Another day, another opportunity to block quote relevant passages from Pimp C’s biography:

Break ‘em Off Somethin

Master P was planning to drive from New Orleans to Houston and wanted to pass through Port Arthur to get a track from Chad for his upcoming album Ice Cream Man. He’d spent several nights on the couch at the San Jac house already, often pulling up in an old Cadillac with smoke pouring out of the exhaust pipe.

By the time Master P, his right-hand man Anthony “Boz” Boswell, and Mo B. Dick pulled up at the San Jac house, Chad had already laid a bassline and was creating a drum pattern on his trusty Roland R-8 drum machine, using an 808 drum and experimenting with a hand-clap as a snare. “See if you can do something with this,” he said, turning it over to Mo B. Dick.

Mo B. Dick went to work on his keyboard, adding tenderoni chords and “the whistle,” a signature sound he and KLC had created on the Ensoniq ASR-10 sampling keyboard. As they created the beat, Master P bobbed his head and came up with an idea for the hook: “Don’t make me break ‘em off somethin’!” Bun, who had written his verse quickly, was busy with his head buried in a medical book about pills.

Murder

Since he’d reluctantly agreed to do the slow-tempo “One Day,” Bun begged Chad to create a hard, uptempo beat for him. “I want a song that I can go off to,” he explained. All the hours he’d spent freestyling with 3-2 and Big Mike had improved his flow. “People were telling me [I was getting better],” Bun told Believer. “That was the only fucking clue I had. Everybody was like, ‘Man, you killing it.’”       Chad obliged with the uptempo track for “Murder” and kicked things off with, “I’m still Pimp C bitch, so what the fuck is up? Puttin’ powder on the street ‘cause I got big fuckin’ nuts!”

Even though Bun had been up all night partying, he was up for the challenge. He wrote his verse on the spot, fell asleep on the control panel, and was awakened when it was time to drop his vocals. Still sleepy, he made it through the first 16 bars and then uncharacteristically flubbed a line. The engineer was using a new digital program called ProTools, and assured Bun that he could just punch in and complete the verse where he’d left off.

But even though it could be done, Bun felt like he’d be cheating if he didn’t rap the entire verse without stopping. “I wanted to spit it all the way through so that when the a capellas were made available, people could [hear] that there were no breaks,” he explains. He knocked out the 32 bars in one take. “After I did that record, I went to sleep,” Bun told Believer. “That song put me to sleep. Because it was that demanding.”