“[Why didn’t this album do better?] I think it was a number of things. First off, it was the first album where my A&R didn’t help me. They were really busy with the LSG album, but yet they were sticking me to a timetable. I was kinda just out there recording and spending all of the money. Then the A&R people got involved and they told me, ‘Okay, this song is hot, that song is hot, let’s not put this song on the album.’ By that time I was emotionally invested and my ego was flaring like, ‘I dare you not to be here for the production of this album and now you want to cut songs from it?’ It just felt like the ultimate diss. So I stuck to my guns and paid the cost because there were 21 songs on the record. And there didn’t need to be 21 damn songs on the record.
When an album comes out you need to be in the place where you are from. And I needed to be in the United States. But when Seven & Seven came out, during the first month of its release I was in Europe doing a tour. Once I got back, the president of the record label was like, ‘Well, the streets are saying that we need to go back in. And I’m like, ‘The streets???’ By then I had already had ‘Keep On…’ and ‘Cold Rock A Party.’ I’m like, ‘Why are you playing with me?’ I could have done a B-side for the streets but we already had bonafied songs for that record. They wanted me to go in and start a new album. At that point I was just tired.
I had already been approached by Will Smith and his record label that if there was an opening of any sorts and if I wanted to join the Overbrook team I could. So I asked for a release. I was ready to give it a go. I had been there for 13-14 years of my career. It was time for me to go out and do something different.”