Stankonia represented a wild time for us. We were coming into 1999 and we thought the world was going to end, so we were like, ‘Fuck it…we are going all out!’ You can hear that on “B.O.B.” The first time I heard that track, it made me feel a certain way. It’s unexplainable. The time changes in the song sent shivers through me; it made me feel invincible. "B.O.B.” is that shit that just recharges you; shocks the shit out of your ass. When that song comes on it’s like, ‘Clear!!!’
By Stankonia we had defined our individual styles. You can hear more of a melodic aspect on the songs. I’ve always been incorporating singing into my rhymes ever since “Elevators.” But Dre wanted to take it a step further. He wanted to experiment more with the melodies. It just added another element to the music to where people started saying Dre is singing more and Big is rhyming crazy. Verse wise, I just wanted to be devastating on the mic. When I picked up the microphone, I wanted niggas to know I was the boogeyman [laughs]. I’m a true MC at heart. And Dre? You can’t fuck with him on the mic.
Still, it was important to get other talented [voices] involved. The guys I was bringing in were the people I was cool with. We couldn’t listen to a whole album with just my voice and Dre’s voice. So, instead of going out and getting whoever was hot to jump on a song, we got some niggas who was right around the way that was busting. Niggas around my way can rhyme. That’s where the Killer Mike’s and Slim Calhoun’s come from. Outkast, Goodie Mob, Witchdoctor and Cool Breeze were not the only MC’s that had talent. To me, we were all a part of the whole southern movement. Just letting other regions know, ‘Okay, these boys’ lyrical ability is off the chart and they are serious about what they are rapping about.’