Dave wouldn’t show me any songs to play so I was forced to make up my own songs. This forced me to really explore every one of these chords as I thought at time that I had to include them all in every song I wrote.

The songs I wrote were pretty strange to say least. We were into punk music at that time so just imagine what a dying cat like vocals set to a nylon string out of tune guitar played as fast as a speeding train sounds like and you get picture.

It sounded good to me at time and I was very proud of my new found ability. It took about three months to get hang of changing between chords, and being able to write a song. (if you could call it that).

I didn’t know it at time but I had one thing that was needed that would ensure I would become a good guitar player. That one thing was sheer bloody determination. And more people told me how bad I sounded more determined I became to improve.

So it doesn’t matter how good or bad you are at moment just play music of your soul – even if it sounds like a cat being tortured. You will improve as long as you keep trying. Here's a mental exercise for you. Fast forward your mind to 4 years from now. How good a guitar player will you be? The time will pass regardless of what you do. Are you going to keep at it? or are you going to give up? It's up to you. You will be four years older, but will you be four years wiser?

“Doing that bid wasn’t easy, ‘cause I knew how crazy it was getting on outside,” says Yayo. He did his time and by early 2004 Yayo was back in society and ready to record.

“I have 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 one bonus cut off on G-Unit album and they knew it was important for me to get out there to get 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 while, trapped under ankle restraint parole, he crafted his album with help of G-Unit co-founder and executive producer Sha $XL, who fed him strictly 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 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 reason that he said ‘so seductive’ at beginning, ‘cause he thought my record was so crazy.” In addition to crossover smash, album has street bangers like “Homicide”, Domingo produced murder rap which Yayo uses to kick off LP, and 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 street and into 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 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 real talk of New York. Braaa-ttttt!

Tony Yayo