T: Talk about your relationship with Algierz Gear and Dano.
BB: Dan is a good guy. He was asking people for help and support. He sent some shirts, I just kinda put 'em on. He asked if I wanted to do one and I was like, sure. There was never any grand master plan or anything. He just seemed like a good person, a genuinely good person. He was asking for help and I was in the position to help and I thought, why not? You can't help everybody but I was able to help him. It turned into a good relationship. Pimp came home and they put together the 'Quit Hatin' On the South' shirt. It was a great collaboration with Algierz and hopefully we'll keep doing it. He put me in a print ad when a lot of people weren't putting me in print ads. Dan was buying full page ads in magazines with my face.
T: I'm sure you and Pimp communicated a lot when he was away but how much did you actually get to go see him?
BB: Not very much at all because of many different people he had on visitation lists and he kinda had to switch people back and forth from time to time. He got his mother, his father, his grandmother, several children, baby mamas and stuff like that. I let everybody else get there time. I saw him when I could. A lot of times I had to be outta town on the weekend trying to keep the UGK movement going.
T: I heard rumours that when Pimp left prison all the inmates were at the windows chanting his name, is that true?
BB: I didn't hear it to be honest. I'm not saying it didn't go down.
T: When yall finally got back into the studio was it easy to get back to it or was it a process?
BB: No big process. We just went back in the lab and started recording. You have to understand that we've been doing it together for fourteen, fifteen years. Four years isn't a lot of time to lose something you've been doing for so long. You still know how to fuck and fight. You still know how to do everything else. When you have a trade like that...you don't make shoes for fifteen years, go to prison, and come home and figure out how to make shoes. Once you get the shoes back in your hands it pretty much makes itself. We recorded the Get Throwed, radio version, within 48 hours of his release. So, there was no process as far as him trying to assimilate and go into the studio and feel around, or any of these dramatic things you may see in the movies. He just went in cut on the beat, started writing, and he was very focused. That's pretty much it.
T: With this new album yall are working with a bunch of producers and emcees, what were some of the highlights?
BB: My main thing was recording with Pimp. With due respect to everyone else on the album, and all the people that I've been able to record with, I'm sure they'll agree that all that other shit comes second. I think the primary focus was for Bun and Pimp to get back in and make UGK music. Marley Marl, Big Daddy Kane and Kool G. Rap were definitely idols I look up to, and people I've always respected in the game. That was a good moment in itself. But as far as gettin' in and recording with other people, honestly, again no disrespect, I wasn't really giving a fuck about that. It was about gettin' Bun and Pimp back together.
T: What Hip-Hop song could you recite in your early teens?
BB: I Ain't No Joke. I honestly couldn't tell you how old I was, but I Ain't No Joke is one of the first things that really effected my mind. That and probably Public Enemy #1.