Swizz took the lead on production for the first time since Flesh of My Flesh, Blood of My Blood back in 1998, an album some, including this writer, hail as DMX’s best. Or, he would say ‘Absolutely let's go.’ So the ones that you hear on the album, they're all the ‘absolutelys.’”
“So I took that role on and was like, ‘This person's ready to work, that person's ready. He didn't know how to ask somebody ‘Yo, can you do a song with me?’ It was so hard for him to ask for things for himself,” Swizz recalled. The reason why he didn't really have features was because X wasn't the person that asked people for things. “I this album should be more collaborative so he can embrace some more of his peers and people that have respect for him and other people could see that he's highly respected and loved, too. But according to Swizz, it was all by design. It’s true that there’s a feature on every single track, a first for a DMX album-and collaborators like Bono and new artists like Moneybagg Yo are, shall we say, a much more diverse array than DMX usually favored. And he did this project while he was living.” Every song on that album, he was here for, he approved, he spoke with the artists, he vibed with the artists.
“It’s been labeled as an album that's kind of been pieced together since he left,” Swizz told GQ. DMX began working on it after his Verzuz match with Snoop Dogg last year, and it was finished before he died. DMX’s eighth album will be released just over a month after he died in April, but his longtime collaborator, super-producer Swizz Beatz, is quick to correct any notion that it’s the product of stringing together loose verses and unfinished songs and corralling famous features to pad them out.
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