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The third verse is where you hear cracks in his composure, his frustrations with enemies in New York and in the record industry bleeding through. This is a necessity-JadaвЂ™s supposed to become the star-but it also serves the song. While вЂњMake ItвЂќ is staked largely on the chemistry between the two rappers, Styles P disappears for the songвЂ™s third verse. It is, like the best Lox music, both absurd and not, its cocaine measured on вЂњthe scales that they weigh the whales withвЂќ and its motivational maxims totally sincere. But the first two verses of вЂњMake ItвЂќ find Jada and P trading bars like always: about prototype Bugattis, about Cayman vacations, about the way JadaвЂ™s stash spot has the sort of security measures usually reserved for Scooby-Doo villain lairs (вЂњMy bathtub lift up, my walls do a 360 вЂ¦вЂќ). вЂњWe Gonna Make ItвЂќ was the lead single from Kiss Tha Game Goodbye, the album that was supposed to isolate Jada as the breakout solo act from the Lox, the Yonkers, New York, trio heвЂ™d founded with his childhood friends Styles P and Sheek Louch.

From that point, the song never stands still-it has the breathless momentum of the fleeing friend Jada instructs, at the end of its first verse, to pass him a dirty gun. The first three words hit with the kick drums.

YouвЂ™ll find people who argue for either PacвЂ™s opening ad-lib or the beginning of his verse proper on вЂњ Hit вЂ™Em UpвЂќ there are those who might take Chuck DвЂ™s вЂњI got a letter from the government, the other dayвЂќ from вЂњ Black Steel in the Hour of ChaosвЂќ or even Pimp CвЂ™s вЂњThe gameвЂ™s fucked up, I ainвЂ™t got no friendsвЂќ from вЂњ Akickdoe!вЂќ There are throw pillows embroidered with вЂњ It was all a dream.вЂќ But the most unforgettable opening of a rap song ever committed to wax is on that Alchemist-produced song, JadakissвЂ™s вЂњ We Gonna Make ItвЂќ: How Clipse and the Neptunes Made a Classic With вЂLord WillinвЂ™вЂ™ Kanye West Resurrected a Retired Rap Group. And yet this is one of those rare, serpentine industry tales where the beat ends up exactly where it should. There are innumerable versions of this story, where the beat eventually gets buried deep on an album by a rapper who has it foisted on them by an A&R, or another producer gets to the same sample while everyone is waiting around, shuffling buyout agreements. But when that LP got held up during the Priority-Capitol merger, Alchemist moved on-this led to a much-publicized feud between the two that was later papered over. (When the beat got passed to Millennium Thug, the producer backed out.) Ras Kass, who was working on what would have been his third album, the famously shelved Van Gogh, actually recorded to it. There was the session where he actually tracked it for Nas, who was then working on the QBвЂ™s Finest compilation, and led Alchemist to believe it would be one of his solo songs on that record. There was the time at Baseline when he played it for Jay-Z. But when Preemo gave the beat his highest compliment-вЂњYeah, I can rap to thisвЂќ-Alchemist knew it was time to shop it. So when DJ Premier dropped by to hear what the younger producer was working on, Alchemist wasnвЂ™t sure how the legend would react.

He didnвЂ™t think his flip was perfect: The handclaps heвЂ™d added werenвЂ™t exactly right. A little over 20 years ago, Alchemist, the Beverly HillsвЂ“bred producer who at that point was best known for his work with Dilated Peoples and Mobb Deep, began chopping up the break that comes three and a half minutes into a Samuel Jonathan Johnson song from 1978.

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