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Money, Power & Respect
View on Wikipediafrom Wikipedia
| Money, Power & Respect | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | January 13, 1998 | |||
| Genre | Hip hop | |||
| Length | 67:21 | |||
| Label | ||||
| Producer |
| |||
| The Lox chronology | ||||
| ||||
| Singles from Money, Power & Respect | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
| Entertainment Weekly | A−[2] |
| RapReviews | 7/10[3] |
| The Source |  [4] |
| Spin | 4/10[5] |
Money, Power & Respect is the debut album by hip hop group the Lox. It was released on January 13, 1998, through Sean "Puffy" Combs's Bad Boy Records and Arista Records. The album featured production from the Hitmen, Dame Grease and Swizz Beatz. The album found huge success, peaking at number three on the US Billboard 200 and number one on the Top R&B/Hip-Hop Albums, and spawned two charting singles, "Money, Power & Respect" and "If You Think I'm Jiggy". In 2008, the title track was ranked number 53 on Vh1's 100 Greatest Songs of Hip Hop.
Commercial performance
[edit]Money, Power & Respect debuted and peaked at number 3 on the Billboard 200, selling over 110,000 copies in the first week.[6] The album has since been certified Platinum by the Recording Industry Association of America (RIAA) for shipping and selling over 1,000,000 copies in America.[7] To date, it is the Lox' best selling album.
Track listing
[edit]Credits adapted from the album's liner notes.[8]
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "Yonkers Tale" (Intro) | 1:45 | ||
| 2. | "Livin' the Life" | 3:36 | ||
| 3. | "If You Think I'm Jiggy" |
| Dame Grease | 4:40 |
| 4. | "The Interview, Pt. 1" (Interlude) |
| 0:39 | |
| 5. | "Money, Power & Respect" (featuring DMX and Lil' Kim) |
|
| 4:35 |
| 6. | "Get This $" (featuring Puff Daddy) |
|
| 3:58 |
| 7. | "Let's Start Rap Over" (featuring Carl Thomas) |
|
| 4:28 |
| 8. | "Mad Rapper" (Interlude) |
| 1:15 | |
| 9. | "I Wanna Thank You" (featuring Kelly Price) |
| Nashiem Myrick | 4:02 |
| 10. | "Goin' Be Some Shit" (Sheek Louch solo) |
|
| 4:20 |
| 11. | "The Heist, Pt. 1" |
|
| 2:51 |
| 12. | "Not to Be Fucked With" (Styles P solo) |
|
| 4:23 |
| 13. | "The Set-Up" (Interlude) |
| 0:48 | |
| 14. | "Bitches from Eastwick" |
|
| 4:13 |
| 15. | "Can't Stop, Won't Stop" (featuring Puff Daddy) |
|
| 3:38 |
| 16. | "All for the Love" (Jadakiss solo) |
| Swis-Beatz | 3:33 |
| 17. | "So Right" (featuring Kelly Price) |
|
| 3:30 |
| 18. | "The Snitch" (Interlude) |
| 1:31 | |
| 19. | "Everybody Wanna Rat" |
|
| 4:17 |
| 20. | "The Interview, Pt. 2" (Interlude) |
| 0:14 | |
| 21. | "We'll Always Love Big Poppa" |
| Dame Grease | 5:00 |
• (co.) Co-producer
Sample credits[8]
- "If You Think I'm Jiggy" contains samples from "A Real Mutha for Ya", "Nothing Left to be Desired" by Johnny "Guitar" Watson, and interpolates "Da Ya Think I'm Sexy?" by Rod Stewart.
- "Money, Power & Respect" contains a sample from "New Beginning" by Dexter Wansel
- "Get This $" contains samples from "It’s Your Thing" by Lou Donaldson, "The What" by the Notorious B.I.G., and "It's Your Thing" by the Isley Brothers.
- "Let's Start Rap Over" contains a sample from "Let’s Start Love Over" by Miles Jaye. Written by Micheal Claxton
- "I Wanna Thank You" contains samples from "Yesterday Princess" by Stanley Clarke, "Heavenly Father" by Fu-Schnickens, and "I Want to Thank You" by Alicia Myers
- "Goin' Be Some Shit" contains samples from "Shut the Eff Up Hoe" by MC Lyte, and "Cardova" by the Meters.
- "The Heist, Pt. 1" contains samples from "T.L.C." by Average White Band, and "Long Red" by Mountain.
- "Bitches from Eastwick" contains samples from "Ike’s Mood I/You've Lost That Lovin' Feelin'" by Isaac Hayes, and "Mean Women" by Dap Sugar Willie.
- "Can't Stop, Won't Stop" contains samples from "Spoonin’ Rap" by Spoonie Gee, and "You Can't Stop the Reign" by Shaquille O'Neal.
- "So Right" contains samples from "Encore" by Cheryl Lynn.
Personnel
[edit]- Charles "Prince Charles" Alexander - Mixing
- Deric "D-Dot" Angelettie - Audio Production, Composer, Executive Producer
- Camilo Argumedes - Assistant Engineer
- Carlos "6 July" Broady - Composer, Producer
- Bob Brockman - Mixing
- Rob Carter - Producer
- Sean "Puffy" Combs - Audio Production, Composer, Executive Producer
- Lane Craven - Mixing
- Dame Grease - Audio Production, Keyboards, Producer
- Stephen Dent - Engineer, Mixing
- DMX - Additional Personnel, Featured Artist, Guest Artist, Rap
- John Eaton - Engineer
- Jay Garfield - Producer
- Rasheed Goodlowe - Engineer
- Terri Haskins - Art Direction
- Daniel Hastings - Photography
- Cheryl Jacobsen - Group Member
- Jadakiss - Member of Attributed Artist, Rap
- Steve Jones - Assistant Engineer, Engineer
- S. Jordan - Composer
- Ron Lawrence - Producer
- Jimmie Lee - Engineer
- Lil' Kim - Additional Personnel, Featured Artist, Guest Artist, Rap
- The Lox - Primary Artist, Producer
- Gregg Mann - Engineer
- Tony Maserati - Engineer, Mixing
- Damaris Mercado - Design
- John Meredith - Engineer, Unknown Contributor Role
- Lynn Montrose - Assistant Engineer
- Nasheim Myrick - Audio Production, Composer, Producer
- Michael Patterson - Engineer, Mixing
- Pent P.K. - Producer
- Jayson Phillips - Composer, Group Member
- Herb Powers - Mastering
- Kelly Price - Additional Personnel, Featured Artist, Guest Artist, Vocals
- Puff Daddy - Additional Personnel, Featured Artist, Guest Artist, Rap
- Sheek Louch - Member of Attributed Artist, Rap
- Styles P - Member of Attributed Artist, Rap
- David Styles - Composer, Group Member
- Swizz Beatz - Audio Production
- Carl Thomas - Additional Personnel, Featured Artist, Guest Artist, Rap
- Chucky Thompson - Producer, Vocals (Background)
- Barry White - Grooming
- Rob Williams - Engineer
- Doug Wilson - Engineer
- Young Lord - Producer
- Micheal Claxton - Writer "Let's Start Rap Over"
Charts
[edit]
Weekly charts[edit]
|
Year-end charts[edit]
|
Certifications
[edit]| Region | Certification | Certified units/sales |
|---|---|---|
| Canada (Music Canada)[16] | Gold | 50,000^ |
| United States (RIAA)[17] | Platinum | 1,000,000^ |
|
^ Shipments figures based on certification alone. | ||
See also
[edit]References
[edit]- ^ Erlewine, Stephen Thomas (January 13, 1998). "Money, Power & Respect - The LOX | Songs, Reviews, Credits, Awards". AllMusic. Retrieved March 27, 2014.
- ^ Mukherjee, Tiarra (February 13, 1998). "Entertainment Weekly Review". Archived from the original on January 1, 2018. Retrieved May 15, 2025.
- ^ Jost, Matt (June 2, 2009). "The LOX' "Money, Power & Respect"". RapReviews. Retrieved January 1, 2018.
- ^ Wilson, Elliott (March 1998). "The LOX – Money, Power & Respect". Record Report. The Source. No. 102. New York. pp. 187–188.
- ^ Frere-Jones, Sasha (April 1998). "Mama Said Knock You Out". Spin. New York. p. 123. Retrieved May 16, 2025 – via Google Books.
- ^ "Chart Watch: Unsinkable Titanic Cruises Past The Lox". MTV.Com. January 21, 1998. Archived from the original on August 19, 2023. Retrieved March 26, 2024.
- ^ "Gold & Platinum: LOX, The". Recording Industry Association of America. Retrieved December 5, 2012.
- ^ a b Money, Power & Respect (booklet). Bad Boy, Arista. 1998.
- ^ "Money, Power & Respect - The LOX | Credits". AllMusic. January 13, 1998. Retrieved March 27, 2014.
- ^ "The Lox Chart History (Canadian Albums)". Billboard. Retrieved December 27, 2013.
- ^ "Top 10 R&B Albums". The Gazette. January 29, 1998. p. C5 – via Newspapers.com.
- ^ "The Lox Chart History (Billboard 200)". Billboard. Retrieved September 18, 2013.
- ^ "The Lox Chart History (Top R&B/Hip-Hop Albums)". Billboard. Retrieved September 19, 2013.
- ^ "Top Billboard 200 Albums – Year-End 1998". Billboard. Retrieved April 14, 2021.
- ^ "Top R&B/Hip-Hop Albums – Year-End 1998". Billboard. Retrieved April 14, 2021.
- ^ "Canadian album certifications – The Lox – Money, Power & Respect". Music Canada.
- ^ "American album certifications – The Lox – Money, Power". Recording Industry Association of America.
Money, Power & Respect
View on Grokipediafrom Grokipedia
Background
Group history
The Lox, an American hip-hop trio, formed in 1994 in Yonkers, New York, consisting of rappers Jadakiss (born Jason Phillips), Styles P (born David Styles), and Sheek Louch (born Sean Jacobs).[8] The group originated as childhood friends who came together during their high school years, initially operating under the name The Bomb Squad to reflect their explosive style and local ambitions.[9] They began honing their craft through informal recordings and performances on the local circuit, building a grassroots following amid the gritty rap scene of mid-1990s Yonkers.[9] In their early days, The Lox—still known as The Bomb Squad—gained traction through raw, street-oriented demos that captured the realities of their environment, eventually rebranding to The Warlox before settling on their final name.[10] Their breakthrough came when they were discovered by Mary J. Blige during one of her tours, who was impressed by their demo and passed it to Sean "Puffy" Combs, leading to their signing with Bad Boy Records in 1996.[8] This deal marked their entry into the major label world, where they quickly contributed to high-profile projects, including a feature on Blige's 1997 track "Can't Get You Off My Mind" from her album Share My World.[11] These foundational experiences solidified The Lox's reputation for authentic East Coast lyricism, setting the stage for their transition toward developing their debut album.[10]Album development
Following the murder of The Notorious B.I.G. on March 9, 1997, which intensified East Coast hip-hop rivalries and left a void in Bad Boy Records' roster, The Lox decided to accelerate plans for their debut album as a means to honor their mentor and assert their place in the evolving landscape.[12][13] Bad Boy's prevailing "shiny suit" aesthetic, epitomized by Puff Daddy's glossy, party-oriented productions on the 1997 album No Way Out, clashed with The Lox's gritty, Yonkers-rooted street narratives, yet Puff Daddy insisted on infusing commercial polish to broaden their appeal beyond underground circuits.[12][13] Early songwriting sessions, beginning shortly after their 1996 signing, focused on reinforcing group unity through interlocking verses while exploring core themes of street survival, ascending success, and unwavering loyalty to peers and origins.[13] Development commenced in mid-1997, leveraging Bad Boy's promotional momentum from hits like the remix of "It's All About the Benjamins," with the project budgeted under the label's standard advances for emerging acts and slated for a January 13, 1998 release to sustain the company's post-Biggie commercial surge.[12][13]Production
Recording sessions
The recording sessions for The Lox's debut album Money, Power & Respect primarily took place at The Hit Factory, Daddy's House Recording Studio, Sony Music Studios, and Chung King Studios in New York City, spanning from August 1996 to June 1997 ahead of the album's January 13, 1998 release.[1][14] These sessions extended over approximately ten months, characterized by intense, collaborative group efforts among Jadakiss, Styles P, and Sheek Louch to foster cohesion and capture their longstanding chemistry from Yonkers.[12] The group navigated significant challenges, including the tension between Bad Boy Records' commercial pop-rap directives—epitomized by Puff Daddy's promotion of the shiny suit aesthetic—and The Lox's raw, gritty street-oriented approach.[12] Integrating guest features from artists like DMX and Lil' Kim added further logistical complexities, requiring coordinated scheduling and tonal alignment to fit the album's vision.[12] The technical setup involved heavy sampling and early digital recording techniques prevalent in mid-1990s hip-hop production. Producers like D-Dot and Puff Daddy guided much of the process at these studios.[15]Producers and collaborators
The production of Money, Power & Respect was primarily handled by The Hitmen, a collective of producers assembled by Sean "Puffy" Combs for Bad Boy Records, who crafted the majority of the album's beats with a signature polished, sample-heavy sound that defined the label's late-1990s aesthetic.[16] Key members of The Hitmen involved included Deric "D-Dot" Angelettie and Ron "Amen-Ra" Lawrence, who together produced tracks like the title song, incorporating orchestral samples and hard-hitting drums to complement The LOX's gritty delivery.[17] Angelettie also served as associate executive producer, overseeing much of the creative direction alongside Combs.[17] Sean Combs acted as the album's executive producer, guiding the overall vision and ensuring a cohesive, radio-ready polish across the project, which emphasized luxurious beats built on soul and funk samples to elevate the group's street narratives.[17][18] Other contributors included Dame Grease and Swizz Beatz, who produced select tracks such as "If You Think I'm Jiggy" and "Feel Like I'm On," respectively, adding variety to the production.[1] Featured artists brought additional star power to the album, most notably DMX and Lil' Kim on the lead single "Money, Power & Respect," where DMX delivered a raw verse and Lil' Kim handled the chorus hook, amplifying the track's anthemic appeal.[17] Additional guests included Diddy on interludes and hooks, Kelly Price on "We'll Always Love Big Poppa," and Carl Thomas on "Don't Wanna Be Afraid," enhancing the album's collaborative Bad Boy family vibe.[3] Engineering efforts were led by mix engineers such as Prince Charles Alexander, who handled initial mixing for several tracks at The Hit Factory, ensuring clarity in the dense production layers, while other personnel contributed to recording and additional production duties.[17][3]Composition
Musical elements
Money, Power & Respect embodies the hardcore East Coast hip-hop sound of the late 1990s, characterized by gritty boom-bap drum patterns and dense soul sampling that grounds its street-oriented aesthetic. The album blends this raw hip-hop foundation with polished R&B influences typical of Bad Boy Records' production ethos, creating a hybrid style that balances underground aggression with commercial accessibility.[19][18] Central to the album's sonic palette are key production techniques rooted in heavy sampling from 1970s funk and soul records, which impart a nostalgic yet opulent texture. For instance, the track "Bitches From Eastwick" draws from Isaac Hayes' "Ike's Mood I," incorporating its smooth, emotive horns to build atmospheric depth. Layered strings and orchestral elements further enhance this luxurious feel, evoking a sense of grandeur amid the hard-hitting beats, as seen in cinematic arrangements that underscore the group's dynamic flows. Producers like The Hitmen employed these methods to craft spacious, dramatic soundscapes.[18] Most tracks adhere to a concise structure, averaging approximately 3 to 4 minutes in length, with prominent hooks engineered for radio rotation under Sean "Puffy" Combs' oversight. This format features tight verse-chorus progressions supported by well-timed percussion and melodic interpolations, ensuring replay value while maintaining the album's cohesive energy across its 21 songs.[16]Lyrical themes
The lyrics of Money, Power & Respect revolve around the central themes of pursuing wealth, attaining street credibility, and earning interpersonal respect, as encapsulated in the album's title track where Lil' Kim declares, "See, I believe in money, power and respect / First you get the money / Then you get the muthafuckin' power / After you get the fuckin' power / Muthafuckas will respect you."[20] These motifs underscore a hierarchical worldview in street culture, where financial success enables dominance and validation from peers.[13] The interplay among group members Jadakiss, Styles P, and Sheek Louch highlights their distinct lyrical styles, contributing to a cohesive yet varied narrative voice. Jadakiss often employs charismatic, confident delivery to assert dominance, as seen in his verse on the title track: "Fear no one, kick rhymes like shoguns / You see I make it hot like a jalapeno / Then I make it cold like a New York winter."[20] Styles P brings aggression and raw intensity, evident in lines emphasizing retaliation and survival, such as "You'll do yourself twenty-five with no out-come / But you'll live to tell if you shot his gunman."[20] Sheek Louch excels in storytelling, weaving personal anecdotes into broader tales of ambition, like his narrative in "Bitches From Eastwick" about deceptive schemes in everyday hustles.[13] Social commentary permeates the album, referencing the hardships of Yonkers' north side—the group's hometown—through skits and verses that depict a self-contained world of poverty and quick access to urban boroughs, as introduced in "Yonkers Tale [Intro]": "This is the north part of Yonkers, their home / A whole world unto itself / You could get to any borough in thirty minutes from here."[21] Tracks like "Everybody Wanna Rat" critique snitching as a betrayal of loyalty amid hip-hop rivalries, positioning it as a corrosive force in street and industry dynamics.[13] Additionally, the lyrics offer a nuanced critique of materialism, prioritizing respect over mere accumulation, as Sheek Louch raps in "I Wanna Thank You": "Money’ll never amount to respect, B."[13] Notable lyrics from the title track further emphasize street hierarchy, with Styles P's verse illustrating the progression from risk to reward: "Twenty five thousand a piece, fuck streets / Tryin' to own the island / Forget about wildin'."[20] This progression reflects the album's overarching narrative of navigating power structures through calculated moves, blending bravado with cautionary undertones.[20]Singles and promotion
Released singles
The LOX released "If You Think I'm Jiggy" as the lead single from their debut album Money, Power & Respect on January 6, 1998. Produced by Dame Grease, the track peaked at number 30 on the Billboard Hot 100 chart upon its entry on February 7, 1998, and also reached number 21 on the Hot R&B/Hip-Hop Songs chart.[22][23] A remix version, featuring additional production elements, was included on various single releases to appeal to broader audiences.[24] The title track, "Money, Power & Respect" featuring DMX and Lil' Kim, served as the second single and was released on March 17, 1998. Produced by D-Dot and Amen-Ra of the Hitmen, it achieved greater commercial success, debuting on the Billboard Hot 100 on April 4, 1998, and peaking at number 17 while topping the Hot Rap Songs chart.[22][25] The song's gritty narrative on street ambition resonated widely, contributing to its gold certification by the RIAA on April 28, 1998, and later platinum certification on September 18, 2024.[6] Both singles were distributed in multiple formats, including CD maxi-singles, cassettes, and 12-inch vinyl records, often featuring instrumental versions, clean edits, and remix B-sides to support radio play and club rotations.[26][27] These releases helped propel the album's visibility ahead of its January 13, 1998, street date.[28]Promotional activities
The Lox's debut album Money, Power & Respect was released on January 13, 1998, through Bad Boy Records and Arista Records.[29] Promotional efforts included the group's integration into Puff Daddy's No Way Out Tour, which began in early 1998 and featured performances of key tracks from the album alongside Bad Boy labelmates such as Lil' Kim, Mase, Busta Rhymes, and 112.[30] The tour served as a major platform for the Lox to showcase their material live, emphasizing their role within the Bad Boy "family" collective.[31] Media appearances supported single promotions, with the group performing tracks like "Money, Power & Respect" at events including the 1998 NBA All-Star Weekend in New York.[32] They also featured on television programs such as The Keenan Ivory Wayans Show in February 1998, where they joined Puff Daddy and Lil' Kim for live renditions tied to Bad Boy releases.[33] Merchandising efforts by Bad Boy Records included branded apparel reflecting the album's themes of luxury and street success, such as tour shirts and promotional T-shirts featuring the Lox and the Money, Power & Respect artwork from the late 1990s.[34]Commercial performance
Chart performance
Money, Power & Respect achieved significant commercial success upon its release, debuting strongly on major music charts and demonstrating the group's appeal within the hip-hop landscape. The album entered the US Billboard 200 at number 3 on January 31, 1998, driven by 110,000 units sold in its first week. This debut position highlighted the anticipation surrounding The LOX's Bad Boy Records project, positioning it among the top hip-hop releases of the period.[35] On the Top R&B/Hip-Hop Albums chart, the album ascended to number 1, maintaining the top spot for three consecutive weeks and underscoring its dominance in the genre-specific rankings. Internationally, it registered more modest peaks, reflecting the group's emerging global presence. The album's chart trajectory contributed to its subsequent commercial certifications, though detailed sales figures are covered elsewhere.[36]| Chart | Peak Position | Notes |
|---|---|---|
| US Billboard 200 | 3 | Debuted January 31, 1998 |
| US Top R&B/Hip-Hop Albums | 1 | Held for 3 weeks |
| UK Hip Hop & R&B Albums | 25 | - |
| Canadian Albums Chart | 11 | - |
Sales and certifications
The album Money, Power & Respect sold 110,000 copies in its first week, benefiting from Bad Boy Records' promotional efforts. In the United States, it was certified gold by the RIAA on April 28, 1998, for 500,000 units shipped, and platinum on October 19, 1999, for 1,000,000 units shipped. Globally, the album has reached an estimated 1.5 million units, including a Gold certification in Canada for 50,000 copies.[5][38] Long-term sales have remained steady into the 2000s, supported by revivals on streaming platforms that have introduced the project to new audiences.[39]Critical reception
Initial reviews
Upon its release in January 1998, Money, Power & Respect received mixed reviews from critics, who praised the group's chemistry and street authenticity while criticizing the influence of Sean "Puff Daddy" Combs's glossy production style. Similarly, The Source gave it 3.5 out of 5 mics, commending the trio's lyrical prowess and the album's gritty narratives that captured the essence of Yonkers street culture.[40] Critics, however, pointed to over-commercialization as a drawback, with Rolling Stone assigning 3.5 out of 5 stars and arguing that Puff Daddy's shiny, pop-infused beats diluted the group's hardcore edge, making the project feel more like a Bad Boy product than a pure hip-hop statement.[40] Overall, the contemporary reception was mixed, reflecting appreciation for The Lox's talent tempered by debates over its commercial leanings.Retrospective views
In the 2000s, critics began reassessing Money, Power & Respect as a pivotal work that bridged the polished pop-rap aesthetic of Bad Boy Records with the raw, gritty edge later associated with the Ruff Ryders collective, to which The LOX would soon align. A 2009 review highlighted the album's role in injecting street authenticity into Bad Boy's commercial sound, praising tracks like "Bitches From Eastwick" for their storytelling and unyielding energy while noting the group's establishment of a distinct brand amid the label's glossy era.[18] During the 2010s and 2020s, the album received praise in hip-hop retrospectives for its enduring tracks that maintained relevance in evolving genres. Pitchfork, in a 2017 review of The LOX's Filthy America… It's Beautiful, cited "Money, Power & Respect" as one of the group's most beloved songs, emphasizing its state-of-the-art beats and charismatic verses that captured street aspirations in a succinct mantra.[41] This recognition underscored the album's lasting appeal, with its title track continuing to symbolize hip-hop's blend of ambition and toughness. Fans continue to hold the album in high regard within the East Coast hip-hop canon, viewing it as a cornerstone of Yonkers-bred authenticity. The 2023 announcement of a 25th anniversary concert at Irving Plaza in New York City celebrated it as a "classic," reflecting ongoing appreciation for its raw group dynamic and resistance to Bad Boy's commercial constraints.[42] Scholarly analyses in hip-hop studies have examined albums like Money, Power & Respect for their exploration of masculinity and commerce, portraying the pursuit of wealth and status as intertwined with hypermasculine ideals of dominance and survival. For instance, the title track appears in academic curricula on hip-hop's sociocultural impact, illustrating themes of economic empowerment within Black communities, as seen in law school courses addressing capitalism and gender in rap.[43] Broader studies link such works to hip-hop's commodification of masculine identity through consumer symbols like clothing and music, reinforcing narratives of power acquisition amid systemic marginalization.[44]Credits
Track listing
All tracks are written by The LOX (Jadakiss, Styles P, and Sheek Louch), with additional writing credits to featured artists and specific contributors where noted.[3][45] The standard edition of the album contains 21 tracks with a total runtime of 67:21.[40]| No. | Title | Length | Featuring | Producer(s) | Notes |
|---|---|---|---|---|---|
| 1 | "Yonkers Tale (Intro)" | 1:45 | Carl Thomas (backing vocals) | ||
| 2 | "Livin' the Life" | 3:36 | Diddy | ||
| 3 | "If You Think I'm Jiggy" | 4:40 | |||
| 4 | "The Interview (Part 1) (Interlude)" | 0:39 | Younglord (co-producer) | ||
| 5 | "Money, Power & Respect" | 4:35 | DMX, Lil' Kim | D-Dot, Amen-Ra, Jay Garfield (co-producer) | Samples "New Beginning" by Dexter Wansel (1979) and "Money, Power, Women" from Scarface (1983). Additional writers: DMX, Lil' Kim, Diddy, D-Dot, Amen-Ra.[46][45] |
| 6 | "Get This $" | 3:58 | Puff Daddy | J-Dub | Samples "It's Your Thing" by Lou Donaldson (1969). Scratches: DJ IROC.[47][48] |
| 7 | "Let's Start Rap Over" | 4:28 | Carl Thomas | J-Dub (co-producer) | |
| 8 | "Mad Rapper (Interlude)" | 1:15 | Younglord (co-producer) | ||
| 9 | "I Wanna Thank You" | 4:02 | Kelly Price | Nashiem Myrick | Samples "I Want to Thank You" by Alicia Myers (1981). Additional writers: Kelly Price.[49] |
| 10 | "Goin' Be Some Sh*t (Interlude)" | 4:20 | Scratches: DJ IROC.[48] | ||
| 11 | "The Heist (Part 1)" | 2:51 | Rob "Arsee" Carter | ||
| 12 | "Not to Be F**ked With" | 4:23 | |||
| 13 | "The Set-Up (Interlude)" | 0:48 | Younglord (co-producer) | ||
| 14 | "Bitches from Eastwick" | 4:13 | D-Dot, Chucky Thompson | ||
| 15 | "Can't Stop, Won't Stop" | 3:38 | Puff Daddy | Stevie J (co-producer) | |
| 16 | "All for the Love" | 3:33 | Swizz Beatz | Additional production: Blake "Karrington" Smith, Deric "D-Dot" Angelettie.[48] | |
| 17 | "So Right" | 3:30 | Kelly Price | ||
| 18 | "The Snitch (Interlude)" | 1:30 | Younglord (co-producer) | ||
| 19 | "Everybody Wanna Rat" | 4:17 | P.K., Dame Grease (co-producer) | Additional production: Deric "D-Dot" Angelettie.[48] | |
| 20 | "The Interview (Part 2)" | 0:14 | Younglord (co-producer) | ||
| 21 | "We'll Always Love Big Poppa" | 4:59 | Stevie J (strings arrangement), Dame Grease (keyboards) |