I think I split it up between four to eight pads and then I would blaze that sound through the track, through the verse. I remember real hectic, small, two-second chops that I fired up. “I basically chopped that up on the MPC 2000XL. There was a little sample issue there because I only cleared Margie Joseph’s ‘Stop In the Name of Love’ and didn’t realize are two separate pieces of work. If you have the vinyl of that song, the interlude before the actual ‘Stop In the Name of Love’ is where I got all the talking skits from. I basically took small pieces that nobody’s really messed with before. “First of all, probably one of the most incredible samples ever: Margie Joseph’s ‘Stop In the Name of Love.’ I’ve sampled it a good three to four times myself. "Luckily, I didn’t get too frustrated by it and just kept grinding.” It got to a point where I was like, ‘Yo, what the hell? Nobody’s showing me love on this.’ All the magazines were crediting Cool and Dre. StreetRunner was buzzing in the streets ’cause I was doing mixtape stuff with different guys in New York, but I wasn’t buzzing in the mainstream. People really didn’t know that I produced it.
“It was super dope to have a single but I was kinda in the shadows when it came to the credits. After the introduction with Joe, I met Khaled that same night and he invited me to his studio the next day. “Basically, Mike introduced me to Fat Joe on the spot and he was like, ‘ This is the man who produced "Take Me Home" for you.' And Joe really didn’t know Cool and Dre handed him the track and I don’t think he really cared, he just wanted a hot beat.
Come to the club right now and I’ll introduce you.’ That was probably the most important introduction of my career. Make sure StreetRunner does not get rid of this beat.’ In December or January, my mans Mike hit me up and was like, ‘Yo, you want to meet Fat Joe? He’s fucking with your track. “I wanna say within two weeks to a month, was like, ‘Yo, something big’s going to happen with this song.
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