“Junkyard Dogs” (feat. Juju of The Beatnuts)

Esoteric: “Juju is another one of our favorite rappers/producers ever. Large Professor and him have always been great guys and people that we look up to. It’s a little different than collaborating with someone who is just a spitter that just murders mics. Which is great, but when you have a chance to work with somebody who knows his way around the mic and the boards, the SP, the MPC, whatever, it’s much more nerve-racking and important to us as fans. When you’re sending beats to Large Professor and Juju, it’s a little different than sending beats to someone that just wants to hop on a track, who doesn’t give a shit if that beat is coming from someone in Poland or 7L.”

“The flow’s distinguished / But Rap Genius makes it look like I don’t speak English”

“The Rap Genius line is because they’ll misquote me. I can’t really fault everyone for that because my accent and my diction can be a little misleading in general. My issue with Rap Genius and lyric sites is that people will quote my lyrics and say how dope they are, but I’ll read what they are quoting and it’s not even close to what I said. I think, ‘why would you think that is dope?’ You’re telling me I took my panties off and tongue kissed a guy, when I didn’t say anything like that (laughs).”

“I laugh at them like I’m smashed of a glass of Gin / Or 10, drunk watchin’ Jim Gaffigan with the fattest win”

“One cool little anecdote about this song is that I make reference to Jim Gaffigan. I know a guy that works on some TV show where Jim Gaffigan was a guest. He told Jim Gaffigan that CZARFACE referenced him and he didn’t believe it. So he took the lyrics from the actual book that comes with the CD and showed him. I thought that was kind of surreal.”

“Sgt. Slaughter”

Esoteric: “That was definitely one of our favorite beats on the album. That was the first thing we heard from Deck, as it was the first verse he recorded for it. I was kind of telling him the direction of the album and where we were going with it, and he just started that verse, making the references to Dr. Strange and he calls himself a sorcerer. I was like ‘this is perfect man, this is great.’ It really kicked off the direction for the album lyrically. That was the first verse he recorded for the album and the last verse I recorded for it. It was one of the songs that hung around for the recording process for the whole album.”

7L: “I think early on that one was solidified as being a keeper. Initially everybody loved it right off the bat. The album kind of formed around it.”

Esoteric: “The music itself reminded me of sounds we’ve been trying to capture for a lot of our career. The way the snares fall is completely different. It took us in a different direction, more updated or different routes. We really fell in love with the beat that 7L came up with.”

“When The Gods Go Mad” (feat. GZA/Genius)

Esoteric: “We wanted the classic GZA type theme and that’s what he delivered. 7L taking the drums out of the first twelve bars of the verse was very unorthodox for us. We’ve got this GZA verse, do we really want to strip it down for twelve bars, or do we want to bring some energy to it with the drums? 7L said ‘Nah, let’s keep it like this and have the drums come in later on.’ I think that really worked.”

“Now that’s a bold statement and it’s real / I find ‘em all in infuriating, kinda like Agents of S.H.I.E.L.D”

“It’s word play because the Agents of SHIELD work for Nick Fury. ‘in-Fury-aiding,’ helping Nick Fury. Some people have asked if it’s a line because I find that show ‘infuriating’ or it upsets me. No, it’s just a play on words.”

“Ka-Bang!” (feat. MF Doom)

“Ka-Bang!” 10" picture disc vinyl

Esoteric: “Doom was one of the easier guys to make happen. We had Doom on the record really before we had anyone else. It really came together. We were waiting on the artwork and we were like ‘Who would have thought we’d have Doom on the album before we had the artwork?’ (laughs) I thought it was going to come in the fourth quarter of the project like a Hail Mary pass. But obviously he liked the concept of the project and wanted to get on it. We were very thankful, having him on there adds a nice ‘metal’ touch to it, so to speak.”

“Deadly Class” (feat. Meyhem Lauren)

Esoteric: “That record came about through 7L because he did cuts on one of the Meyhem records or something.”

7L: “I met him through Frank The Butcher, who had a CD he put out. I added some cuts on it and did the release party. This was before we had the second CZARFACE album in progress. We were talking backstage and he was like ‘Yeah, I’m a big fan of the CZARFACE stuff.’ I was like ‘Yo, next time around I’ll hit you up and see if there’s a song you want to get on.’ When that beat was made and it was in the running to make the record, and I think I actually saw Meyhem somewhere and it came back into my head that way. I sent it over and it just worked perfectly and fit the record very well.”

“Escape From Czarkam Asylum”

Esoteric: “It started out with the first three minutes of that song and I don’t know what happened, but we just decided to tag on this other beat. We wanted it to have a part on the album, and I recorded something to it, and we got a little carried away and kept adding new beats for seven or eight minutes. Deck went crazy on his parts and I tired to keep up with him on mine. We had it at one point where it was closer to about eleven minutes, but the way we ended it with ‘Your beats are dead, I’m your dope beat restorer,’ we just thought that was a good way to end it, and not overkill it.”

“Sinister”

7L: “That was done around the time of ‘Czar Guitar.’ We all loved it initially off the bat, once their was vocals to it, we really liked the beat, but we started doing new remixes and new versions of it. It just became something else in the recording process.”

Esoteric: “We remixed that song a handful of times. We liked the way the tradeoffs and the verses worked, so we really wanted to make the song work. That was the original version that we recorded it to, but we felt it was missing something. Deck called and was like ‘Yo, I played it for Rae, I played it for Ghost. Everybody thought it was crazy, that has to be the single. We have to push that one.’ Then I told George that and I think once Deck put this vision in our head of the entire Wu-Tang Clan on a tour bus listening to ‘Sinister,’ we decided ‘you know what? Maybe this is the beat,’ and we kept it. We didn’t use it as a single, but Deck really sold us on the original version.”

“Good Villains Go Last” (feat. RA The Rugged Man)

Esoteric: “We just thought RA The Rugged Man really took it home, so we let him have the last verse on the record. He was very interested in being part of the project and very involved with the final version of the song. He wanted to hear the different mix downs, the different drum drops. It’s always good to see a featured artist care like that. The way his verse went, we thought it would be a good way to end the album. George came up with the title and it just fit. Technically, my son has the last word on the album, so HE really goes last (laughs). He says ‘And what’s real…’ We just kind of echoed out the ‘real’ and pitched it down. Somebody that reviewed the record described that as an interesting way of ending the album, in kind of stepping out of the fantasy world of the album and bringing you back to the album. That’s not really necessarily what we were doing, but that’s a good way to look at it.”

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