Tony Yayo
What’s your life like? Tony Yayo’s is real. G-Unit’s
incarcerated scarface, who’s bounced in and out of federal
penitentiaries during 50 Cent’s ascension to the top of the
pops, is real, like milk. And his debut album, undoubtedly the
most long coming and anticipated release from G-Unit, Thoughts
Of A Predicate Felon, bleeds this reality. “My album is all fact
no fiction,” says the 26 year-old Yayo, “Everything on there is
things I’ve done or seen—as a matter of fact, most of the album
was written in jail and that’s why the aggressive records are so
hard.” Replete with brooding, violent beats, courtesy of
super-producers like Dr. Dre, Eminem and Havoc of Mobb Deep, and
vicious punch lines, Thoughts promises to be G-Unit’s most
street release. “I been with 50 since day one, so I’ve studied
the way that he makes records,” he says, “So I know you gotta
make the club records and the records for girls, but I also know
that what makes G-Unit G-Unit is we make the best street records
in the industry.”
And no one is better equipped to feed the street than Yayo.
Since a young pup, he let the gun buck, and it was this reckless
abandon that attracted a teenaged 50 Cent to him back when they
ran the Southside of Queens. All it took was a chance encounter
on a Jamaica corner for the two to see their likeness in one
another. “50, he could see in me that I live, and we both rapped
too, so it was just a natural friendship,” says Yayo, who
idolized rap legends like Big Daddy Kane and Kool G Rap, “So we
started working together on the street and then when he started
taking rap more seriously he took me along too ‘cause he knew I
was nice.”
During the mid-nineties while 50 made inroads to the industry,
working with Jam Master Jay and then the Trackmasters, Yayo got
his rep up on the battle circuit bringing it to other Queens
rappers like local stars, the Lost Boyz.. “I was taking
everybody out back then,” he remembers. But just when 50 was
about make his leap to stardom he was gunned down with the
infamous 9 slugs. But the two, now joined by young boy Lloyd
Banks, turned the seeming tragedy to triumph. “As soon as 50
recovered we went to work on the mixtapes,” says Yayo who
loyally played his position despite the seemingly insurmountable
opposition against them, “and that’s when he created G-Unit.”
The trio went to war with the industry that was afraid to touch
them and recorded “Bad News”, Yayo’s first official vocal
appearance, and then went to work on 50 Cent Is The Future,
which secured Fif his fortuitous Shady/Aftermath deal. Yayo
stood out on the early mixtapes due to his unbridled energy and
laugh out loud punchlines, which anchored the nimble wordplay of
Banks and sing-songy fluidness of 50.
But during the summer of 2002, just when all the pieces were
coming into place, Yayo caught a gun charge in his Queens
neighborhood. Yayo threw caution to the wind and refused to turn
himself in, instead recording countless verses for G-Unit
mixtapes, as well as hitting the road with 50 on his fall tour.
He was able to fully establish himself as a primary member of
G-Unit, make a guest appearance on 50’s 11X platinum debut Get
Rich Or Die Tryin’, and develop close relationships with Eminem
and Dr. Dre. But, as he knew it would, Yayo’s charge caught up
with him in December of ’02 when 50’s entourage was detained by
the NYPD outside of the Copa Cabana nightclub.
“Doing that bid wasn’t easy, ‘cause I knew how crazy it was
getting on the outside,” says Yayo. He did his time and by early
2004 Yayo was back in society and ready to record.
“I have the most love for Banks and Buck, because they held
their albums so that they could make sure that I got a verse on
them,” he says, “I only got the one bonus cut off on the G-Unit
album and they knew it was important for me to get out there to
get the buzz going again.” In addition, Yayo made stellar guest
appearances on The Game’s triple platinum debut as well as 50’s
already 5 times platinum The Massacre. All the while, trapped
under ankle restraint parole, he crafted his album with the help
of G-Unit co-founder and executive producer Sha $XL, who fed him
strictly the hottest beats.
The result is a prototypical G-Unit album, with magnificent,
universal beats, and a balanced mix of records for b-boys,
d-boys and the ladies. “I’ve spent so long working with 50 at
this point that I’ve more or less learned how to make great
records, ‘cause he’s a master,” he says. And records like “So
Seductive,” which Yayo actually conceived and wrote on his own
before 50 added on his contribution, exemplify his dexterous
understanding of songwriting. “I did that record before 50 did
“Candy Shop” and that’s the reason that he said ‘so seductive’
at the beginning, ‘cause he thought my record was so crazy.” In
addition to the crossover smash, the album has street bangers
like “Homicide”, the Domingo produced murder rap which Yayo uses
to kick off the LP, and the clever “Tattle Teller,” an ode to
history’s most infamous snitches, as well slick ballads for that
special lady, like “I’m Curious” and “Project Princess”, which
showcase Yayo’s ability to step out of the street and into the
bedroom with comfort and ease, featuring R&B quartet Jagged Edge
and crooner Joe.
Thought of A Predicate Felon is a balanced and well-rounded LP,
if ever there was one. It clearly stands as a testament to Tony
Yayo’s versatility, and his ability to stand on his own
artistically. Though he receives helping hands from friends like
50 and Eminem, as well as Banks, Buck and Obie Trice (who,
incidentally, delivers an incredible verse on “Drama Setter”,
along side Yayo and Em) it is Yayo who shines throughout the
album with his playful punchlines (“Steven Segal, I used to love
his karate / But even he snitched on Peter Gotti”) and unmatched
charisma. Tony Yayo can’t be stopped. He’s been patiently
waiting, polishing his skills and preparing for fame and fortune
for so long that it is doubtful anything can slow his roll. Real
recognizes real, and Tony Yayo is the real talk of New York.
Braaa-ttttt!
Tony Yayo