In the summer of 1998, rapper Eve, then 19 years old and previously known as Eve of Destruction, got a call from producer Scott Storch. He told her about a chance to collaborate on a song with the Roots.
The Roots, a rising hip-hop group from Philadelphia consisting of Black Thought and Questlove, were gaining momentum. Eve, a well-respected battle rapper in the city, was thrilled to collaborate with them on a track called “You Got Me.”
Eve recorded her vocals after making some changes to a verse written by Black Thought, a founding member and lead rapper of the group. She rapped the lines, “Another lonely night? / It seems like I’m on the side, you only lovin’ your mic.”
“It was such a great experience,” Eve shared from a Hollywood home. The rapper, actor, and fashion designer has lived in London for the past ten years. “It felt like the most polished project I’ve worked on because everyone involved was already under contract.”
The song, from The Roots’ landmark album “Things Fall Apart,” first introduced Eve’s vocals in 1999, though she wasn’t initially credited as a featured artist – a surprise to her when the song was released.
It was surprising to learn that Jill Scott, a Philadelphia-based poet and up-and-coming neo-soul artist who originally wrote and sang the song’s catchy hook, was replaced by Grammy winner Erykah Badu. Adding to the issues, Eve wasn’t included in the music video because she was given incorrect directions to the filming location.
I was so excited when The Roots and Erykah Badu won a Grammy for “You Got Me” back in 2000! It was a huge moment for everyone involved. But it was a little frustrating to learn that Eve, who was a big part of the track, didn’t get recognized with an award because her name wasn’t officially listed. She was really taking off at the time, signed to Ruff Ryders and promoting her first album, “Let There Be Eve…Ruff Ryders’ First Lady,” with that amazing single, “Want Ya Want.” She admitted it stung at first, but she’s always been a pro and moved on from it.
Eve discussed a past issue in her 2024 memoir, “Who’s That Girl,” explaining there wasn’t time for second-guessing. She and Questlove had their first conversation about it recently on his podcast, where she apologized for him not being credited on a song they’d performed together for years. Questlove acknowledged they hadn’t communicated well, leading to such oversights. He wasn’t able to provide further comment when this was published.
Last autumn, Eve got a surprising call from the Recording Academy. They’d heard her discuss her involvement with the song “You Got Me” during an interview with Ebro Darden and wanted to honor her with an award for her work on it.
Eve remembered them saying they hadn’t known anything about the situation until they listened to the podcast.
Eve received a special award – a golden gramophone – on Thursday night at an event celebrating music. After 26 years in the industry, she said the honor felt deeply personal, like recognition for her younger self. ‘It’s like saying that little girl, that young Eve, deserves this,’ she explained.
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The Recording Academy’s president and the show’s executive producer discussed their vision for Sunday night’s event.
She added, “Whatever is yours can’t miss you.”
Before the awards ceremony, Eve shared her experiences with The Times, discussing her beginnings in the Philadelphia music world as a teen, the lessons learned from the ‘You Got Me’ collaboration, and the significance of receiving this award. She also reflected on the 25th anniversary of her second album, ‘Scorpion,’ and what it was like touring with her young son for the first time.
This interview has been lightly edited for length and clarity.
You came of age in West Philadelphia during a really exciting time for music, with artists like The Roots, Jill Scott, Bilal, and Scott Storch all starting out. As a teenager, you were already connecting with these musicians, even attending jam sessions at Questlove’s home. What was the creative atmosphere like in Philly then?
I was completely immersed in music – it was all around me, and I knew I wanted to make it my career. Instead of focusing on school, I spent every weekend at the studio, pursuing my passion. Philadelphia always had something happening – block parties, jam sessions, open mics – and I made sure I didn’t miss a thing.
I still remember when Scott Storch called – he was the one who reached out about potentially being on The Roots’ song, “You Got Me.” Honestly, I was completely blown away! I couldn’t believe it when I heard from him, and I was so excited about the possibility of working with The Roots. It was a dream come true!
When you’re young, you just aren’t afraid to try things. I remember feeling excited, but also a strong sense of belonging – like I was meant to be there. It wasn’t arrogance, just a confident feeling. It was an exciting experience, but it also felt very professional. That was probably the most professional environment I’d ever been in, because everyone involved had already committed to the project. I hadn’t experienced anything like it before, and it really felt like ‘this is how business is done.’
You were around 19 or 20 at that time, right?
I think I was about 19 years old. They usually signed and then dropped artists like me when they turned 18. [chuckles]
At that time you were in between record deals, so it must have felt like a big opportunity.
It’s funny looking back, but I think I just assumed that was the beginning of something big. Since the documents were signed, I expected things to really take off. That’s why everything that happened after felt so frustrating.
Take me back to the day that you laid down your verse. Who was in the studio with you?
I’m almost certain both Black Thought and Jill Scott were at the session. Even if they weren’t there for the entire time, I likely wouldn’t have joined if Jill had already left, but I’m pretty confident she was there at some point.
How did your verse come together?
I went into the studio with a certain vision for a verse, but Black Thought had already laid down something amazing. Honestly, I couldn’t just say his words as if they were my own. As someone who came up battling, and even though I sometimes work with a writer now, it just didn’t feel authentic. So, I took what he had and really reworked it, tweaked it until it felt like my voice and style were coming through.
Looking back, I was incredibly bold. I really believed in myself. Most people probably would have just gone along with things, but I wanted to make sure my personality came through. I’ve thought about this a lot, and I think that’s why they didn’t bother checking in with me or making sure I was comfortable with it. A lot of the work was done by him, but that doesn’t excuse their behavior – there’s really no justification for it.
Do you remember when you first discovered you hadn’t been properly credited for the song? I believe Jill Scott realized her vocals had been replaced with Erykah Badu’s after hearing the finished track on the radio.
It felt like everything happened at once. One minute I didn’t know the song was released, and the next I was thinking, ‘Wait, that’s not Jill Scott, it’s Erykah Badu.’ The timing was strange because I’d actually recorded the song a year or so earlier. By the time I heard it, I’d moved to Harlem and signed with Ruff Ryders.
The song won a Grammy in 2000 for best rap performance by a duo or group, but since your contribution wasn’t officially recognized, you didn’t receive an award. You’ve written about how this happened around the same time you were let go by Aftermath Entertainment and had to move back home from Los Angeles. Can you describe how you felt dealing with both of those setbacks?
I went through a really tough month where I felt completely down and lost. I had been living comfortably in L.A., and suddenly I was back home with my mom, feeling like everything had fallen apart. It was a huge adjustment, going from that life to being back in pajamas and taking the bus. I was really struggling with those feelings, but my mom was amazing. She’s always been my support system, and she let me feel what I needed to feel without pushing me to just get over it, while still offering a positive outlook. Looking back, I needed that experience. I’m actually grateful it happened because it led me to where I am in my career now. I realized I needed to be humbled. My attitude at the time was part of what led to me being let go. It was a time for self-reflection. I asked myself who I wanted to be as an artist if I got another chance, and I decided I didn’t want to be defined by a persona – I just wanted to be myself, to be Eve.
I remember hearing that some people already knew you hadn’t been properly credited on that song, but honestly, a lot of us found out about it when you shared the story on Ebro Darden’s podcast last year. It was a real surprise to many of us fans!
It’s surprising to me how upset so many people got over this. Some friends kept asking what was going to happen, and it is kind of a strange situation. I wondered why I wasn’t more bothered, or if I just wanted to ignore it. It stung if the address turned out to be wrong, but I also questioned if we’d even gotten it right in the first place. So I think I subconsciously decided to set it aside, but Ebro didn’t, and I’m actually glad he didn’t. Sometimes you need someone to really support you and advocate for you, and I really appreciate him doing that.
As a longtime listener, I still remember when The Roots’ “You Got Me” first exploded. It’s amazing how enduring that song has become – it’s still a huge part of their catalog. But honestly, when it initially hit the airwaves, it was a bit strange hearing it everywhere. It felt like this deeply personal, almost underground track was suddenly mainstream, and it took some getting used to, even as a fan!
I didn’t cross paths with them back then, which was strange. That song had just been released, and while I was focused on my own work, we moved in different music circles. I guess we just never happened to meet. I really didn’t see them at all. They were probably already touring, and I was with Ruff Ryders at the time. It’s funny, we’ve actually performed that song together three times now, years after the fact, which is pretty weird. [laughs]
That is weird.
It’s weird. I don’t know what’s wrong.
It’s been 26 years since “You Got Me” won a Grammy, and now you’re finally being recognized with an award at the Black Music Collective Recording Academy Honors. How did you feel when you heard the news?
It was a bit strange at first because the academy contacted several people, asking about me without explaining why. Swizz Beatz was likely the last person they spoke to before reaching me. I was actually on a FaceTime call from London, having martinis, and probably didn’t look very professional standing there under a lamp, trying not to sound tipsy! I was just really excited and thankful. I remember my friend asking why I took the call, and I just said, ‘Girl!’ It was a fun night. I told my husband about it when I got home, fell asleep, and completely forgot. Then my friend texted me asking if I remembered, and it hit me – ‘Oh wow, yeah!’ It’s such a cool honor, and ever since then, it’s been amazing. They didn’t just want to mail me the Grammy; they wanted to present it to me in person. It feels really nice, and it’s a really interesting feeling because it’s been so long since I thought about this, and I felt like I’d moved on from it, so it’s really good to be recognized.
What did they tell you exactly?
They told me they hadn’t known about the issue until they listened to my podcast with Ebro. Both they and Swizz expressed concern, with Swizz specifically saying we needed to resolve it because it wasn’t right. I agreed and said okay.
Does receiving this award now feel like reconciliation at all? Or maybe validation?
Honestly, seeing that little girl – seeing me back then – finally get that moment of recognition… it feels amazing. It might sound a little corny, but she really deserved it. It’s just a fantastic feeling! I’m still trying to process it all, especially since I haven’t been involved with music for a while. To have this happen now is just really, really cool.
What have you learned or taken away from this situation?
I’m still trying to understand what happened. I was initially dismissing it as a joke, but now I realize it’s something I need to discuss with my therapist. I need to figure out why I thought it was okay and why I brushed it off. It’s clearly a bigger issue than I initially thought, but I believe good things happen to people who deserve them, and I know I do.
We’re celebrating a big milestone this March – the 25th anniversary of your album, “Scorpion”! Thinking back to when you were creating it and living in Miami, what memories stand out the most?
It was such a fun time, and I have so many memories! I remember the house we rented, and I got a second Yorkie while we were in Florida. I mostly remember silly things and spending all day and night in the studio. The Marleys were nearby, and everyone was having a great time. I was completely immersed in it all. There was a lot of pressure to finish the album, and that’s when I really started to understand the business side of music – the deadlines and the need to get it released. It was stressful, but I was still young enough to enjoy myself, go out, and meet people like Trina, who’s become a close friend. Looking back, it was a really good period in my life.
The ‘Scorpion’ album felt really deliberate – from trying out new sounds and collaborating with artists like Gwen Stefani, to even choosing the color red as a theme. Looking back, what did that period in your career mean to you on a personal level, beyond just the music itself?
I’m incredibly grateful to Ruff Ryders for always letting me express my creativity freely. They never doubted my vision or held me back. While there were occasional disagreements with label executives at Interscope about the sound, Ruff Ryders always supported my artistic choices. For this album, ‘Scorpion,’ I wanted to come out strong and impactful – like the color red associated with scorpions. But I also wanted to demonstrate my growth as an artist and showcase my refined musical taste. I really appreciated their collaborative spirit; that’s just how Ruff Ryders operated. The studio was always buzzing with people, and those spontaneous conversations often sparked ideas for hooks and verses.
You toured with Nelly, Ja Rule, and Chingy last year and brought your son along. What was that experience like for him, watching you perform on stage?
The tour was really tough, honestly. It was incredible, but traveling with a toddler is a whole different experience. I agreed to do it because he’s at the perfect age – young enough to carry around easily, but old enough to actually remember it. Seeing him watching from the side of the stage was just precious. It was a really fun tour overall, with amazing performances from everyone involved – hearing Ja Rule, Nelly, and Chingy was fantastic, even just backstage. The crowds were great, and it was special to see multiple generations enjoying the shows together – kids with their parents, and lots of young fans. I loved seeing that!
What else do you have coming up?
I’m really enjoying discovering new music lately. I’m also excited about our 25th anniversary – we have some fun plans, including revisiting and refreshing some of our classic songs. Beyond that, I’m mostly focused on being a mom! My son is growing so fast, and it’s wonderful watching him – he’s almost four years old, which is amazing!
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2026-01-30 23:03