Diary of a Madman by Jordan Brad "Scarface

Author:Jordan, Brad "Scarface
Language: eng
Format: epub
Publisher: HarperCollins
Published: 2015-04-21T00:00:00+00:00

CHAPTER 21

THE DIARY

I never actually kept a diary. Crazy, right? I put out all of these songs about it, and even an album, but I never actually kept one for myself. The closest that I ever came to keeping one was my rhyme book. I wrote songs about what I saw and what I felt and just put everything that happened into my music. That’s where I wrote my life.

Till Death Do Us Part and The World Is Yours both went gold, but as much as I liked The World Is Yours (and as much as I didn’t fuck with Till Death Do Us Part), neither one had the same impact as We Can’t Be Stopped or Mr. Scarface Is Back. There was room to grow. It was 1994, and I was ready to get to work.

All I knew when we started recording The Diary was that I wanted to combine the hardness and the roughness of Mr. Scarface Is Back with the production that we’d figured out on The World Is Yours. That was it. We never went into an album with a plan. There was never a moment where we sat down and said, This album is going to be this, this, and this, and it’s going to fuck motherfuckers’ heads up for real! It was never like that with us. We just knew I was cold, N.O. Joe and Mike Dean and my uncle Eddie were cold, and all of the musicians that we brought in to work with us were bad motherfuckers. I’d get fucked up and record and see what came of it and then take that and see what we could do with it.

I had just bought my first house. I was twenty-three and it was over in a neighborhood called Woodlands. Real estate was still pretty inexpensive and I got a 3,500-square-foot house for around $200,000. This was before Woodlands took off. I ended up selling it a few years later for $400,000 and I hadn’t done shit to it but put a studio in it. Considering how much money I was able to make on that deal, I don’t know why I didn’t just go into real estate back then. The white folks that bought it off of me didn’t know shit about making music so it wasn’t like they were buying it for the studio and I still made some good bread.

Once I had the studio up and running, we started doing a lot of preproduction work there, and then we’d move over to Digital Services to record with John Moran. John’s worked with everyone from the Rolling Stones and the Talking Heads to ZZ Top, Willie Nelson, and INXS—you name it. We’d worked with him a lot on the early Rap-A-Lot stuff and he’s a fucking genius when it comes to mixing and mastering. He can get the most incredible sounds out of records, and I knew with him in our corner, the shit we were working on was going to be super tight.

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