No Limit's most memorable posse cut.

Written by Andrew Nosnitsky (@noz)

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Mystikal "Y'all Ain't Ready Yet" (1994)

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Album: Mystikal
Label: Big Boy Records
Producer: Leroy "Precise" Edwards, Charles "Big Boy Temple, Robert Shaw

Mystikal: “That was a turning point. It was a pivotal moment in my career and in life. I had just went through tragedy—I had just lost my sister. So I had two options, I could either fold up and get in the corner or I could stand up and represent, do it like I knew she would've wanted me to do it. I chose the latter.

“That was the song that I was doing that I didn't want them to say 'Ah, it's okay.' I wanted them to either love it or hate it, nothing in-between. And for the most part they loved it.


 

I had an opportunity to open up for Run-DMC and Doug E. Fresh when they came to New Orleans. Big Boy Records producer Leroy 'Precise' was in the audience and he saw my performance and the rest is history.


 

“[Before that] I was just leaving the talent show level, the demo level, trying to get heard and I had an opportunity to open up for Run-DMC and Doug E. Fresh when they came to New Orleans. Big Boy Records producer Leroy 'Precise' was in the audience and he saw my performance and the rest is history.

“That was my first record with Big Boy Records. We had put out a little excerpt cassette in '93 along with a single and we did it from there, put the album out in '94 and went national in '95.

“That's how I got my national attention, from all the local success. I think I sold like upwards of 100,000 copies locally so the major labels were checking for me at that time. 'Y'All Ain't Ready' was the song that really catapulted me to that next level, that's the song that inked my deal with Jive.”

Mystikal "Never Gonna Bounce (The Dream)" (1995)

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Album: Mind Of Mystikal
Label: Jive/BMG
Producer: Charles "Big Boy" Temple, Leroy "Precise" Edwards

Mystikal: “Lawd have mercy, that was my personal fight against Bounce music. It was a stiff competition. In New Orleans, Bounce music was prevalent. That was all they wanted to hear. It was new and trendy and it was hot and it was taking off. Artists were coming out of everywhere. They did some great songs, some really catchy, fun songs. That was just the feel of New Orleans music.

“So here I come trying to bust lyrics. 'Nigga, what you tryna spit—knowledge!? Aww shit!' I had to really compete with that market. [There] wasn't even a market for the kind of rap that I was doing but I managed to slice through that shit like a hot butter knife through butter. Believe dat.


 

I wanted to be able to compete with the Jay-Zs. The best bounce rapper ain't gonna be able to compete with Jay-Z, not on a major scale. Now, in New Orleans, Bounce rappers were killing Jay-Z!


 

“Then I made a song saying 'Never Gonna Bounce' and it actually was a fucking Bounce song. How you luh dat? It was not a mockery; it was just like, 'Yeah motherfucker, I win.' Performing in front of a Bounce crowd, the people didn't want to hear you rapping. They wanted some [sings] 'Shake that ass and…' some kinda of repetitious shit.

“[Bounce] had a major influence on me. I just viewed it as New Orleans music needing to be known for something more than that. That's fine; that's ours. That's our own music. That's a brand new style of music. It originated here where I'm from, so I'm definitely proud of that fact.

“But having said that, I wanted to be able to compete with the Jay-Zs. The best bounce rapper ain't gonna be able to compete with Jay-Z, not on a major scale. Now, in New Orleans, Bounce rappers were killing Jay-Z! Shit, DJ Jubilee and Partners N Crime were outselling any national motherfucker no matter who it was.”

Mystikal f/ Precise "Beware" (1995)

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Album: Mind Of Mystikal
Label: Jive/BMG
Producer: Charles "Big Boy" Temple, Leroy "Precise" Edwards

Mystikal: “That was my battle song, since I was a battle rapper at that time. It was a rebuttal to [early Cash Money artists UNLV's diss] 'Drag 'Em From The River,' which was a fucking street anthem. That bitch was jamming and I know because I used to play that motherfucker! I used to jam it all the time and sing my own part too, [Sings] 'Mystikal… you a hoe.' That stuff was jamming that hard!

“I started that [battle]. They were Bounce rappers and I started this feud against them. 'Real rapper against Bounce what the hell y'all want? Vote for me!' That was my campaign. And in one my lines I said, 'Three things I'mma do/One—never gonna change my style /Never gon' Bounce, never gon' bow,' and that was their song 'Do The Eddie Bow.' So they took that as disrespect, as well they should have.”

Mystikal "Here I Go" (1995)

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Album: Mind Of Mystikal
Label: Jive/BMG
Producer: Charles "Big Boy" Temple, Leroy "Precise" Edwards

Mystikal: “That was my revenge rap. That was my song to show the rap industry that I had arrived for real. Prior to that [with] 'Y'all Ain't Ready Yet,' actually a lot of people wasn't ready yet for it because it was kinda out there at that time. It was like, ahead of its time. A lot of people couldn't get it.

“For one, they couldn't understand what the hell I was saying. And two, it just was different. Especially in New York, where they were biased to Southern rappers, [they thought] we looked like country bumpkins and all that shit.

“'Here I Go' was my statement to the nation, saying 'You're a fucking liar.' I'm country, you might be right about that, but I am an artist, motherfucker. I came from hip-hop. Believe that. We had to show 'em. Yeah it originated [in New York], y'all definitely get your props for that and y'all definitely influenced us, but once it's in your heart it's in your heart.”

Goodie Mob f/ Mystikal "Dirty South (Remix)" (1996)

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Album: N/A
Label: LaFace Records
Producer: Organized Noize, DJ Swift C

Mystikal: “[Whistles] I got the call that they were interested in featuring me on the remix. Excited wasn't the word! I got a chance to fly down [to Atlanta] and we went to Stank-fucking-onia, I was there. I was in their lab where they cook their funk at. Goodness.

“That "Dirty South" remix, Goodie Mob featuring Mystikal. That fucking track, man! Goodness! Fuck that bitch was so mean, and nobody ever really heard it. It was just a radio promo. It had a little lifetime, a little run and that was it. It was in the archives. But that bullshit was hard. Tell 'em go find that online!”

RBL Posse f/ Big Lurch & Mystikal "How We Comin" (1997)

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Album: An Eye For An Eye
Label: Big Beat Records/Atlantic
Producer: Rick Rock, Mike Caren

Mystikal: “That was magical also! In light of all of the events that followed. [Ed. note—Lurch is currently serving a life sentence for murdering a woman and eating parts of her body while under the influence of PCP.] Prior to all of that craziness that happened, goodness! You know the potential that man had!

“If you asking me about it, I know you felt it. That shit had legs man; it really did. I was in the process of signing with No Limit Records. We had been doing a lot of stuff in California and out in L.A. I actually did the video when I was out there with Master P and them. So that's how that click clacked.”

Mystikal f/ Silkk The Shocker "Ain't No Limit" (1997)

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Album: Unpredictable
Label: No Limit Records/Jive
Producer: KLC

Mystikal: “That was exactly what 'Original' is for me at this juncture, the exact same time frame. When I signed with No Limit, that was the first song that I did that was gonna be for one of my records. The very first thing I did was a song for the Bout Itsoundtrack. That's how the conversation of me joining forces with them even came about.


 

You had to keep up [with No Limit's production schedule]. You f*ck around and blink your eyes you gonna miss three albums.


 

“I'm sure P had it in his mind the whole time when he was bringing me down there, but after I came out the recording booth he knew he wasn't gonna let me leave! So that's how that went and Hallelujah—thank God for that. That was like another reinvention.

“You had to keep up [with No Limit's production schedule]. You fuck around and blink your eyes you gonna miss three albums. 'Yeah we just put them out…' 'What the fuck? Come on man, goddamn!' He had a true pace, he was truly, truly driven.

“Talk about multitasking, I don't even know if they was using that term back then, but he was hauling ass. That shit was inspiring. That shit was like being with the president of the United States. He was making moves."

Mystikal "Murder 2" (1997)

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Album: Unpredictable
Label: No Limit Records/Jive
Producer: Rick Rock

Mystikal: “Whew, yes. That wasn't a record that was a release. That was me venting to a beat [confronting the man who murdered my sister] and it just so happened to rhyme. That was pure pain. It was anger.


 

Any time the Devil come around me I make sure he have on a thong and a bra and he get the f*ck from around me. He be uncomfortable around me so we ain't got no problem.

"It had some evil elements in it but for the most part God was watching me and he understood that was me putting on a costume and going out there retarded, taking it out on my music and keeping it moving.

“No matter what I would've done it wasn't gonna bring her back. I'm sure a lot of people that experience similar situations know that those are just thoughts in your head. Think what you want to, what you do is make it real.

“I [usually] keep that out. Any time the Devil come around me I make sure he have on a thong and a bra and he get the fuck from around me. He be uncomfortable around me so we ain't got no problem around here. Dark can't exist with the light. Ain't nothing dark about God."

Master P f/ Fiend, Mia X, Silkk The Shocker & Mystikal "Make Em Say Uhh!" (1998)

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Album: Ghetto D
Label: No Limit Records
Producer: KLC

Mystikal: “[Whistles] That was like jumping in a fucking tank. We didn't have the manual, we was just driving that bitch and couldn't stop it. No matter where we went. Through walls, water, fire. Goodness!”

”A funny story about that song: I almost missed it. I was so excited about doing it that when it was time for me to write it I left the studio. I said, 'Wait, I gotta go write at home. Because when they started playing the beat I was like a puppet, I couldn't control myself. I was jumping around and shit. I said "I can't let 'em see me like this, I gotta go let this all out and I'mma do this at home and I'mma come back and fuck everything up.' Believe that.

“So in the process of writing it, I went a little too hard, I gave it too much. Because I was actually performing that bitch. After I wrote it I performed it about 10 times like we was in concert. Nobody had never even heard my fucking verse yet. So what I did, I wore myself out and I wound up fucking falling asleep!


 

That was like jumping in a tank. We didn't have the manual, we was just driving that bitch and couldn't stop it. No matter where we went. Through walls, water, fire. Goodness!


 

“I woke up a couple hours later, I was like, 'Lawd.' So I rushed to the studio and Craig B was in there at the time. I said, 'Craig B I'm ready to drop my verse!' He's looking at me with a shit eating grin talking about, 'The song's closed, it's finished brother, we closed that one one. You can jump on another one.' I was like, 'Shiiit I gotta get on that one man.'

”Don't you worry, I went and knocked on that old office door. [Thump thump thump] 'Unnghh' 'Master P! Shit I just wanna get on that song!' That's all I needed, permission. Once he [gave] me that, ain't nothing was gonna stop me then.

“And lo and behold, everybody seen what I brought to that motherfucker. That's what I felt about that beat as soon as it came on—I had my words. I knew what I was gonna say on that bitch. The beat was saying it already for me.

“Hell yeah [there was competition among the No Limit rappers]. There better would've been. In any situation, in any facet of life there is going to be some sort of competition for something. In the jungle them motherfuckers competing for live.

“So we doing that out here too, it's no different on a record label. And that's the situation where any motherfucker is gonna rise to the occasion. That's the ideal situation, I always respond better to those situations.”

Soulja Slim f/ Tre-Nitty & Mystikal "Get High Wit Me" (1998)

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Album: Give It 2 'Em Raw
Label: No Limit Records
Producer: Carlos Stephens

Mystikal: “Goodness, Jesus, lawd. Um. Man [Slim] was something special, bro. He was a great talent, had great passion. That's what makes an artist special, the passion that he has. It was real to him. That's what hip-hop is. That's what they mean when they say "hip-hop's a way of life." He definitely walked it and lived it to the fullest. That boy was a gangsta in all of his splendor.

“That particular song there, that was our first No Limit song [together]. At that point we were in the process of getting not only our careers but our fucking lives saved. He was taking it up to a level and getting an opportunity that probably would've never happened [otherwise].


 

Soulja Slim definitely walked it and lived it to the fullest. That boy was a gangsta in all of his splendor.


 

“So me and Soulja were in the studio that day. This wasn't no "mail me this, mail me that" one. Matter of fact, I can remember when I did the verse, I only did 12 bars. I had too much going on [to do 16], I probably had a date lined up or something. Something was going on, I was trying to get up out of there quick.

“Even though I liked him, I was preoccupied at that time. That was one where I gave my all… but I could've gave it more. He was like, 'Man finish my verse!' I was like, 'I got you man! They gonna love it like that!' He was like, 'Yeah, alright nigga…' That was just a real dude man.

“Me and Slim were labelmates before No Limit. We were labelmates on Parkway Pumpin' records, which was a local label started by KLC and MC Dart. [Whistles] Back in those days… I was in the military at that time, we talking like '91 or '92. I worked a year out of high school and then [went] to the army.


 

As soon as I leave to go to the Army, the dude that I learned how to make a demo with—how to record and do backup vocals and ad-libs and all the technical things—they started making records. So that definitely f*cked my Army career up. I lost focus.


 

“As soon as I leave to go to the army, the dude that I learned how to make a demo with—how to record and do backup vocals and ad-libs and all the technical things—they started making records. Shit. So that definitely fucked my army career up. I lost focus. I didn't give a fuck, I just wanted to come home. Put me out. And that's exactly what they did. 'Get your ass out.'

“So we put out demos [with Parkway Pumpin']. We didn't have the funds to press [records]. They had to put their shit out first, kinda further down the line. They were still trying to get their shit off the ground so that's when Big Boy came in.

“Big Boy was a bit more established and it was a better opportunity. And when I went and did that I ended up signing with Big Boy and KL [went] to be the head producer at No Limit with Beats By The Pound. Man that was some days man, that was some fantastic days.”

Young Bleed f/ Master P & Mystikal "Bring The Noise" (1998)

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Album: All I Have In The World Are...My Balls And My Word
Label: Priority
Producer: Pimp C

Mystikal: “I recorded that with Pimp C at his studio in Texas because he was the producer of that one. Young Bleed already had his part so he was just waiting for me to do my part and that's how that worked out. Man, you done just went back to back with two soldiers like that. Two of the latest, greatest.

“As far as I'm concerned and coming from where I'm from, working with Pimp C—man… You always know when you're around somebody special and when you're around somebody that mean what they say and you can see their heart coming from up under their shirt. That's how it always was with Pimp C. He always had so much passion in whatever it was he was doing.”

Silkk The Shocker f/ Mystikal "It Ain't My Fault" (1998)

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Album: Charge It 2 Da Game
Label: No Limit Records/Priority
Producer: Craig B.

Mystikal: “'Ain't My Fault' was one of the records that really broke No Limit from the Bayou. Because y'all at first were like 'they some ol' country motherfuckers' and I'm sure— because I used to look at us like that my motherfucking self. So when that fucker hit New York [beatboxes bassline] scratching through that one in the mix, it was a wrap. That was all she wrote.

“I knew it was a good song, but if I'd have had my choice, I probably wouldn't have ever picked that to be no single. But if it was up to me I would've never picked 'Shake Ya Ass' as a single either.

“'I ain't that kinda rapper!! I'm not doing it!' So good thing I wasn't calling all the fucking shots. I just thought it was a fun song. I knew that bitch was jamming but I ain't know that it was gonna resonate like that. That bitch was heavy. It was nothing less than a fucking hit.”

Mystikal "That's The Nigga" (1999)

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Album: Ghetto Fabulous
Label: No Limit Records/Jive
Producer: Craig B., Master P

Mystikal: "That's that bastard! That was my, I told y'all I was retarded, I told y'all stop playing with me [song]. Believe that. If I told you a motherfucking grasshopper could pull a truck well hook that little bitch up and lets go.

“That was just foolishness, foolishness in a crafty manner. I was having fun with words. [I learned from] Slick Rick and LL. The greatest story teller and the fucking prince of all rap. And then a little further, gangsta music—the NWA's, Scarface, Geto Boys. It would've been too hard to pick one. So I just became a mixture.


 

I remember during my 'Shake Ya Ass' run, I was in New York and Kool Moe Dee was by a limo. I was so honored to be in that nigga's presence.


 

“I put all the ones I love in. I'm talking about Kool Moe Dee. Even though that was my fucking LL that boy was beefing with! Shit, me and Kool Moe Dee had problems for a second! He didn't know me; I wasn't nobody—but we had problems.

“I remember during my 'Shake Ya Ass' run, I was in New York on some radio or whatever and I went out and Kool Moe Dee was by a limo. Maaan. I was already late for an engagement but, man, this motherfucker. I was so honored to be in that nigga's presence. It was so hard for us to separate.

“It was like The Color Purple. 'We shall never part.' We was doing a little handclap. They was like 'C'mon Mystikal you gotta go!' and I was like 'Fuck all that, that's Kool Moe Dee! Tell me mo', Kool Moe!' Fuck, I was receiving church. I almost tithed to that motherfucker man! I'm that much of a fan. I'm a student as well as a fan of the game and I always will be no matter however long I'm doing it.”

Mystikal "I Smell Smoke" (1999)

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Album: Ghetto Fabulous
Label: No Limit Records/Jive
Producer: O'Dell

Mystikal: “First of all I want to apologize to all of the parents in America. [Laughs.] Listen, I just want them parents and preachers and everybody that's anti-drug uh...was it Nancy Reagan that was the queen of Just Say No and all that shit? I'm sorry, I'm sorry, I'm sorry.


 

Do you know how many motherf*ckers come up to me like, ‘Maan I smoked to that and I got in trouble behind it!’ ‘I'm sorry, bro. That wasn't my intention.’


 

“Do you know how many motherfuckers come up to me like, 'Maan I smoked to that and I got in trouble behind it!' 'I'm sorry, bro. That wasn't my intention.' I just was having fucking fun and that's why we gotta be mindful.

“I caught myself trying to be responsible so that's why I only did one verse. I said, 'I'm not gonna dedicate a whole song [to weed], it'll only be the interlude. I can't be supporting weed like this.' I was conscious of that when I was doing it, but I was definitely smoking too when I was doing it. So I wasn't feeling too bad about it.

“I had to pay homage to it. The potheads they already know how that shit was. Or you know, how it is. I gotta say 'was' because I can't smoke no more [now that I'm out on probation]. Matter of fact that's the name of the new one, 'Can't Smoke No' Mo'.' It's funny how the ball bounce sometime.”

Snoop Dogg f/ Mystikal & Fiend "Woof" (1999)

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Album: Da Game Is To Be Sold, Not To Be Told
Label: No Limit Records/Priority
Producer: Craig B., Master P

Mystikal: “Lawd have mercy. It's like we were on a team and we got Kobe Bryant. We got an icon man, we got fucking Snoop Dogg. Everybody on the label was fans of Snoop. He was a huge addition, and coming from where he was coming from at the time it was a big deal for him too.

“Every party got so much outta it. We welcomed him with open arms and respect. Salute, soldier. And we afforded him everything a gangsta like him was supposed be afforded. Believe that. And from our city, not just from us.”

504 Boyz "Wobble Wobble" (1999)

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Album: Goodfellas
Label: No Limit Records/Priority
Producer: Carlos Stephens

Mystikal: “I wasn't there for that. I really wasn't around. They scotch-taped pieces and bits of all kind of other kinds. But I promise y'all I would've did a verse if I had to do that but I guess time was pressing. Like I told you [Master P] worked at a goddamn warp-speed world-class pace. He didn't have time for all that shit.

“I can hear him now being like, 'I don't care if we got Mystikal or not, you better put something together! You know them niggas ain't tripping on that shit. They just wanna hear that nigga holler anyway.' And that's how that bitch came out too.


 

I can hear Master P now being like, ‘I don't care if we got Mystikal or not, you better put something together! You know them niggas ain't tripping on that shit. They just wanna hear that nigga holler anyway.’


 

“[Makes hollering noises] Dumbasses would really be trying to sing it and trying to ask me what the fuck I'm saying. 'I don't know! Shit I ain't do it!' 'Well who is that?' 'It's me.' 'Well, how you…?' I ain't really wanna expose it like that but whew, that was a funny one there.

“I had recorded some songs for [the 504 Boyz album] but we had parted ways prior to them doing it. Remember when y'all first heard about 504 Boyz I promoted that on Ghetto Fabulous or something and it was originally gonna be me and Master P. And then he added Silkk, because at that time that nigga was a fuckin' young heart-throb. He was on some other shit.

“It would've been an all-star cast, but it never happened. It was supposed to be a backup plan if we was gonna wait to put the album out because of legal issues. So that's why it was kinda pushed to the side. I got to get all my albums over there.


 

[Leaving No Limit] wasn't my call. That was a call that came from up top. Jive stepped in because I was with them at first


 

“[Leaving No Limit] wasn't my call. That was a call that came from up top. Jive stepped in because I was with them at first. They felt that everybody done what they had needed to do and we could take it from there. And it was love, like, 'Thank you, I appreciate it.' They were looking at the success and they'd seen that I was way bigger than I was.

“Then 'Shake Ya Ass' came... so. It was a proud moment for all of us, but it was bittersweet because I truly was recording that album in my heart to take No Limit back to where it was supposed to be at.

“We didn't fall, but we didn't have no number ones at the moment, so it was time for another number one. And that's what the fuck I was recording that for—but it wasn't in the cards. I was a little sore about that. We balled our fists up and swung everything we had at the world.”

Mystikal f/ Outkast "Neck Uv Da Woods" (1999)

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Album: Let's Get Ready
Label: Jive
Producer: Earthtone III

Mystikal: “That was a real big payday, that's one thing I remember. I got paid like… shit… 75 stacks for that one personally! What the fuck!? When [my A&R] brought me the check, she was saying the same thing. 'I need to be a rapper! What the fuck?' I looked at that shit and thought it said seven thousand and five hundred. No, it's $75,000! That was awesome.

“And you heard the drums on that shit? That was that eclectic shit. And I did it in Stankonia. It couldn't have come out no other way. [OutKast] were nothing but creative. Just like me. Everybody was coming from the fucking heart with this shit, they ain't just trying to make no money. This shit meant something.

“It's always a good vibe to be around dudes like that. Just to be around real artists. That's that gangsta shit right there. Shit be magic. It got similar to what the fuck Michael Jackson and Quincy Jones be going through from time to time when they're making those fucking songs—bless his soul.”

Mystikal f/ Pharrell "Shake Ya Ass" (2000)

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Album: Let's Get Ready
Label: Jive
Producer: The Neptunes

Mystikal: “Life-changing—another reinvention. I guess I reinvented myself about 18 times throughout my career. At that time I was transitioning from the O-Dog braids to the braids to the back. And with me I mean to the backbecause them bitches was behind my ears. That's why I always rock a doo-rag, ya heard me?

“In fact, after I was really rich I took that bitch off because I didn't give a fuck. I ain't hiding this bitch no more. So at that time I was just reinventing again. Fashion was turning the curb, Fubu and all that shit was popping off. That was a golden era.


 

I didn't feel like that was the kind of artist I was. I felt like I was more hardcore. I didn't want to be a shake-ya-booty kind of rapper. They'd be like, Aw you just trying to be like Juvenile with 'Back That Ass Up.'


 

“[Working with the Neptunes] was like being around fucking mad scientists. Too creative. [Pharrell] is one of the most creative brothers I've ever stood around. That shit was dope—it fit. That [sings] 'Attention all you players and pimps…' that was all his handiwork. He wrote that hook, bridge. I would've never came up with nothing like that. I would've just been hollering shit.

“It was really fun putting that bitch together. That was one of the first beats he played for me. After I heard that I don't remember anything else that he played. I was just waiting for him to go through whatever he wanted to play and say, 'Please go back to that other one, please brother.'

“I was well pleased with how it came out, but I didn't think it would properly represent what I was like. It's a hit-or-miss game. If it would've been up to me, I wouldn't have released it as a single, thinking about my fans, and it would've been looked at as a sell-out. 'Aww he went and crossed over, he all about the money now, he don't give a fuck about the fans.'


 

It almost was me paying homage to Bounce again, too. That ‘Show me what you working with’ is Bounce language.


 

“I didn't feel like that was the kind of artist I was. I felt like I was more hardcore. I didn't want to be a shake-ya-booty kind of rapper. They'd be like, Aw you just trying to be like Juvenile with 'Back That Ass Up.' I wanted to stay in my own lane but that's how that bitch came out though, from that beat. And it almost was me paying homage to Bounce again, too. That 'Show me what you working with' is Bounce language.

“But that motherfucker was so undeniable, I had to sit my ass down and say, 'Alright, y'all put it out.' Matter of fact, at that time I was trying to push 'Throw It Off' to be my single and it wound up not even making the first cut of my album. It got on after the first 750,000 copies were pressed.

“I was pushing for that and I used to throw it in the concert and people were 'Yeah, that's good…' And I'd be like 'Well check this one out,' and do 'Shake Ya Ass' and it'd be pandemonium. It's not all the time that a song come on that make you forget about who owe you money or who you owe money to or what the fuck you was complaining about. It just totally captivates you, makes you smile, shake your head, and feel better. So that was one of them ones right there. That shit was special.”

Mystikal f/ Nivea "Danger (Been So Long)" (2000)

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Album: Let's Get Ready
Label: Jive
Producer: The Neptunes

Mystikal: “That's one of those songs I almost passed up because Pharrell was kind of expensive at that time and I was trying to spare my budget a little bit. When he came through with that one I was like, 'Damn!' I knew that was gonna be expensive.

“I told my A&R to cancel the studio and all that, [but] after I did all that I had the CD in the room and I pressed play on that CD player and it came on, I called her ass right back and said, 'Alright, alright, I'mma do it!' And I'm so glad I did because y'all seen the outcome.

“[I loved] everything about it, from the way it started off to putting Nivea on it. I think that sealed the deal on that right there, having Nivea's vocals on that damn thing. She was newly signed to the label so we were kinda blowing up together.”

Ludacris f/ Mystikal, I-20 "Move Bitch" (2001)

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Album: Word Of Mouf
Label: Disturbing Tha Peace/Def Jam
Producer: KLC

Mystikal: “I did that one on tour. I pulled the tour bus over, went in the studio, smashed it and continued to wreck cities. That's how that one came about. 'Move' was originally my beat. I had first dibs on that because KL did that beat and that was my home team. That's the guy that does meat and potatoes for my albums; they do my core stuff. So I don't know how I missed it.

“But once he submitted it to Luda and Luda jumped on and put that hook on it… aww yeah. It didn't sound like the same beat. I was super excited to be on that song. You couldn't tell? Shit. At that time Ludacris and Ja Rule and guys like that—we couldn't miss each other. I don't give a fuck if I went to London. 'Damn, Ja. You over here too?' [Sings in Ja Rule voice] 'My baby…'"

5. Joe f/ Mystikal "Stutter (Remix)" (2001)

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Album: My Name Is Joe
Label: Jive
Producer: Roy "Royalty" Hamilton, Teddy Riley

Mystikal: “That was another one that I didn't get a chance to record with the artist on the collaboration tip, but it wasn't nothing missing because the song was doing everything I needed it to do. I put that energetic verse on that sucker. Matter of fact, that song, that motherfucker took me to Jay Leno, so I appreciate it Joe, ya heard me?! [Sings] 'Stutter… stutter.'

“I was just having fun with that one and it wasn't my song—but that definitely don't mean I went less in on that motherfucker. But I really didn't know [it was going to be such a big hit]. I knew it was different from the songs I would've did. You'd have never heard a song like that on my album at that time. But I bet you you'll hear one like that now after that kind of success.”

Lil Jon & The Eastside Boyz f/ Mystikal & Krayzie Bone "I Don't Give A Fuck" (2001)

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Album: Kings Of Crunk
Label: TVT
Producer: Lil Jon

Mystikal: “Awesome, awesome. The video depicted everything that song was. That shit was just a clubbing song, a party song. That shit was fun, for real. And that shit was when Jon was just taking off, starting his crunk era. Jon was making noise, especially in the South. Matter of fact, he had Chyna White, a New Orleans home girl. That's one of our native New Orleans female artists. Just crunk—he found his fucking niche and hauled ass with it.”

Mystikal "Bouncin' Back (Bumpin' Me Against The Wall)" (2001)

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Album: Tarantula
Label: Jive
Producer: The Neptunes

Mystikal: "'Bouncin' Back' was supposed to be an analogy for recovering from 9/11 and using myself as an example. If I can bounce back and make it, we all can. Sometimes you gotta get knocked down to get up. That's what I wanted 'Bouncin' Back' to say. It ain't about how you fall, your ass gonna fall, but you gotta get your ass up. That's the part that's not in the script.

“I wouldn't have picked that one [as a single either]. It was too political and it was more personal. That's something I wanted y'all to hear on the album and know that I meant it. But the Neptunes and I had such great chemistry and the label was just like, 'Fuck it.'


 

My first week sales with Tarantula looked like a fall-off. And as far as my fans were concerned they were like, 'Tarantula is better than Let's Get Ready,' but it's all in the timing and all that shit.


 

“Even when I do that song in concert right now it still has that real roaring response. Once again they were right… but they were kinda wrong [too] because my first week sales with Tarantula looked like a fall-off. And as far as my fans were concerned they were like, 'Tarantula's better than Let's Get Ready,' but it's all in the timing and all that shit.

“I don't think [Jive] understood exactly how I needed to be marketed and what it took to market an artist of my caliber. My shit is different. [Pop] was their bread and butter, and I never was a main priority.

“I was a top-shelf artist but I wasn't their bread and butter. They had a ceiling on it. They was only gonna spend so much and that's it. And all it took was a certain dollar amount for me just get me out there, and I'mma do the rest.”

Lloyd f/ Mystikal "Set Me Free" (2010)

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Album: N/A
Label: N/A
Producer: Bangladesh

Mystikal: “Lloyd was the vehicle to reintroduce me to the industry. That was the first song that I released when I came home. I think I had 'I Don't Like You' out virally just to put some music out there, but Lloyd had a video and everything.


 

Things were kinda slow and Jive was breaking up. I didn't know that Jive was dissipating. Shit, I thought I was gonna be right where I left with Jive.


 

“It had a campaign behind it. He gave me an opportunity to bust out in a major way and that song opened a up a lot of doors. It really set the expectations kinda high for me. People really expected a lot more shit from me after that!

“But things were kinda slow and Jive was breaking up. I didn't know that Jive was dissipating. Shit, I thought I was gonna be right where I left with Jive and be back to No. 1. 'Here I go! I'm back, goddammit!' But it was kinda slow and they were wondering 'Aww shit is he gonna do it?'

“I wasn't gonna do it in the fashion where I was gonna be running around this motherfucker, holding a demo tape talking about, 'Y'all check me out.' I've been passed them days. I'd go get me a job working at the airport before I'd be out there like that. So I was just waiting on the opportunity and—lo and behold... Mmm-hmm.”

Mystikal f/ Birdman & Lil Wayne "Original" (2011)

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Album: N/A
Label: Cash Money Records
Producer: Detail

Mystikal: “God forgive me, but that's like a church song with cuss words in it man. When it come on it just feel so gospel to me. That was the very first song I recorded over there with the Young Money/Cash Money camp.

“As soon as I recorded it Baby and Slim already knew that was gonna be a single. Slim said, 'It sound real single-ish.' And that ain't a fucking word, so you know he was proud of that motherfucker. Sounds single-ish to me too.


 

When I was in prison those six years, I huffed and puffed and I pouted and I might've complained here and there, but I never cried. I was on that studio set fighting back tears like Ali and Fraizer. If I'd have shook my face too hard some were gonna fall out.


 

“I'ma tell you, when I was in prison those six years, I huffed and puffed and I pouted and I might've complained here and there, but I never cried. I was on that studio set fighting back tears like Ali and Fraizer. What the fuck? If I'd have shook my face too hard some were gonna fall out. I don't know what the fuck it was, if it was just to come back in the fashion that I was doing it, I don't know.

“It's real over there. God is definitely in the building over there. I know how it look to some people when you're on the outside looking in, but I'mma tell you. That's a God-fearing-man-driven company. Dudes are professional and the work effort is through the roof. Ain't nobody over there playing. If they are playing, they earned it because they worked hard.

“It's fantastic to be around that level of artists. I came home and all I can say is I'm on the same record label as Lil Wayne. When I was in prison, anytime he came on the television you couldn't miss him. Him, Nicki, and the movement that Young Money was on it made my chest poke out. Especially to read Lil Wayne's in magazines saying he wanted to be a rapper when he heard the Mind Of Mystikal album. That made me proud.


 

Baby and Slim were two of the last cats that I talked to before I left, when I found out that I was really gonna have to go do time. They was like, 'If you need us we're here for you.' And I told them that I all I needed when I come home is to have a platform, to have some kind of foundation.


 

“They've been reaching out since—shit, since I was on No Limit. Baby would call me like 'When we gonna sit down?' 'Nigga I'm already sitting down!' They been hollering. When I seen them it was always love—always. So this thing been in the making a long time.

“Baby and Slim were two of the last cats that I talked to before I left, when I found out that I was really gonna have to go do time. Lawd, Jesus that wasn't on the itinerary. So I called them and let them know that so there wasn't gonna be no surprises or shock. They was like, 'If you need us we're here for you.' And I told them that I all I needed when I come home is to have a platform, to have some kind of foundation.

“This shit is gonna be special man. I think it's gonna resonate with people. They're gonna know that I'm back and I'm back in a major way and I'm not fucking playing. Yeah it was tough and I took a few bumps and hits but motherfucker but I'm a better man for all that bullshit.”

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