It may not be the case now, but at one time Sean Combs’ company Bad Boy Records was at the top of the music industry food chain. In recent years, the one-man-media-center did have to become the face of his own label due to the lack of artists, (or his reluctance to put them out) but his highly successful Making The Band series assured the public once again that there are more people on his label than just him alone.

But once upon time that logo with the baby wearing a diaper, construction boots, and his little cute baseball cap turned backwards, while pumping his teeny-tiny fist would’ve been any CEO’s dream to own, because the company harbored names like Faith Evans, Black Rob, The LOX, Mase, Carl Thomas, Total, G. Dep, 112, and of course The Notorious B.I.G.
 
The all-star lineup that would probably make George Steinbrenner tip his hat carried the label until they all started to vanish into thin air one at a time. Some left because they thought it would be a better career move, and others just flat-out fell off the face of the earth. But one of the staple acts from the Bad Boy reign weren’t bad boys at all, in fact they portrayed a wholesome image and were probably the nicest gentlemen to ever have the opportunity to actually do a real song with Biggie Smalls instead of the all computer-generated material that has been circulating the Internet since his passing.

112 was one of the cornerstones of Bad Boy by selling over seven million records for Mr. Combs before venturing over to Def Jam where they sold an additional 1.5 Million records. Even though the Atlanta foursome has functioned productively as a unit, the time comes when members of any group want to try and stretch their legs as a soloist. All four crooners have their eyes set solely on their own projects with Quinnes “Q” Parker, Michael Smith, and Daron Jones testing the waters, but don’t count out the recognizable falsetto tone of Marvin “Slim” Scandrick.
 
Some attest to him being the most famous member of the group, because his unmistakable voice can be heard scattered across every ballad or club song ever recorded by them—and now the 8-time ASCAP Award winner is using his songwriting ability to pen the script for his debut album, Love’s Crazy. Learning under the tutelage of his former boss, he’s now CEO of his very own company in M3 Productions (a joint venture with Asylum Records). Staying close to his R&B roots, which also includes a dab of Hip-Hop, the project includes artists like Slim Thug, 8Ball & MJG, along with Young Joc (who is featured on his single ‘So Fly’). With everything being on his shoulders this time around, it’s easy to see that the former Bad Boy has matured into a wise businessman as he moves into the next phase of an already successful career.

SixShot.com: Your last official album was with 112 back in 2005, was it difficult to get into the groove for your own project?
 
Slim: Not at all because 112 still does shows worldwide. So we’re still in the streets, we’re in the clubs, and we hear exactly what’s going on. If you think about the history of 112, every 2-3 years we drop an album, we always took 2-3 years off. We do that because we really respect the music, and we know that music never stands still. It’s always evolving and it’s always changing, that’s the culture of music. But with doing Love’s Crazy, it did take me awhile because it’s bigger than just me doing a solo project.
 
I’m now the CEO of my own label, so first and foremost I had to start the whole blueprint of how the label is going to run, I had to get staff members, and just a whole mess of other stuff. With the creative process, I knew that I was going to be handling more artists, than just myself. So that’s why it took around three years, and now I have this rolling and I thank God that everything is working on the first try. You see a lot of labels shoot out a lot of music, and they spend a lot of money before a record even catches on period. So I feel very blessed that everything worked out on the first try.
 
SixShot.com: Did you try and go away from the 112 vibe on Love’s Crazy, or did you stay close to home?
 
Slim: Well I definitely wanted people to understand who I was an individual, but at the same time as far as the type of music, I didn’t stray too far away from that formula. I did a lot of the records anyways, so it was like you were already getting “Slim” but you were getting “Slim” and the group “112.” The only difference with this one right here is that I’m getting a chance to work with people I always wanted to work with before—and I basically have my own spin of things. The name of the album is Love’s Crazy, and my whole outlook and spin on love is about me being an optimistic person.
 
You’re not going to hear records where I’m talking about how I cheated or messed up, and now I’m apologizing. You’re not going to hear that from “Slim.” I’m the type of person that likes the solution rather than the problem, so if I see the problem coming, I’m going to stop it before it pops off; you feel me? That’s how the album is going to feel, and all of the records are well produced, and it’s timeless records that you’ll probably be singing 10,15, and 20 years from now. It’s not just going to be another ring tone, or something like that.
 
SixShot.com: Did it feel strange knowing that this album is all on you, and when you look back the other guys aren’t there?
 
Slim: As far as me being on the stage—on the first show I’d look back and I didn’t see the rest of my boys right there behind me. But I knew what I was getting into when I wanted to set the label off, and I felt like I always had a vision. I wanted to create a lane for artists who had the same dreams as myself, and how 112 felt when we were signed to Bad Boy. Puff gave us that lane, and I remember how we felt, that was an incredible feeling. You can get yourself out of the ‘hood and you have an opportunity to change your life, and at the same time people respect you for the craft that you have.
 
It’s incredible, and that’s what I wanted to do for other artists. I never really wanted to do a solo project, but on the business aspect it’s much easier. It’s much easier with myself, because I already have a sound, and I’m already working with a brand. It’s not like I have to introduce somebody, and it’s not that hard. All I have to do is make sure that the records are hot, and that’s what I’m doing right now.
 
SixShot.com: So what’s the whole premise behind M3 Productions?
 
Slim: Well with M3 Productions, I’m trying to make it the next Def Jam, the next Arista, the next Jive Records, and the next Asylum Records. Let me tell you something: The main reason why I chose to do a partnership with Asylum, which was incredible—is the fact that I want to have a different spin in the industry. I’ve been in the game for twelve years, and we’ve been on the major system, but I wanted to show people on the R&B side that you could do things independently on the R&B side too. You have very successful Hip-Hop artists that branched themselves out; and they did very well for themselves. I did my homework, I’ve spoken to the Slim Thug’s, the E-40’s, and the Too $hort’s.
 
They really put me on the game before I jumped into this situation. I knew what I had to have out together, and that’s what I’m doing right now. Especially now with how the game is changing, prices are going up, and the recession—you got to have an edge. You have to have some type of change if you’re trying to build a legacy and keep the ball rolling. So that’s what I’m doing with M3 Productions, I’m showing that on an independent scale, you can still do it very large. All you have to do is believe in yourself, brand/own yourself, and cut the middleman out.
 
SixShot.com: Artist or CEO, which hat is harder to wear?
 
Slim: Which one is harder? [Laughing] With my system I feel like it’s an even scale. The reason why I say that is because on the artist side; the artist always has to stay current of what’s going on. With an artist, either you do well or you don’t do well. But with the CEO side, you have to deal with more aspects of the game. You have to know everything, like how many dollars you’ve spent, getting out there with the DJ’s, and getting familiar with your community. You have to embrace everybody out there, and in turn people embrace you and your dreams. I pretty much put them all together, but I’m just blessed to have a great staff with M3 Productions and my management Family First. They make it very easy, so I don’t feel like I’m doing it all by myself. Nobody can do it by themselves.
 
SixShot.com: You’ve won eight ASCAP Awards; did you do the majority of writing when you were with 112?
 
Slim: With the group, we wrote together; we did everything together. Even if one person did the record, we all stood for the same brand. That was just our system in 112. Our system is pretty much how the New England Patriots are; no man is bigger than the team. No name is bigger than the brand. That’s our whole mind frame. 112 has nothing to be jealous of when it comes to each other because we always shared everything; money, awards, the good, the bad, whatever. We accepted it all as a team, and as a family. It was a real good look, and it worked for our crew.
 
SixShot.com: I want to go back to how you talked about being in the game for twelve years; at this point in time do you feel as if you’re competing with the younger acts, like the Chris Brown’s, the Ne-Yo’s, and the Trey Songz’s?
 
Slim: Who ever are in the game and they take their craft seriously. You named three very good cats. I don’t look at the ages because when we first came out, we were 15 or 16-years-old and our competition was Boyz II Men, Jodeci, and Mint Condition. Even though we sing great ballads, we knew just jumping in that lane the ratio and talent are bigger than your music. We knew he had to niche our own selves in, and that’s why we went straight to the dance floor. I think with me coming back out, it’s a little easier because I’m not a new artist. I’m a new artist, but with a catalog. I’m probably the youngest veteran that you’ll know.
 
SixShot.com: Faith Evans is also on your album, do you still have a relationship with most of your ex Bad Boy label mates that you basically grew up with?
 
Slim: Yup… As a matter of fact, I just got off the phone with Puff probably like an hour ago. He’s finishing up the remix to the ‘So Fly’ joint. He’s on my album, Faith Evans, and Jadakiss. I talk to all of them for real; we’re a Bad Boy family. This is a situation where it’s not just something on paper, so once you’re a family, you’re always a family. We always stay in touch.
 
SixShot.com: Also I remember you saying that none of your material is going to be just another ring tone. How do you feel about today’s R&B versus 90’s R&B? Do you think its gotten better or worse?
 
Slim: I think there’s just a different swag to the situation right now. The golden era, which I call the 90’s—just think about it: When you first heard Mary J. Blige’s What’s The 411? you knew where you were, how old you were, and what girl you was dealing with. Certain records like that, like when you heard the ‘Bump N’ Grind’ remix. Like when you first heard ‘Cupid,’ you knew whom you were with, and what situation you were going through. Think with the music right now, the artists that are coming out now are more business orientated which is a very good thing. Meaning that they’re into branding themselves, so you have the “Soulja Boy’s” coming out young, and already in CEO mode.
 
SixShot.com: For the record, when I first heard ‘Cupid,’ I was a freshman in college ENJOYING the campus life. [Laughs]
 
Slim: You see! That’s what I’m talking about! [Laughing]
 
SixShot.com: After this album, do you have plans for another 112 project?
 
Slim: We are talking about it; we’re definitely talking about it. Who are we to hold back whatever the fans want? I’m a big fan of just doing stuff with 112 period, so what ever is in my power to make it happen—you’re hearing it from “Slim,” that’s what I will do.