It’s no secret that the fans are desperately seeking a sequel to Bad Meets Evil’s Hell: The Sequel, especially given that Eminem and Royce Da 5’9″ have been collaborating more than ever before. From 2018 till today, the pair have connected on “Caterpillar,” “Not Alike,” “You Gon’ Learn,” “Yah Yah,” and “I Will,” making these past two years their most fruitful era in a minute. 

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Lord knows it’s been long enough since the pair delivered their first and only album as a duo, with Hell: The Sequel having been released on June 11th, 2011. Now, with both parties sounding undeniably focused, it seems like the perfect time to begin planting the seeds for a reunion effort. Though the pandemic may have thrown a wrench in the best-laid plans of many-a-rapper, it seems as if Nickle has been building up a vault of instrumentals — including a few he’s already teased as possible Eminem joints.

Now, Royce has once again taken to the studio with one goal in mind: production. While some of his selections are undeniably left-field for the BME brand, every so often he seems to stumble upon a sample that would suit the macabre and playful direction they tend to take. “NOBODY else besides Dre understands Em creatively like myself,” captions Royce, alongside footage of his latest experiment. While it doesn’t appear to be a finished beat, the sample Royce has chosen certainly seems like something that would suit Em’s creepier side. Check it out for yourself below, and sound off — are you excited to see how Nickle might flip this one?

For those who don’t know, Royce Da 5’9″ has been steadily establishing himself as a producer in the game. Having been guided by the likes of DJ Premier and Denaun Porter, Royce has already proven to be a strong beatmaker in his own right, cleverly flipping samples and lacing the entirety of his latest album The Allegory. Since its release, Royce has been steadily building up his repertoire of instrumentals, including a two-pack reserved for himself and his “caucasian counterpart.”

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 Now, he’s back with another two-pack, this one inspired by a phone-call with the one and only Jazze Pha. “After our phone convo, I made these 2 @jazzepha,” captions Nickle, alongside a pair of snippets. “Send these or are they too hard? The shit you sent me is ridiculous.” The first is a laid-back and soulful instrumental, reminiscent of early DJ Premier in tonality and vibe. The second strikes a similar chord, with whimsical chime samples calling back to a nostalgic age of innocence.

It’s easy to imagine Royce himself putting in serious work on both of them, and fellow lyricists like Grafh and Sy Ari Da Kid came through to sing his praises. While it’s unclear as to who he’ll be sending these to, artists like Westside Gunn, Conway, and Benny The Butcher would sound right at home over something as smoothly flipped as these two. Big shout out to Nickle Nine for adding another talent to his repertoire — what do you think of his production so far?

Ever since Royce Da 5’9″ and Eminem renewed their creative partnership on 2011’s Bad Meets Evil album, fans have been excited to witness the follow-up — especially in a current climate, where both parties are firing on all artistic cylinders. It’s fair to say that both Music To Be Murdered By and The Allegory found both emcees in a heightened state, with Royce bringing a new weapon to the battle — his production.

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On that note, Nickle has been spending his quarantine hunkered down behind the boards, laying down a few beats as he plots his next move. For months now, the masses have been salivating at the thought of some new Bad Meets Evil, especially given that the past few years have seen them increasingly active. With both having recently dropped off solo albums, it seems as if a sequel to Hell: The Sequel is a logical step — especially if Royce decides to produce the bulk of the project, thus facilitating any back-and-forth that might otherwise stymie the workflow.

Today, Royce took to Instagram to preview a few of his latest instrumentals, coyly pondering which one to send to his “caucasian counterpart.” Naturally, both selections sit comfortably in Em’s stylistic wheelhouse — which is to say, uptempo dark bangers. While Royce did seem to outline a pick-one-or-the-other scenario, many were quick to counter with a well-meaning “can’t it be both?” Suffice it to say, the people are fiending for some new Bad Meets Evil. And let’s be honest, both beats would be swiftly decimated by the Detroit emcees. 

Eminem has been open about his past struggles with substance abuse but, for the last twelve years, he has been kind to himself, staying sober and celebrating his ability to remain clean every year on April 20.

Today marks the twelve-year anniversary of Eminem’s sober journey. The legendary rapper has come a long way from his old life. In the past, Em has admitted to struggling with pills and other drugs. He’s clean now though, living his best life and celebrating for us all to see.

This year, the Detroit rapper remained silent while his Bad Meets Evil co-star did all the talking for him. 

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Posting a photo of Eminem holding up his sober accomplishment chip, Royce Da 5’9″ corrected his ten-year achievement to twelve years and wrote a touching message on social media.

“And counting…. Proud of my brother,” wrote Royce on Instagram, sending a message to his frequent collaborator.

Congratulations to Eminem on such an important accomplishment in his life. Every day is tough but with his will power, he can get through the rest of his life without ever relapsing.

To celebrate, check out our new feature about the friendship that Em and Proof shared here. Also, read our new interview Skylar Grey, another one of Em’s friends, here.

When Eminem came through and dropped off Music To Be Murdered By in January, the legendary rapper connected with Royce Da 5’9″ and newcomer White Gold on the third track “You Gon’ Learn.” Now, as Royce continues his press run promoting The Allegory, he took a moment to explain how the track ultimately landed on Em’s album to begin with. As he tells it, it’s all thanks to White Gold.

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When Royce singles out White Gold, who happened to be rolling with him for the interview, the host praises the singer’s lofty placement. “He’s the reason why Em picked the beat,” explains Royce. “I played it for him and he really loved the hook. He was like ‘who is that on the hook?’ I told him it was my guy, and he was like that’s crazy. I think the hook is what made him like the beat. Then I rapped on it — I had to get on it. I rapped on it, he put his verse on it and did the arrangement, and the rest is history.”

A few weeks back, White Gold spoke about his experience landing a hook on Eminem’s Music To Be Murdered By, a revelation that came as a surprise for the 33-year-old New York songwriter. “It was for Royce initially,” he explained, speaking on the instrumental. “I think it was like six months later, Kino called me. He’s like, “Yeah, bro. Em heard it and was like, ‘Yo, I want the record and I want the dude that’s on there as the hook.’” And that was it. I had to keep the secret for six months or so, man.”

Check out Royce’s interview on Sirius XM, recorded prior to the COVID-19 outbreak that sent masses into states of self-isolation. Are you still listening to Music To Be Murdered By? And if so, where does “You Gon Learn” sit among your favorites?

Royce Da 5’9” has never been a stranger to self-expression. He famously scoured the darkest depths of his soul like Detroit’s Edgar Allan Poe on Death Is Certain. He penned his own autobiography sans filter on Book Of Ryan — an album many deem to be his masterpiece. Songs like “Tabernacle” and “Startercoat” are chapters of a living breathing story. He shares and he draws his own conclusions. It’s been that way for over two decades now, rising from the Rock City sewer smoke and wreaking havoc on “Game Radio FM.”

It shouldn’t be surprising that Royce decided to soundtrack his eighth studio album. Even if it meant taking up a trade and effectively starting on a blank slate. Royce is undisputedly one of the game’s lyrical elites; a one-percenter. In the production sphere he’s simply a dreamer looking to make an honest living. It serves to imbue his work with a charming sort of DIY ruggedness. Many samples are flipped and some arrangements are more intricate than others. Royce sets himself up to deliver a rapper’s album, unpretentious and economical. His efforts shine brightest on the hypnotic “Thou Shall” and the heavily Primo-inspired “I Play Forever.” For better or worse it never feels like he’s overthinking. Even when questionable choices are made there’s comfort in knowing that the one making them is doing so on his own accord.

Agency is a major theme across The Allegory. The willingness to control one’s own destiny and retain artistic freedom. As he explains on “Rhinestone Doo Rag,” he wore one so younger artists “won’t have to.” There’s an aura of triumph achieved through sacrifice, a process of trial and error that molded an eager student into a wizened teacher. Royce doesn’t deal in didacticism; his lessons are often left open to interpretation. Taking to a dissonant and feverish guitar loop on “Pendulum,” Royce fires off so many gems it’s impossible to unearth them all without repeat listens. Refreshingly embracing the comedic subgenre of “dad-rap,” Royce’s playful sense of humor never undercuts the impact of his insight. “Now, I’m falling in a downward spiral, my main ho is Bow Wow‘s side ho with “model” in the bio,” he laments. “I’m starting to sound dated, ‘Cause I ain’t paid attention to the climate since the Nae-Nae.”

As a craftsman, Royce’s confidence is at an all-time high. He’s proven time and again that his prowess is second to none. But The Allegory is not about putting on a masterclass in flow through select moments might suggest otherwise. “I Play Forever” is one of them, in which Royce connects with fellow veteran Grafh for a pair of murderous verses. “FUBU” is another, with Royce absolutely refusing to be outdone by Conway; no easy feat as doing so requires a Herculean performance. Despite these moments of technical brilliance, The Allegory is more so about the message Royce is looking to convey — either to the listener or to himself. In the introductory “Mr. Grace,” Royce likens the album to Plato’s “Allegory Of The Cave,” hinting at the album’s conceptual narrative; in its simplest interpretation, the idea of perception vs. reality. Perhaps Royce’s Allegory is not in itself an allegory to be unpacked, but rather a direct allusion to the ideas presented in Plato’s theory.

Through that lens, there are times where Royce knows exactly what lies behind the curtain. Or in keeping with Plato’s imagery, the tangible forms standing behind the row of ignorant prisoners. When speaking on topics like the nefarious elements of the record industry, Royce’s voice carries authority; there’s a reason he’s still thriving twenty-years down the line, the proud owner of his own masters and publishing. It’s all too easy to imagine nameless suits standing behind a row of young rappers making shadow puppets on the wall. Songs like “Tricked” and “Upside Down” find Royce seeking to expose the truth as he sees it. To unchain the proverbial prisoners and force them to address their status as pawns. The water darkens when he wades into topics on which his research process holds a confirmation bias. Much has been made of anti-vaxx sentiments and perhaps not enough has been made about the circumstances that might have led to such an empirically disprovable conclusion. Though it does feel like The Allegory has been designed to convert those willing to see the light, it also speaks to the fallibility of man on a variety of levels — alas, not all of them intentional.

This sort of complexity is a quality that Royce himself has experienced first hand, chiefly explored through his relationship with his father on “Hero.” A force can be at once destructive and inspirational, wrong in the name of righteousness. While The Allegory is not Royce’s best album, there’s a certain transcendental quality that cannot be denied. It’s certainly his most dense body of work; bars fly overhead packed with hidden meaning and double entendres, don’t even ask him how. Whether his messages land will depend wholly on the listener’s willingness to respect the source. Those expecting Royce to concoct something en vogue or trendy will leave disappointed. He’s earned the right to stay within his comfort zone — but damned if he hasn’t been steadily renovating it over the years. 

While it’s not uncommon to see Eminem ranked rather highly in matters of lyrical pedigree, those who value the artform know Royce Da 5’9″ isn’t far away. There’s a reason that Bad Meets Evil finds them operating on equal ground, the perfect counterpart to one another; both share a gleeful appreciation of gallows humor, a penchant for wordplay, and the ridiculous ability for seeking and destroying new pockets. Now, with 2020 bringing Eminem’s Music To Be Murdered By and Royce’s The Allegory so wonderfully into our lives, some circles have been debating as to whether Bad has surpassed Evil once and for all.

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Remember that this is hip-hop, and ranking things is simply par for the course. Seeing as both Eminem and Royce are battle-tested scholars of the Detroit rap scene, cutting their teeth in heated lyrical battles and furthering their own craft through healthy competition, it’s a fair question. After all, Em recently told KXNG Crooked that matching Royce is one of his main creative inspirations, high praise from a rapper who has seemingly mastered his domain. On the other side, Royce has been standing proudly beside Em for years, never failing to acknowledge his skill, passion, and ability to outshine even the deadliest emcees. 

If their recent records are any indication, both Bad and Evil alike are operating at a newfound level of confidence. While we patiently wait for a sequel to Hell: The Sequel, it seems like as good a time as any to test the waters. Should you count yourself a fan of Em and Royce’s movement, where do you stand? Insofar as mastery of the craft, which of the two is operating at a higher plane of existence? And remember – most importantly, that this is not meant to pit two friends against each other; it’s simply in the name of good fun and spirited competition.

With that in mind, are you riding for Nickle or Slim? Bad or Evil? The Allegory or Music To Be Murdered By?

Many fans were first introduced to the name White Gold this year, through his appearances on Eminem‘s Music To Be Murdered By and Royce Da 5’9’s The Allegory. For those keeping score, the Bronx songwriter appeared on Eminem’s Bad Meets Evil reunion “You Gon’ Learn” as well as Royce’s “Black Savage” and “Hero. But questions remained as to how a 33-year-old New York vocalist ended up connecting with one of hip-hop’s most respected lyrical duos. Thanks to some groundwork from GENIUS, the inspirational story has begun to unfold. 

As White Gold (real name Bobby Yewah) tells it, his lofty features were ultimately arranged by Royce’s longtime manager Kino. That’s not to say he wasn’t a player before — he apparently scored production placements for Cam’ron, Joe Budden, Kevin Gates, and Pusha — but those came before his rebrand as a vocalist. “I got involved with [Bad Meets Evil] through Royce’s manager Kino,” Gold tells Genius. “He hit me one day, and was like, “Yo, I heard a song that you did. Would you want to work with Royce?” 

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After a few studio sessions with Royce, the pair ended up developing the skeleton of “You Gon Learn.” “It was for Royce initially,” he reveals. “I think it was like six months later, Kino called me. He’s like, “Yeah, bro. Em heard it and was like, ‘Yo, I want the record and I want the dude that’s on there as the hook.’” And that was it. I had to keep the secret for six months or so, man.”

He also breaks down Royce’s “Hero,” explaining that Nickle originally wrote the song as a counterpart to Book Of Ryan highlight “Cocaine.” “He’s like, ‘Yeah, this is basically me making up for the collateral damage that came with ‘Cocaine,'” explains Gold. “He didn’t want his dad to feel like he was putting him down…Now, him going through whatever he has gone through with his sobriety and everything like that, he can see how flawed people are still just that, people.”

Check out the full interview right here. To those of you who discovered the singer-songwriter through Em and Royce’s albums, will you be putting White Gold on your radar? 

Royce Da 5’9″ has been one of hip-hop’s most astute lyricists. Whether looking inwardly at his own personal story or observing the antics of the game at large, few can rival the penmanship of the Detroit legend. In 2018, he dropped off Book Of Ryan, which he deemed his most important album yet during our last conversation. A highly personal and occasionally painful reflection of self, lined with detail and beautifully rendered memory fragments, Royce’s opus felt like a breakthrough.

Following Book Of Ryan’s release, Royce returned to his traditional habitat: the studio. Only this time, he was in the process of developing a new craft. After over two decades of rapping, Nickle was ready to produce, following the tutelage of trusted collaborators Mr. Porter, Six July, and DJ Premier. Though I didn’t know it at the time of this conversation, he was already putting in work on The Allegory, a project he’ll be producing in entirety.

At the time, however, the focus of our conversation remained on the past; specifically, his involvement in contributing Dr. Dre‘s 2001, for an extensive deep dive into that album’s twentieth anniversary. Naturally, the conversation shifted to his own storied career, and we explored topics like Book Of Ryan’s creation process, his relationship with Death Is Certain, and the potential for some new Bad Meets Evil music. Check it out below. 

This interview was conducted over the phone in early November 2019, prior to the announcement of Royce’s upcoming album The Allegory. Should you be interested in hearing more from Royce Da 5’9″, including his a detailed insight into his experience working with Dr. Dre, click here. 

Image Tremaine Edwards @ Kardiak Films 

 You recently dropped a phenomenal album in Book Of Ryan. I’ve been listening to your music since the days you were working with Pharrell. Hearing this level of honesty and the fact that it came over a decade down the line…I felt that was very interesting. Did you ever consider writing an actual book?

I had a lot of people ask me that after that album. I was talking to a couple of guys, I didn’t think about it before that. I’m pretty much open to anything as long as I feel it could be good, that it could be a great contribution. It’d have to be at a time I could really concentrate and put all my energy and effort into it. I’m definitely considering it for sure.

I keep circling back to your song “Power.” That song is like a novel in the way it plays out. It must have been an intense one to write, especially with that darker instrumental. Were you nervous to make that track and show it with the people involved in the story itself? 

You know what, I put a lot of energy and effort into the whole album thinking about that. I changed things a bunch of times in a bunch of different ways. I didn’t look at it as finished until I felt in my heart-of-hearts that everybody was fairly portrayed. Nobody would take anything as disrespect. My family, we good, man. We all love each other. 

People had stuff to say [laughs] but that’s every black family. When you air out other people’s stuff, even though it’s your stuff you’re talking about, it’s going to affect them in some way. The good thing about it is that black people aren’t accustomed to therapy. We never grew up looking at it as an option for us. Horrible at communication. Suppressed feelings are a common thing in our community. This was a good opportunity to open up a narrative that was probably necessary.

LISTEN: Royce Da 5’9″ – “Power”

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Are you somebody who enjoys revisiting your older music at all?

I’m actually the opposite. When I’m listening to it, it’s hard to enjoy it without busting it down, breaking it down. Damn, I could have done this better. I could have done this different. I’m analyzing all the time. My second time Death Is Certain, I can’t listen to that at all. It takes me back to a dark place and a dark time. 

I know a lot of people, myself included, would call that a classic album. Is it frustrating hearing something that came from a place of such pain and darkness become so revered? 

Nah, it’s not frustrating. It’s more telling than anything. I like the fact that album happened. It taught me a lot about the creative process. I had no choice but to be honest. I didn’t go into that album the way I go into albums now, where I know exactly what I need to be doing as an artist. I know not to reach for anything, to just be myself. To be honest and be transparent, that’s what I like to do. That’s what I feel will resonate the best.

That’s what I did with Death Is Certain, but I didn’t plan to. It was like I was stuck in that mode. I was going through so much. We actually did that album, me and Six July, we did that album in like two weeks. Six of those songs I did within the first couple of days. That was the first batch of beats he played me. I remember they went to the titty bar, and I was just writing all of them. Knocking them down real quick. It was like, so much on my mind, I don’t even think I was focused on being super lyrical. [laughs] I was just spilling. Just spilling shit. And I was super drunk. 

For the album to have that type of reaction, to resonate with people like that…It just gave me an idea– when we come in the game, everything is trial and error. It’s going to be from making mistakes. Death Is Certain was a situation where I learned from something that was successful. Most of the shit I know now, I learned from making mistakes. Most of my valuable lessons came from making mistakes.

How do you follow up on an album like Book Of Ryan? You’ve opened up so much, told so many chapters of your story. Are there still untold stories?

I never know how my memory is going to work. I’m the type of person to be sitting at a computer and have an odd, bizarre memory pop into my head that I haven’t had since I was a child. If there’s ever anything worthy of writing about or sharing with people, I don’t hesitate. I spend most of my time in the studio anyway. I try not to do too much of that type of thinking, like how do I try to follow up Book Of Ryan. I try not to get in my own head like that. 

Fair enough. 

I like to think I got everything out that I wanted to get out, in terms of myself. The way I was brought up, my whole personal story. You’d hope to nail that if you’re going to go there. Shit, hopefully I won’t even feel the need to get personal no more! Hopefully, you can get everything you need about me from that album if I hit my mark. That was the plan.

I like to move away from the very personal stuff. It’s a good time for me to start being a little bit more informative. Start thinking about the next generation of artists. About things that bother me, things I’m happy about. Things going on in the world. Being a bit more responsible. It’s a time in music, and for anybody with a platform, to be cognisant about being responsible right now. 

Our culture– black people– we have an information problem. There’s a disconnect. There’s a lot of things we all don’t know, especially coming into the music business. People basically monetize off your ignorance, your lack of knowledge. The cycle will continue to repeat itself if the OGs and the people in the know don’t start sharing information. I feel that’s very important right now. That’s where I’ve been mentally.

I’m looking forward to it. I’m always eager to hear new music from you! On that note, it’s safe to say the people are fiending for some new Bad Meets Evil, just going to throw that out there…

[Laughs] Yeah, that’s always fun to do man. I love working with Marshall. He’s just funny. Cool as hell and we always have a great time. Marshall and Preem, those two dudes, I’ll drop whatever I’m doing within reason to get in there with them. It’s always a good time, and we always come up with something. Everybody can’t collaborate. When you genuinely like somebody, it’s way easier. 

Usually, we can come up with something that people really like. I’ve worked with a lot of producers but when I get with Primo, people really seem to like it when I link with him. There’s something about that dynamic. I think the reason why is because the music is a reflection of the vibe, and the vibe is always great.

Especially with you and Em, there’s this mischevious energy. One of my favorite tracks from you guys is “All I Think About.” A great display of your chemistry, hilarious, so many bars. 

We was in there cracking up laughing doing that song. We challenge each other with the back and forth shit. He’ll go in, do a certain amount of bars, and stop. We try to finish connecting each other’s syllables to continue the scheme. You know Marshall — not only is he rhyming the ending syllable of the sentences, he’s rhyming every syllable during the sentence too. Whole lines sound identical to each other. 

You’re just as nice though. You said “sit the fuck down and have some babies” on that track.

[Laughs] Aw man, that’s funny. Yeah buddy!