He’d bounce things off of me in the booth like, ‘Nash, how that sound?’ I’m like, wow, this guy is asking me to direct him. on his sessions when everybody would leave and go out to a club. would understand each other, as far as music was concerned. Nashiem Myrick: For the most part, me and B.I.G. had a kinetic relationship because I used to always give him my material and he would love it. It matched the way he looked when you finally saw him, like, ‘Wow, you look like just what I heard on the tape.’Ī post shared by Stevie J. When I finally heard it, I liked his attitude and his delivery, and the wit of how he constructed his rhymes. I never had a chance to listen to his demo. It just became normal to see each other posted on the block. was posted to go to the corner store for food, weed and our 40 oz. That’s the reason why somebody like Puff could make a decision on “Juicy,” because he trusted him.ĭJ Premier: Biggie used to be on the corner of Fourth and Washington Ave and I lived at this brownstone right down on Washington, in between Lafayette and Green.
He was the artist that if he respected you, he trusted you. Even when I could tell there were things he didn’t want to do, if I could give him a clean, easy explanation, he was cool. If you could make him understand it, he would say, ‘Alright.’ It wasn’t no, ‘let me explain why you have to do this.’ It was, ‘This why we got to do it.’ He was the easiest artist I’ve ever worked with on any level. There wasn’t anything that he was a hard a** about. Nothing was a fight nothing was confusing. I grew to understand him more, and from there, it made it easier for us to work together.ĭJ Clark Kent: Nothing was hard. I hope this sh*t is going to work out.’ He was optimistic about it and hopeful, but he still wasn’t really sure what was going to happen. I got a baby on the way, and Puff talking about this music. He said, ‘Yo Mo, my mom got cancer on her breast. I’m going through a lot.’ But the more we worked together, the closer we got. I’m ready to die.’ He came out of the booth, and I said, ‘Yo, you know you just said f**k your mom?’ He said, ‘Yeah, yeah. I started working with Biggie and he said, ‘F**k the world. I think about the roughest thing I had worked with was a remix for Freddy Foxxx a.k.a. He was one of the best artists to work with, not to mention that tone and his gifts to be the most fun and funny guy ever.Įasy Mo Bee: I hadn’t really worked with stuff too rough of a texture. It just blew my mind that an artist could write a phenomenal rhyme with just an imagination.
He would go in with nothing but a story in his head. Stevie J: It was rare for an artist to just go in the booth without a pen and a pad. My friend Harve was friends with Puff, so once Puff did the transition from Howard to Uptown and then to his own label, followed and brought me along.Įveryday Struggle: 9 Songs That Showcase The Notorious B.I.G’s Strength & Vulnerability As A Black…įirst Impressions: ‘You Know You Just Said F**k Your Mom?’ That’s my only experience with the music industry before Bad Boy because we got dropped on my birthday in 1991. We were under Empire Management and signed to Payday Records. I was in a group with a fella by the name of Harve Pierre, who works at Bad Boy still, and David Abraham. Nashiem Myrick: My father was a DJ and he introduced me to the turntables and music. From then on, I met Jodeci and after, I met Puffy and it was all history.
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Then when I met this group by the name of Joe Public, they showed me how to make a complete song. That inspired me to then pick up the guitar and the bass, the piano, trumpet, saxophone and xylophone. gave me some pots and pans and said, ‘Once you beat a hole in these, I’ll give you some drums.’ Two months later, I had a hole in them joints. They used to have instruments sitting around after rehearsals, so I got in the mood of playing drums at seven years old.
I used to listen to them sing and play music all the time. My dad had a gospel group called the Jordan Gospel Singers.
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Nashiem Myrick (“Somebody’s Gotta Die,” “What’s Beef”)Įasy Mo Bee (“I Love The Dough,” “Going Back To Cali”)ĭJ Premier (“Ten Crack Commandments”) Meet the B.I.G. Steven “ Stevie J” Jordan (“Mo Money Mo Problems,” “Notorious Thugs,” “Another”) In celebration of the 20th anniversary of the Notorious B.I.G’s Life After Death album (March 25), hear stories from some of the producers who worked, created, and partied with Biggie, and how they defined an era of hip-hop. But those who worked closely with him on the album remember the early stages of its creation and Biggie’s star power with fondness. The album was released on a somber note, rolling out two weeks after the late rapper was killed leaving a VIBE party in Los Angeles.
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