Cats like this make what we do easy and more enjoyable.

We usually do single artist interviews or groups. This was a first where we entered into an interview with artists who were only seemingly loosely connected. By the end of things, we found out that wasn't the case.

Singed to Shady Records, Stat Quo, hailing from Atlanta, has been an underground king for years and ready to blow.

The Alchemist has been linked to and laced, beat and production-wise, just about anyone who's a big name artist on the hip-hop scene.

A few days before Thanksgiving, we caught up with both artists to discuss their participation in the upcoming Eminem Presents The Re-Up compilation on Shady Records....and all our man Cam had to do was let the tape roll.

Words By Cam Bulgari

Stat: Camilo!

TSS: Hey what’s up! Who’s this?

Stat: This Stat brother.

TSS: Stat? Stat-lanta. What up man?

Stat: Yessir.

Al: Yo this Al.

Al (to Stat): Oh by the way, Stat, You got the hottest shit on the album dog.

Stat: I got the what?

Al: To me you killed the album hotter than everybody. I’ll tell you later though.

TSS: What album? What album is that?

Stat: He says, that’s Al, he says that to everybody.

Al: I swear to God. I’mma keep it 100. Stat’s representation on the tape is to me the most impressive. Like the beats you’re on. And just…you did it, you came through.

Stat: What you talking about?

Al: On the new mixtape. On the Re-Up.

TSS: I’m sorry. Can you talk about that a little bit?

Al: Yeah, yeah I ain’t mean to jump in there like that. Yeah The Re-Up, you know, basically it’s an album where everybody in the Shady camp came through and it started out as a mixtape for the streets and the record was just comin out so crazy decided to put it in the store.

TSS: Okay and what’s it going to be called?

Al: The Re-Up.

Stat: It comes out December 5th.

TSS: December 5th. And on what label?

Stat: Shady.

TSS: Shady alright. That’s Shady/Aftermath?

Stat: Nah it’s just comin out on Shady.

TSS: Alright. Ay yo Al you got a radio show? What do you get into on the side?

Al: Say it again?

TSS: You have a radio show or anything?

Al: I don’t have a regular one. Like I make appearances on Shade 45 every now and then.

Stat: You should do a radio show Al.

Al: Believe me it’s in the making you know what I mean. I just want to come up with something that’s creative and hasn’t been done yet which isn’t always that easy to do with radio you know what I’m saying. But you think I should do it or what?

Stat: Hell yeah.

TSS: Yeah man.

Al: Aight, so tell the people to tell Sirius to step their game up.

Stat: The numbers must not be right.

Al: Yeah, you know what I mean.

TSS: You not messin with XM?

Al: I used to do a show with them, me and Prodigy did for like half a year, but then obviously when I caught wind that Shade was comin, havin their own station I broke away from them, you know what I mean.

TSS: Okay. Let me ask you guys a little bit of questions of origins. Let me start with Stat. I know you’ve been asked this a thousand times but just for the Smoking Section can you tell me, how was it that you hooked up with Dre?

Stat: I did a mixtape and Mel Man gave it to Dre and basically introduced me. That’s really how it went down.

TSS: Were you traveling around the country or you were based in Atlanta at the time?

Stat: I was in Atlanta and then I had some issues with the law and I needed to get out of town for a little bit. I went to LA.

TSS: Explain to me man…I’m from New Jersey so I don’t understand all the lingo but what’s Zone 3? How does Atlanta get broken up like that?

Stat: It’s like zones man. Like how ya’ll got ya’ll boroughs. You know what I’m sayin. It’s like Zone 3 is like an area…it’s how the police separate Atlanta. You understand what I’m sayin? It’s how the police department splits Atlanta up as a city.

TSS: What area does that encompass?

Stat: Zone 3 is like Thomasville Heights, Mechanicsville, part of East Atlanta all the way down to some parts of Jonesboro South. Right now you like ‘what the fuck is he talking about’? (Laughing)

TSS: Nah I’ve heard of some of those places. It’s cool. Ay Al let me ask you what’s it like working with artists like Stat Quo? Cause you’ve worked a lot with New York artists.

Al: I mean, Stat, that’s the shit you know what I mean. Ever since the first time I heard his shit I was like ‘he got it’. You know what I mean. So we linked up through a lot of mutual people in the beginning when Stat was first starting to blow and make his name. And we got up early, so we established a relationship early and you know, that’s what’s up. Because Stat flow is crazy and it’ll inspire you to make different styles of beats. You know, like I know he’s gonna pen some crazy shit but even the tone and the flow is the type of shit that inspire me too cause that’s like making the beat, like the rhythm of the rhymes.

And you know of course I always wanted to expand my shit so when I found out he was down I’m like yeah, hell yeah, I fuck with Stat Quo, you know what I mean.

TSS: He doesn’t seem like a…he seems like he has atypical sorta Southern material…

Stat: Ay you know what, you know what? Not to cut you off dog but listening to journalists, I’m gonna say this because we gonna do some fuckin legendary shit right now man. I want to go on record right now because since I’ve been signed, journalists always say that I don’t have an Atlanta flow. At first I took it as a compliment but now it’s like an insult to me because it’s like damn they’re saying that mufuckas in Atlanta really can’t rap cause then on the next breath a mufucka turn around be like well you lyrical as fuck you know what I’m sayin. So that’s kinda like sayin mufuckas really aint’ lyrical that are spittin you know what I’m sayin. And I can say that, okay, the vast majority of artists that people hear on the mainstream are not. But some are...like Ludacris, T.I., you know what I’m sayin, Killa Mike you know mufuckas is really rapping dog. Them mufuckas just got really talent there they’re really talented lyricists you know what I’m sayin.

And on the low Jeezy really got that. But it’s not, that’s not what mufuckas is keying in on him so that’s not some shit that’s gonna be highlighted you know what I’m saying. But with me it just happens to be something that is highlighted in me so it always comes out but like everything I do is Atlanta because I’m from there you know what I’m saying. It’s just an aspect of Atlanta that muthafuckas ain’t really have keyed in on. But Andre 3000 from Outkast, Big Boi, these muthafuckas have been lyricists forever and they are like, they shit is incredible and it’s so detailed the way they break it down and you talk about Cee-Lo, just as writer, if you listen to that Gnarls Barkley record going all the way back to the Goodie Mob shit he’s like... the lyrics in that shit is incredible. So it’s like, it’s kinda like an insult in a sense like "mufucka you don’t sound like you from Atlanta." But what it is sounding like to muthafuckas from Atlanta is Atlanta. Like the "Chicken Noodle Soup" muthafuckas don’t sound like they from New York, you see what I’m sayin? A lot of the records that are comin out of New York right now don’t sound like they from New York; but that’s still New York. It’s still an aspect of New York City because those people that are making them records are New Yorkers.

Jim Jones, fuckin "ballinnnn" sounds like some South shit as far as the way it sounds. But it’s a New York record cause he’s a New York nigga you know what I’m sayin. The Webstar that sounds like some South shit but they New Yorkers you know what I’m sayin...fuckin Fat Joe’s new song with Lil Wayne—he’s a New Yorker you know what I’m mean. So it’s still New York music it’s just got a different twist on it so…Not to dodge your question or think I’m a asshole I just want to you know…

TSS: Nah I appreciate that man.

Stat: …I'm comin out on this because I always do interviews and they always say that. And I just I sit there and then I really just get into it. But I never tell them like slow down on that because it doesn’t matter where you’re from. It don’t matter. I think that’s where hip-hop needs to go all this coast and where he from and all that shit. Can he rap and can he not? Period. Is he entertaining or is he not? It’s some mufuckas that just don’t say nothing they just entertaining they got dope ass voices and that’s what you love them for you know. And it’s some mufuckas you really get into, you get there and study their shit and you get into the detail of it. But at the end of the day is it entertaining enough for me to listen to it and sit down and want to hear what the fuck you got to say. If it is, let’s roll if it’s not, shut the fuck up. It don’t matter where you from, it’s where you at.

TSS: Aye, Al, you can weigh in on that man the regionalism of rap. Are the lines kinda like bleeding into each other now? You’ve been in the game so long.

Al: I mean yeah. It’s like, it’s so regional it’s just like rap is just branching out and branching out. That’s what I think you’re going to start to see in the future. It’s like spin-offs of rap you know what I mean. It’s so many different styles that’s being created from so many different regions that somebody’s gonna make some shit that’s just like reminiscent of hip-hop but it’s got a whole new sound and they gonna have to give that shit a new name you know what I’m saying.

Stat: And I think also what’s crazy is I think that if we, in America, don’t become more creative with our music I believe that overseas hip hop is gonna branch into America and start getting into this marketplace because it’s more...they’re doing more experimental shit from what I’m hearing, listening to what’s going on over there you know what I’m saying. We in a box right now…

Al: That’s real though. That’s real. I never thought about it like that.

Stat: …we in a fuckin box as far as us, people making hip-hop and those that make the decisions, we’re in a box because it’s cookie cutter shit we’re making what somebody else is making instead of fucking creating and doing something different.

Like me and Cee-Lo talked for like 4 hours the other day you know what I’m saying. And he was just talking about how when they went in and created that album, they wasn’t thinking about how many albums they were gonna sell, what single they had. They just went in there and made music. They wanted to do something different you know what I’m saying. They wanted to create something that didn’t sound like anything else you know what I’m saying. That was their goal. They made something that sounded like something else, then they scratched it.

But mufuckas in hip-hop, we not making music like that right now. We making music that sounds like something else in order to get shit poppin you know what I’m saying. But fuck getting it poppin. I’m at a point now I don’t even care man. If I put an album out, you know I want to make money and sell but shit, fuck it. I also want to make a difference though you know what I’m sayin. I don’t fuckin want to just be a fuckin cookie cutter MC, the same muthafucka. That shit’s whack man. Damn!

Al: I think too the rap game is like, it’s basically in anything when you’re creative in these type of situations and there’s a lot of people involved and when everybody is doing something creative they’re all raising the level of each other. So then when you have the mass…I love everything. I’m don't want to be knocking shit but I’m just saying it might be at a point right now where some of the shit, we might be settling for records that is mediocre cause we don’t have nothing else. And then the money is spent and records is still becoming huge hits. So it’s like we’re loving them for now but you might flashback to a time when everybody everywhere was raising the level of the music and it was making everybody step up you know what I’m saying. That’s what I think is a real movement. When everybody inspires everybody.

Stat: I hate to sound like a old man and shit. But look at '95 and '96. Look at the level of MC’s that was really dominating. Like look at even the Southern mufuckas that was just crazy—Eightball & MJG, UGK, fuckin Geto Boys, Outkast.

Then you had fuckin west coast was still poppin with that whole Death Row movement. You still had E-40, you still had Too Short. New York—Wu Tang, Jay-z, Biggie, Nas. The Midwest - fuckin Bone Thugs-N-Harmony. Like it was fuckin ridic—everybody was just nice you know what I’m saying.

Al: All those people right there you just mentioned were the ones that made us…

Stat: Yeah.

Al: …we were feeding off of that and we were like we want to rap we want to make some shit and that’s why I think we’re dope. But what you going to say about the next generation of kids who are being inspired by the stuff that may not be as creative right now.

Stat: Exactly.

Al: It’s the responsibility of the ones who’s on top of the rap game. Whoever’s on top, the people who’s on top of the rap it’s their responsibility man because at the end of the day you could really, these the people who are on top back in the day raised me. That’s why I’m this way. I used to study EPMD’s you know Low Profile album. Whatever it was shit just that had me inspired you know what I’m saying. If you don’t get that input as a kid what’s the shit you going to make going to sound like you know what I ‘m saying.

TSS: Hey let me ask you from a beat making perspective, Al. What’s the state of things right now? From a creative standpoint you think people are getting a chance now?

Al: Yeah, yeah, maybe not the ones that you always hear but I mean production has been stepping up man to me muthafuckas have been getting their shit on.

TSS: As far as equipment, what do you rely on?

Al: I mean I just stick to my regular shit you know what I mean. I stick to the ASR 10. I’m big on that. It don’t matter on what you use, you know what I mean, your ears are the final judge. Kids are making shit with their laptop now you know what I mean. The playing field has been leveled. So I mean it’s so many ways…it used to be where you had to get your money up to get a drum machine it was a big deal to get a drum machine back in the day you know what I mean. It was like ‘oh word he got a MP’. It’s like if you knew somebody who had a drum machine you were good. Now you can make a beat with any program on the computer and it’s really all about who’s most creative. It’s not about what you got you know what I mean.

TSS: Yep.

Al: So that’s where it’s at right now to me. It’s definitely being stepped up.

TSS: You guys mentioned the tape coming out in the stores. You guys still hitting that mixtape grind?

Stat: Oh never going to stop that.

Al: All day. That’s like our official plans filled you know what I’m saying.

TSS: You looking more towards make money or it’s just to keep the buzz in the streets?

Al: I mean I don’t have to, none of us have to make that actual money off of the cd but I mean you know what I’m saying it goes a million different ways. Of course we’re getting bread we’re also creating opportunities for our people. I keep a lot of people eating like that. Yo here’s a box of them joints I don’t give a fuck keep all that money. I don’t need none of that cause you getting me in the hood and you’re selling it you’re eating and I’m maintaing my name so it goes both ways you know what I mean.

Stat: Well I need all that money yo.

Al: (Laughing)

Stat: Fuck it. Look here. I need every last fucking dime of it. Fuck it. I need it all. I need fucking I need… listen if I’m selling the cd’s for two bucks I need all two of my dollars back…

Al: (Still laughing)

Stat: …I need all my fucking money back ya heard me. No, I’m just telling you. I got to have it in the worst way. And my shit got to be in the streets but fuck it I’m selling everything. I’m selling, the shirt on my back I’m selling that mufucka. And if you buying that mufucka let’s get it you know what I’m saying.

Al: It’s crazy cause mufuckas like Stat and me like we book shows with mixtape songs you know what I’m saying…

Stat: All day.

Al: ...like we do shows, I do shows off and they want to hear the shit from the mixtapes you know. I know Stat is doing shows all day with doing just the records that's out and then mixtapes shit. So you know we get money like that too.

TSS: Okay. What individual ventures you guys got? You guys got record, I mean you got a record label right Al?

Al: Yeah it’s just an independent joint though you know to put out shit off the radar shit or just whenever I want to put something out.

Stat: Whatever. Independent with the big boy budget. Oooohh....

Al: (Laughing)

Stat: ...Ooooohhhhhhh!!! Tell them about the new album man!

Al: Oh yeah the new album is coming soon since I been putting in a lot of work. Yeah, yeah next year, next year. Yeah Chemical Warfare is the name of the shit.

Stat: That name is the shit dog. That name is the shit. What!?! Ooooh!!... Chemical Warfare.

Al: I had some time to work on it too so you know I been putting it in.

TSS: I forgot to tell you man one song that I never stop hearing is "Hold You Down".

Al: Yeah.

TSS: I got the title right?

Al: Yeah.

TSS: You think that was one of your biggest ones recently?

Al: I mean it was like for me as an artist definitely you know what I mean. I made bigger records for other people but that shit did real good for me on the independent grind you know, doors opened up…

Stat: I like ‘We Gon Make It’ and the HNIC joint…

Al: …Oh yeah "Keep it Thoro"…

Stat: …And that new Mobb Deep beat you did…

Al: …"Got It Twisted", "Ya’ll got it twisted"...yeah I remember…

Stat: …Nah it was another one. It was the second half of a…

Al: …Oh yeah..."When U Hear The". Yeah I brought shit on there…

Stat: …Ooooooohhhhh! That muthafuckin beat…ya’ll want some just fuckin just straight nasty production. I like "Got It Twisted" cause you gave Scott Storch his beat. He made like ten, twelve other beats off that beat pattern after he heard that.

Stat & Al: (In unison, imitating the beat) Boom, boom, boom…(laughing)

Stat: He gonna get mad at me and shit cause I said it but fuck it. Scott you know it’s true.

Al: Scott don’t got nothing to worry about. That muthafucka, he can have that. He can have that. He made so many…

Stat: Do you know how much money made from that fuckin drum pattern?

Al: He can have it man. That dude, he’s sick with it. His beats is…

Stat: He’s fucking outstanding. He bought like 12 Phantoms off that boom, boom, boom, boom…

Al: I’mma have to snatch a pattern from him.

Stat: Man why not. Why not?

Al: Touche. That’s my man though.

TSS: It’s a lot of that in the game now? A lot of guys that’s collaborating, borrowing on the low?

Stat: Of course. But you know I think it’s like a compliment too though.

Al: No doubt. And you know shit you can’t really own a pattern you know what I’m saying but you know if somebody is like yo where he got the inspiration. I do that. I’ll hear some shit. When I did "Hold You Down" I was really trying to make the drum the kicks. I was trying to make it like "In Da Club" cause that’s when 50's "In Da Club" had dropped and I liked that pattern.

TSS: You were trying to make it in the what?

Al: When there was no kick on the one. Like if you listen to "In Da Club" on the one the down beat there’s never a kick. It’s like (beat boxes) it’s like the one never hits. So that’s how I did the kicks on "Hold You Down". If you listen I was just inspired.

TSS: Yeah nah, no doubt. My girl played that for me the other day. I was like damn. Everybody liked that song.

Al: You from Jersey right?

TSS: That’s where I’m originally from. I’m in LA. I’ve been in LA for like 5 years now though.

Al: That’s what’s up.

TSS: So what happened with that gun charge man?

Al: Yeah that shit’s gonna get sweeped up. You know that. Come on baby.

TSS: They had you all over the news for that. Nah, I just wanted to address that.

Al: Nah you knew that was some bullshit. You know hip-hop cops they like to follow a muthafuckas out here, they give you a hard time. Charges get beat.

TSS: That was in New York?

Al: Yeah.

TSS: Okay. What about you Stat? You staying out of trouble?

Stat: Hell yeah. I’m good.

TSS: Where you at Stat these days?

Stat: I’m in LA right now.

TSS: Both of ya’ll in LA?

Al: Nah I’m in New York.

TSS: What are you guys anticipating now that the new releases are coming out this quarter?

Stat: You mean what albums I’m anticipating coming out?

TSS: Yeah

Stat: Ah shit I want Snoop to do well cause I contributed to that project you know.

TSS: Okay what tracks?

Stat: "Round Here", the one with Akon, the "Boss' Life" one...umm..the one with R. Kelly. I’m anticipating all those. Anytime it’s revenue, I anticipate it. Shit I’m anticipating my album, I’m anticipating Alchemist’s album cause I want to be on it. You know fuck it. I’m anticipating The Re-Up. That’s like the number one album coming out by the end of the year as far as I’m concerned cause I’m all over that bitch. Fuck it I’m selfish man. Everybody else is it’s my turn. Fuck it!

TSS: What’s the word on the Stat debut?

Stat: Man shit you got Dre’s number? Hit him up (laughing). I think my brother’s leaving for the islands in the next couple of days. So I don’t know. Hit him up before he leave man. And when you get him on the phone make sure you hit me on three-way dog.

TSS: He has the 411?

Stat: Aye, he's the all knowing.

Al: He's got the magic date in his pocket!!

Stat: He's got the magic date in his pocket! And he's not gonna...the only way you gonna get it out, is you gotta pick his pocket! I'm finna to pick his pocket! As soon as I pick his pocket dog, you call somebody on Interscope and you get me on the deck!..and I'mma lay it down. But I ain't picked his pocket yet, yunno. Me and Em is tryin to pick his pocket to figure out what the fuck is goin on.

TSS: What's it like working with him?

Stat: Aww man dude is a perfectionist. Dude is the shit. He's incredible, you know what I'm saying. One of the greatest producers, not just in hip-hop, but everything. People always talking about "why he don't be sittin there making the beats?" But he knows what it's supposed to fuckin sound like.

And I sat in there and watched him. Motherfucker sittin there sittin there making beats, know what i'm sayin. And I'm in there when they making the beats. I'm watching, I'm witnessing the motherfucker make the beat, ok world? All this shit about he don't make the beats...I'm watching him, know what I'm sayin. He literally...I'm watching him do the whole beat. I've watched him do the whole beat, nobody...and the shit's been crazy.

So, all that shit about dude don't make the beat, he ain't...whatever, know what I'm saying. If it was just like that then everybody would be fuckin Dr. Dre; but they're not. You know what I'm saying? So, dude is incredible. He's one of the greatest producers to ever do it. And, he taught me alot about being a better recording artist, you know what I'm saying. And I'm happy to have been down, just from the shit that I've learned cause I feel like I'm a much better MC than I when I first started, period.

TSS: Has he ever let you do anything in one take?

Stat: No. (Laughs) No one does anything with one take with Dre. Nobody.

TSS: Snoop said he did one in one take one time...

Stat: I don't beli....when?

TSS: Uhh..

Stat: I don't believe that shit...

TSS: ...in another interview.

Stat: Death Row, maybe then. I don't believe that shit.

TSS: What's the most he made you do?

Stat: Make me do? I done been in the booth with Dre for about five or six hours. I mean he had Gwen Stefani in there damn near all night one night. I mean...
TSS: You serious?

Stat: Yeah man and she will tell you about it. For that uh..that "Blow Your Mind" hook. He had her in there forever. But when you walk up outta that motherfucker, and he play that shit you gone be like "Ooooooooohhhh! I sound like da booommmbbbb! I'm da shit!!! I am the shit! That's me?" So, fuck it. I don't give a fuck. I'll sit in that bitch for like two days if I got to. I don't care. Because dude...that's one thing man.

And that's what I think, when you become a producer, you know what I'm sayin, like it's a difference a motherfucker giving you a beat and sittin there with you, coaching to do the vocals. Because a lot of rappers, man, we rap, we do some many songs, we don't really understand...we don't really hear how we supposed to sound. But if you was a producer, producers hear that shit and "well say it like this." Because it might be something like from another song that you did that they drawin from but you need to incorporate in this record that'll make it crazy, you know what I'm sayin. Or it might be something that you never done that if you did it, it'd be crazy. You know when Dre told Snoop to do (sings) "ain't nothin but G thang bay-bayy", he told him to say it like that. Do it on some melodic shit. Instead of just (drones) "ain't nothing but a G thang baby" you know what I'm sayin. That little shit brings so much character and style to the artist that that gives you your personality of who you are. So that's where the producer and the artist have to work together to get that shit poppin.

TSS: Right. Aiight...what you think about that, Al, because you do production work also. Can you weigh in on that..on producing, how you have to have that ear, when you working with people, to get it right?

Al: Yeah, to be the producer is not just, obviously there's one thing in making the beat and one thing in producing the record. And the words get mixed up alot, and you know, people like "yeah I produced this." True, but I mean people don't understand, too, when you're a producer, you got to be a producer/psychologist, you know what I mean. You gotta know how to analyze each artist and know how to extract the dopeness from them.

Like "this one here, this guy, he likes you to be real with him. He wants you to be real with him like 'That shit was weak! You gotta go in and do better!'" This other rapper, he's on his own dick and in order to tell him to do something different you gotta compliment him in the same breath like 'I like how you was doing it over there. Do it like that. You was killin it.'" You know what I mean? Basically it's like psychology in order to get the best performance out of somebody when they're in the booth, you know. You just gotta analyze each person differently and just study and figure out what type of person they are and find out how to extract the dopeness out of them.

TSS: Yeah. So what's it like working with Havoc...with Havoc and P?

Al: I mean you know that shit is like eat, sleep, shit. It's nothing,you know what I mean. Their pen moves fast, the ideas come fast, shit gets laid down on the spot. And you know, it's like it's real organic with them, you know what I mean. They come with the ideas and any time I'm working with them, I...I...with them I know them so well, that I can really, like, I'm at the days now where I'm trying to push it with them. Like, "Aiight, we did all the records the regular shit we did.

Nowadays, I'm trying to feed them cause I'm like, you know I'm like, these dudes are like computers. Like you can feed'em a crazy concept and just watch what they do with it. So nowadays, that what I be trying to do to take our shit somewhere else. Because I say the best writers in the game, when they sit down to write a record today or tomorrow, they're consciously or subconsciously in the back of their head, they're thinkin about every song they ever wrote. So there's no way they can write the same song twice, you know what I mean. Or, if they're gonna write the same song twice, or you're gonna do another song that's similar to the one you've done before in terms of the content, then at the end of the day, you don't put all of them on one album. You'll just pick the best one like that, you know what I'm saying.

TSS: Right.

Al: So, those are things you have to be aware of too as a producer.

TSS: Right. What's it like collaboing with Havoc on the beats? You guys ever do alot of that?

Al: Yeah yeah.Hav? With me and Hav, he's sick with the drums and patterns. You know, I'm better choppin up the samples and what I'll usually do is I'll just bring him a sample or two, or something I found, and I'm like "Yo, you can go in on this. I know this is you." We do that alot. Sometimes, he'll throw me something but most times, I'll bring him some shit and I'll just let him go crazy with it. He'll always do it differently than I would. Now I go and produce more. He's in the lab making the beats more. So we kinda collaborate like that.

TSS: He's sounds pretty nasty with it. Was he always that good?

Al: Havoc? He's been the man ever since I been around him. He's sick with it. He's really like super underrated just because he not the type of dude to go out and get on his hustle. Like he's real like stick to the..he's a real artist, you know what I'm sayin. He don't be on his hustle like that you know. I'm tellin him all the time "If you gave me that computer that you got at home with all those beats on there, I'd have beats on everybody's album. We work equally as hard but he don't push it as much. He really lives this shit you know what I mean...

Stat: And he won't you hear the beats!

Al: (Giggles real hard)

Stat: I mean I done heard from a bunch of artists. He don't be playin beats for them and shit.

Al: He don't even be grindin out like that. But he makes the beats. He's making like three of everyday or some shit.

Stat: And I heard he's doing an album or some shit.

Al: Yeah, that's what I heard too.

TSS: What a solo jumpoff?

Al: Nah like a producer type album.

TSS: Oh okay, aiight. Aiight cool man. I appreciate you guys time. Just to recap, be checking out for The Reup album?

Stat: Yeah man December 5th.

TSS: December 5th. And that's on Shady Records.

Al: Yeah...

Stat: You know that Ciara album come out the same day?

Al: That might be a problem for us?

Stat: You think?

Al: Nah!

Stat: I don't know...

Al: I gotta roll with us on that one...

Stat: Woooooo...

(Straight laughter while admitting that they got love for shorty lol)

Eminem Presents The Re-Up in stores 12.05.06.

For more on Stat Quo visit www.ShadyRecords.com.

For more on The Alchemist visit www.AlchemistBeats.com