You were one of the few producers to work with both Biggie and Pac.
Let this be known, I worked with Pac and Big together and separately. The song “Runnin from the po-lice, that’s right,” knocked down to “Runnin” which went on the Million Man March album (One Million Strong). The remix that you hear done by Eminem, people think it’s the original but it’s not. While I got the opportunity, let me clear the air. It was misconstrued that I was dissin Eminem. Nah, man. People talk and run they mouth. I don’t even think Em took it that way. Easy Mo Bee did the original to “Runnin” and Em did the remix.
Tell me the story behind “Warning!”
That’s a track that I already had done and I played it for Puff first. He just went crazy. “Warning!” was at the top of the list as far as hurry up and do them songs. I think Puffy heard a single. We were doing all these other songs that weren’t radio records. What made it more radio-friendly was the beat because bottom line when you get down to it, it’s Isaac Hayes “Walk on By.” You’re talking about the epitome of funk/soul/R&B. Right around that time they had “Walk on By” on Dead Presidents. I ain’t gonna lie; maybe the song on that movie may have had a little effect on me.
How about the Lost Boyz’s “Jeeps, Lex Coups, Bimaz & Benz”?
The Lost Boyz came along through A&R Butt Naked Tim Dawg. He brought them to me. He was telling me, “Yo, I got a new group.” I played him a bunch of tracks, he picked joints. “Bimaz” was originally played for Craig Mack but he didn’t want that joint. He passed on it.
I remember you telling me that you basically did “Flava in Ya Ear” in your drawers.
I bought a stack of records and I ain’t even wipe them off. I loved to do that if they’re not mint. I woke up, stumbled over the equipment, dying to play these records and I start playing around with these records. I made that beat in probably 15-20 minutes.
What’s the difference from the original track as opposed to the remix?
It’s a different mix. You can hear the difference. First of all the original was recorded at Hit Factory and the remix was recorded at Sound on Sound. I took the original disc, kept the beat the same and somehow the mix down made it sound different. The original is fatter and more round sounding. What distracts you from all that is all the MCs on it ripping the record. You’re really listening to them. I always did my drops against the vocals. I listen to the vocals and let the vocals tell me what to do.
Where does your situation with Bad Boy stand today?
I don’t have any kind of animosity towards [Puff]. I don’t have a problem talking about it. I wanted my money. I realized I was owed a certain amount of money and I wanted it. I wonder sometimes, if he’s mad at me. I saw him at the [Notorious] premiere on Broadway. There were so many people trying to get at him so he was moving fast and we didn’t get time to kick it. After all these years, I wonder if he’s upset with me. I always just wanted to say, “Dog, I’m just wanted to handle my business that’s all and just get mine.” Still to this day, I don’t have any animosity. If he calls me today and asks me to do something for Bad Boy, I’ll be right there. That’s the way I am.
You were responsible for helping launch the Bad Boy sound so what do you think has stopped Diddy from reaching out?
Let’s face it right now is a different time. I don’t know what his vision is that he has for the music that he’s putting out. That would dictate the type of producers and tracks he’d be in search of. Music has changed.
Easy Mo Bee’s Production Credits on XXL’s 250 Greatest Hip-Hop Songs 1990-1999:
No.44, The Notorious B.I.G.’s “Warning,” No.118 Lost Boyz’s “Jeeps, Lex Coups, Bimaz & Benz
Other Notable Production Credits:
Craig Mack’s “Flava in Ya Ear,” The Notorious B.I.G.’s “Party & Bullshit,” “Gimme the Loot,” “Machine Gun Funk,” “Ready to Die,” “Going Back to Cali,” “The What” f/ Method Man, Tupac “Temptations,” “If I Die 2Nite,” “Runnin” f/ The Notorious B.I.G., Busta Rhymes “Everything Remains Raw”