AllHipHop: I never realized that you produced Miles Davis last album. What did you learn from the man?
EMB: You don't have to always be perfect. I watched him, he and Tupac, they had a particular recording process, and that is like - when they started recording, they didn't want you to stop, and they didn't like to do punch-ins. In other words, a song typically has three verses. And Tupac and Miles would have you start the tape and let it run all the way through the song. "Don't stop. Don't punch me," in other words. Some people do a verse and stop, and do a second. Miles did not like to stop. [Of the songs on Doo-Bop], he nailed in one take. If there's anything I got from him in those sessions, it's you don't have to be perfect. Just be yourself and put all of your heart and soul into it. And most importantly, your point will get across. There's a lot of great records with mistakes on 'em. James Brown got a lot of records like that, where the bass player would mess up or something.
AllHipHop: Do you think those mistakes yield a vulnerability that makes good Hip-Hop?
EMB: Well, I think the art of freestyling has almost been outlawed. Most of your favorite rappers nowadays, most of they raps are pre-written. There's not too many people that just freestyle, or improvise on a record. Now, ODB or Dirt McGirt, do you know a lot of the records ODB made were improvised? Live, on the spot. Yeah.
AllHipHop: Isn't that largely true of Biggie's Ready to Die too?
EMB: Well, what Biggie would have, just like Jay-Z, he didn't really write down too much either. A lot of times he went into the booth. You'll see him sitting there for the last hour, forty-five minutes, hour and ten minutes, just mumbling to himself, nodding his head. He ain't writing nothing down. Then, he just jump up, "Aiight Mo, I'm ready." He'd go in there and nail every verse down. As far as I'm concerned, that's improvising. It's recorded, but recorded in the minute. Busta Rhymes is very good at that, I worked with him before. Who else? You know who was very improvisational? Tupac. I watched him in the studio between sessions, and he would just spit, what I would call, reality raps. The average East Coast rapper, when he freestyles, he's freestyling some braggodocious, material, this and that. But Tupac, it amazed me, he had the ability to freestyle reality type raps. He'd talk about what's going on in the world, police brutality, whatever.
AllHipHop: In this series, we're spotlighting one track with each producer that I love. With you, it's gotta be "Temptations." Tell me about the creation of that track, and everything you can.
EMB: In the record, lyrically, he's talking about a relationship with a female. He's saying basically, "I like the time I'm spendin' with ya, but baby, I'm busy." He has intonations he has in there remind of a record that Bobby Womack did called "You'll Be There When the Sun Goes Down." They talked about the same thing. "Don't get hung up on me."
AllHipHop: The way you just explained that, I sense that you knew what Tupac wanted before anything was created.
EMB: You know, he mentioned to me, kind of what he wanted to talk about. Then, in the end, after he wrote it, 'cuz he would write with a pen and a pad. He was like, "Check this out," went in the booth, and it all worked out.
AllHipHop: So then you actually making the beat.
EMB: Let's talk about that. I went on the set of Above the Rim. I visited him while he was in New York at the Ruckers Grounds. During one of his breaks in the film, what he did was - he went in the trailer and I played him some music. He was like, "That's cool and everything," he picked a couple of them, but then he asked me, "Could you do something for me with 'Computer Love' and anything with Bootsy and do something for me off of What's the Telephone Bill?" The one off of "What's the Telephone Bill" became "Straight Ballin'" on Thug Life album. The one off of "Munchies for Your Love" became "Runnin' (From the Police)" featuring Notorious B.I.G., one of the Outlawz, and Stretch from the Live Squad, which became "Runnin'", remixed by Eminem today. And the "Computer Love" one became "Temptations." When he asked me to do [it], I said, "So many people have [sampled this] before, what am I gonna do different?" Throw it on 45, speed it up, filter it so you muffle it, getting nothing but the bass frequencies out of it, and then I went around that - built new drums, new keyboards, later I got the idea to add the Erick Sermon "Heyyy" from Redman's album. That's how I got Temptations.