By: Trife Da God
Written By: Brian Kayser for Hip Hop Game
Date: 12th, December 2005
Tracks 1-15 are new shit, and the 16-18 are bonus tracks
that are older. You probably saw them on mixtapes and all
that. Now you have them all on one CD. There's songs that
were supposed to make this album too, but with the politics
on this, sample clearances, all that shit, they didn't use a
lot of the songs that were meant for this shit. It's
sometimes not the artist's fault, it's just how things work.
The DVD is crazy too. It's mainly Ghost's set.
There's Cappadonna, Genius, Killah Priest, Masta Killa…when
you see the DVD, you're going to see how niggas perform on
stage and how we tore it down at B.B. King's that night.
Cocaine Trafficking [Lyrics]
I had this beat for around three years. I had done
something three years ago
over that track and I
didn't like how it came out so I went back to the
drawing board and redid the whole shit. I invited Ghost
to get on the track and that's how it came out. I wrote
that in my mom's crib, looking out the window just
zoning out. It wasn't even called "Cocaine Trafficking"
until the mixtape niggas got a hold of it. It's really
called "Major Niggas," because in the intro, it's like
"you have some major niggas
from New York slinging
dope." The mixtape DJ's put it as "Cocaine Trafficking"
because those were the first words Ghost said. I wrote
the hook too, and it just went out like that.
Put It On The Line [Lyrics]
This is the title track for the whole CD. I had this
beat for awhile too. When I get beats, I like to sit on
them because sometimes when I first hear them, I won't
like them until I listen to them over and over again. I
wrote this in my mom's crib too looking out the window,
looking at the city and the lights and all that. I just
lot of things that I wanted to touch on, like
me growing up and living in the Stapleton area. The hook
says "We love Hip Hop and live a life of crime, feel
like I've been robbed, gotta take what's rightfully
mine, so I'm staying on my job yo
as far as the
grind, gotta put in that work everyday and just put it
on the line." Whatever you do in life, you've just got
to put it on the line and just go for the gusto. It's
more of like a tale of how I grew up in Stapleton and
being mixed inside the hood life.
Ghost did this song around the time when he did "The
Pretty Toney" album but it didn't make the album. This
is like a lost tapes-type joint. He wrote this off his
own experience, he went real deep on this. He's talking
about his struggle growing up in the Stapleton lifestyle
and how he was out there struggling and he made it out
Hustle Hard [Lyrics]
This is the most recent track that I've done. This
wasn't even supposed to be on there. It's some mixtape
shit. It's over a Green Lantern beat with 50 on the
hook. It's self-explanatory. I heard the beat, heard the
hook, and just went on some hustle hard shit. I'm
talking about how I used to hustle, bagging up and
cleaning off the blade. "We hustle hard in the city of
gods where dedicated dealers take the shit for a serious
job." I'm saying how niggas hustle and grind with this.
I took the skit from the film "Paid in Full" when Mekhi
Phifer was talking with AZ about how hustling was the
only thing he knew how to do. I ran off of what the hook
was saying and I wrote it like that. I recorded this in
my nigga Phenom's spot. He recorded this track for me.
That's a good dude. He really represented. He has me
hitting the mixtapes and all that, so he hit me with
this instrumental and was going to have me mash out some
This is produced by Emile. I had this beat for
awhile too but held it until I wrote an ill rhyme to it.
This doesn't really have a storyline, it's just about
things that took place. The first verse is talking about
how niggas got bagged uptown with mad grams. There's a
little story-telling I'm doing on there. Emile set the
studio time up
in The Cutting Room and we banged it
out and mixed it down right there. We were up there
blowing some cheeba and drinking our liquor, and just
zoning out. It was me, Emile, and Krymelife just bugging
out. I wrote the second verse in the studio, there's a
little bridge piece at the end that I just put in there
on the spot. That one came out real good, shout out to
Emile for the beat and for mixing it down real well.
Gangsta Shit Ft. Tommy Whispers
This one has me and my nigga Tommy Whispers on it. My
man Jeff Duval from Brooklyn produced this track. I met
him at a party for one of the New York Jets' sons. He
was DJ'ing and he said he had some beats for me. As soon
as I heard that beat, I started writing it. I never had
a hook for it so Tommy Whispers wrote that hook for it.
I recorded that at my man Ant Acid's studio. That's
where I record most of my shit. I laid down two verses
and then had Tommy Whispers get on there. He had the
hook and we both said it and doubled it up.
This was produced by my man Jim Bond. He hit me with 90
beats, but as soon as I heard this one, I just
automatically started writing to this. I picked up my
pen and I wrote that in my crib. I got me a little
bottle of Hennessey. I went in, wrote it real fast,
boom, wrote the hook on the spot…I had written the
second verse too but Ghost wanted to get on the song so
bad I was like "fuck it G, just take the second verse…"
That's how that came about. That was supposed to be a
solo track but he liked it so much I told him he could
jump on it. I like the sample in this too, "Playing
with fire…" I felt that was appropriate for myself.
Project Soap Operas [Theodore’s Theme] Ft.
This song is about two years old. I did this in my man's
basement. This kid Dave came all the way from Chicago to
meet up with me. We laid the song down…we already had
the song mapped out. Me and Tommy Whispers had our
verses ready and Krymelife had to write his verse on the
spot. He wasn't even going to make the song but he felt
like he had to be on the song. We waited for him. He
threw his joint on there, we threw the sound effects on
there. We put that whole song together,
the girl talking at the end. My man Cue Trax put the
emphasis on there at the end. I was talking about a kid
where him and his man got killed in a car accident
because they were too high and crashed into a telephone
pole. That's a story joint that I went into.
This is another solo track produced by my man, my nigga,
my ace, Phenom the Don from Mental Instruments. Me and
Phenom had been out of contact for a minute. One day he
called me and was telling me he had these tracks for me.
He hit me with 15 tracks, but this one right here stuck
out. "War" has a Bob Marley sample with "War in the
East, war in the West…" When I heard the track, I'm not
talking about niggas warring. I'm just talking about the
whole United States: "Welcome to Jamrock, where niggas
get popped, buried in sandlots, New York niggas triple
they money hitting the grand spots, West Coast bangs for
their colors and they demand
blocks, Southern niggas
barbequing, sizzling ham hocks." This is a record I did
for everybody to bang and represent their own town. I
shout out New Orleans niggas, Ohio niggas…I ran off the
hook. The beat didn't originally sound as it does now.
I had Phenom chop it up and paste it how I wanted
it. I went in and banged out the first verse. I recorded
the first verse, took it home and studied it, listened
to it over and over. I wrote the second verse and went
in and laid that, and I had to write the hook over what
Bob Marley was saying. We were in the studio in the
daytime. I like to go in the studio in the daytime. It
didn't take me too long in there.
Outta The Way ft. Wigs [Lyrics]
I don't really know how this song came about. I know the
chemistry was there. I don't really know how they did it
or how they flipped it because I wasn't there.
This is another solo joint I did. I fucked around and
heard the beat, and the beat sounded like it was saying
"Ain't Mine." First I was going to talk about the kid
ain't mine, writing it to a bitch that was trying to
pin a seed on me. Then I decided to talk about getting
pinned for drugs when they're not mine, getting thrown
in the van and all that. I had written the hook and my
man T.Marvin is featured on there singing on it, saying
"the drugs ain't mine." I wrote this whole song in two
days. I wrote the second verse in the studio, matter of
fact. I wrote the second verse on the spot in Ant Acid's
studio. I had also written the outline for him to sing,
"Mr. Officer, please understand, them drugs ain't mine,
you've got the wrong man…" This record is about how
police are getting grimy and try to give niggas jail
time. This kid Dirty Dean had made the beat. He had
given Ghost the beat-CD. We had used two beats off his
CD. We also used one of his beats for the Bonecrusher
song on the Theodore Unit album.
Milk 'Em [Lyrics]
This song had so many different names and hooks. This
isn't the original beat that
was on the CD. This
song was for a kid out in L.A. He wanted me and Ghost to
do a song for an album. I wrote this whole song too. I
wrote the hook and my verse, Ghost came and laid his
verse. This was a feature for somebody else out in Cali.
They sent the money through, so we banged the shit
Late Night Arrival ft. Wigs [Lyrics]
This is a crazy one. It was produced by J-Love. It
wasn't originally over that beat. Me, Ghost, and Wigs
were up at Def Jam. Some beats were playing, so we all
wrote the song and recorded it in their studio. I think
it was a Mobb Deep. J-Love fucked around and got his
hands on it, and made it sound 100% better than the
original. He named the song "Late Night Arrival" because
he got it in the late-night. He was going up to Def Jam
looking for new music and they gave him that. We wrote
it in Def Jam, recorded it in Def Jam, and J-Love did
Man Up ft. Sungod [Lyrics]
This has myself, Ghost, and Ghost's son, Sun God. This
is produced by Anthony
Acid. I walked into his
studio with Solomon Childs. He played the beat. It had
that hard organ sound. He played the beat and I had a
hook and verse that was already in my stash, so I went
in there and laid my verse, did the hook, and Solomon
sang the "Man Up" on there. Matter of fact,
he was the original one that set the song off. We had a
falling out. He's still my man though. He ain't really
rocking with Theodore no more though. He's a good dude
though. I guess he felt that he
around. We had took him off the song and my verse went
first. We recorded this in April or May. I think my
manager Mike played it for Ghost. He was taking long to
get on it. Ghost's son was spitting rhymes too. He's the
member of Theodore Unit. He's only 17. Mike
had said, "Write to this beat," and he was on it. Ghost
was the last person to fuck around and get on it.
Anthony Acid mixed it down, made it sound real chunky,
and we just serviced it to the streets.
Game Time [Lyrics]
This song is like "its game time, lace up your kicks."
Throw on your game face and just go in. This song
doesn't have a real meaning. I went straight to the
Staten Island. My mans from Queens, shout
out to DJ Phantom, he got the producers Now-n-Laterz. I
only wrote two verses and a hook for it. Tommy Whispers
was in the studio when I was recording it and I was
like, "Fuck it, get on it." There's no real formula how
a song comes about. I might do it in the studio on the
spot or in my crib. That's how it goes down.
"The Watch" and "The Sun"
were songs for "Bulletproof Wallets" that didn't make
the cut. They just wanted to use those and get those on
there. The "Ghost and Giancana," I'm
not really sure how that came about. "The Watch and "The
Sun" were recorded around 2001.
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