For one thing, they’re the type of music that is a little more free, and they’ve all gotten a bit more hip-hopier, with a lot more bars. But bars, obviously, mean so many things. One of them is, “My man, can I get a shot of whiskey?” And it means, “Can my man get some whiskey?” So it’s a lot more complex. When I rap, there’s an emotion involved that I’ve not quite captured here.
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How did you come to be the person who gets to do bars?
A lot of my music has a lot more rhymers than most rappers. I never had to sing on my songs. My cousin came up with the name of the record, which was “Fruit of the Loom,” which basically I didn’t know what it meant. I didn’t even know that people in rap were like that. At the time, I was doing a bunch of things in my own time. I was going to college at Michigan State. My cousin came up with all the songs, which was actually me and him going to a restaurant and telling each other words. And a lot of the songs were songs I was doing at the time. I made “Fruit of the Loom,” but when that record came out, you can hear a lot of different songs on that.
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One of my favorite records is definitely your collaboration with Puff Daddy, “Backseat Freestyle,” which is sort of a weird mash-up of “Rap God”: “You a bad motherfucker / You a bad motherfucker / I got a gun and a gun, now you gotta get the fuck out / You a fag who don’t like to fuck around, I’ma shoot you, too.”
My favorite recording is probably the video for “Backseat Freestyle” because if I was to tell you who my favorite rappers are, I would probably name “Puff Daddy” second. That was fun to put together.
What is one song that you would get on a new record that you wouldn’t have just done as yourself because you couldn’t relate to it?
There’s a song that was a little more personal as well. It’s just the whole thing of just coming home each night and saying, “I’m tired. I can’t wake up this morning anymore.” I have some really old music that I would have done as
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