You can’t really do much else but clap for ’em for this one. The homies at Complex put together this thorough break-down of Mobb Deep’s hip-hop classic The Infamous. All the bugged out stories are told straight from the men involved with the project. Check out these excerpts and hit up Plex for the rest.

Prodigy on recording “Shook Ones Pt. II”:I remember that clearly. We wrote that in the crib high on drugs. [Laughs.] Probably weed, probably was some dust in there, mad 40s, getting twisted. That was one of the first ones where we were like, ‘Whoa. This shit is ill. This shit sounds crazy right here. This is some other shit right here son. This ain’t normal.’ So we knew we was making some shit with that song. We were in the crib and we were spitting it to each other like, ‘Yo, this shit is some other shit right here son.’

“It was just a remix of the first [‘Shook Ones’]. The first song we had made was cool. Then we made this new beat and I think the chorus was similar. We probably didn’t even intend for it to be a remix, but the chorus was probably similar. It was probably like Matty C and them niggas that was like, ‘Y’all should call this ‘Shook Ones Pt. II.’ So that’s why we did that shit.

after the jump, Prodigy speaks on recording “Eye for a Eye (Your Beef Is Mines)” f/ Nas & Raekwon and former Mobb A&R Schott “Free” Jacobs breaks down MD’s Loud record deal….

P on recording “”Eye for a Eye (Your Beef Is Mines)” f/ Nas & Raekwon

Prodigy: “We were in Staten Island one night with Ghost and Rae and we were just chilling. We had just met them. Schott Free wanted to bring us to his hood in Staten Island and he was like, ‘Yo, I want to introduce you to the Wu.’ The Wu was the new group that he had signed to Loud. He was like, ‘Y’all niggas should do music together.’ So he brought us out to Staten Island one night.

“We was just chilling with Rae and Ghost, smoking bud, drinking 40s, just wilding in they projects and shit. And when we were out there chilling with them niggas, Rae was like, ‘Yo, introduce us to Nas. We want to do some music with Nas.’ So we were like, ‘Alright, we’ll line that up.’ Rae actually he drove us back to the projects that night and we were like, ‘Yo, tomorrow we’re going to get Nas’ number for you and we’re going to make some shit happen.’ So the next day we told Nas about the situation.

Rae was like, ‘Yo, introduce us to Nas. We want to do some music with Nas.’ So we was like, ‘Alright, we’ll line that up.’ – Prodigy

“We told Nas, ‘Yo, Raekwon from Wu-Tang wants to do some music with you. Come to the studio, we’ve got a song for both of ya to get on anyway.’ So he came and did that and that’s how them niggas met. The next day we lined that studio session up and we just made it happen.

“We actually made that beat and everything right there in the studio. We was in there for like four hours and knocked that whole song out. Back then it wasn’t no sequence, you just did what you felt like doing. You could make the song as long as you wanted to make it. It was just creating. ‘Eye For A Eye’ was one of the last songs on that album that we did. The song happened and that’s when Rae did ‘Verbal Intercourse’ with Nas. That was probably like a week after ‘Eye For A Eye,’ they did that.”

(via “Eye for a Eye (Your Beef Is Mines)” f/ Nas & Raekwon)

Schott “Free” Jacobs (Executive Producer and A&R for Loud Records): “The Mobb deal wasn’t for much. It was definitely less than $70,000 originally so it was probably about $60,000. Mobb Deep came in saying, ‘We ran into Q-Tip and Tip was like, ‘I wanna help out.’ Before I knew it, I think that Matty had put in a call to Chris Lighty and we all sat. We discussed a nice little price range. It was cool to have Tip come in and be in charge of mixing the record. Some records were scrapped completely.

“The album was pretty tight, but once Tip comes around he hears different things. He changes kicks, snares, whatever. Also, you get to watch Havoc implement what he had already known with a cat like Tip and Tip showing him everything he knew. Showing him a format, a formula, and even how to double on the kicks. It’s just kinda ill how he just came in and just cleaned it up. His influence is mostly sonically. Playing any of those records in the club, the drums and everything is big. Tip was always a master of making a record sound huge.

“‘Start of Your Ending’ that might have been the last thing done. I remember doing that sometime around the same time that we were doing the skits. The album was pretty much done so we knew what we had, so cats were feeling pretty confident at that point. On the skits you can hear that. P sketched that rhyme up in like a half an hour man. It all went pretty quick and organic and it ended up starting off the album.”

(via “The Start of Your Ending (41st Side)”)

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