The only producer to work with both Biggie and 2Pac.

In 1997, Mo Bee produced for Biggie’s double-disc album, Life After Death. After Combs turned down some of his early beat submissions, the producer crafted two pop-oriented songs which made the cut, “I Love the Dough” and “Going Back to Cali”; these songs would mark the last time Easy would produce for Bad Boy. Easy maintains that this is because Diddy stopped bringing him in for projects, and has speculated that this may be due to confrontations over production credit the two have had in the past:

Is it because a long time ago, when “Flava in Ya Ear” Remix came out, I looked on the record and saw “Remix by Sean Puffy Combs, Chucky Thompson and Easy Mo Bee.” I took the record up in the office and I presented it to him and I said, “Yo, what’s this?” He didn’t know what to say. I told him, “You didn’t do it. Chucky sat there and watched. So I just want to know why the credits read like that.” I think it might have been that. Because ever since that, I haven’t really worked over there".

— Easy Mo Bee, Scratch Magazine

Since cutting ties with the label, Easy Mo Bee has worked sparingly with other artists; over the next decade he would craft songs for Kurupt, Big Daddy Kane, Ras Kass, the Wu-Tang Clan and others, eventually winning a Grammy for his work with Alicia Keys on her album, The Diary of Alicia Keys. In 2000, he put out an album called Now or Never: Oddysey 2000, featuring east coast staples Busta Rhymes, Raekwon, Prodigy, Smif-N-Wessun, Kool G Rap, and Sauce Money, along with Goodie Mob and Kurupt.

Over the course of his post-Bad Boy-affiliated career, many songs he and Biggie originally recorded together have been remixed without the producer’s credit or permission. These songs include the original “Dead Wrong,” a remix of which appeared on Biggie’s posthumous album Born Again; “Flava in Ya Ear,” which was remixed by Diddy for the Bad Boy 10th Anniversary album, and 2Pac and Biggie’s “Runnin'”, remixed by Eminem on the Tupac: Resurrection (Original Soundtrack). Mo Bee has made it clear that he does not appreciate this practice, particularly in the case of Eminem’s remix. After an announcement that he would handle the scoring for Biggie biopic Notorious, the score was handled without him; this has led to speculation that Diddy is keeping him distanced from the industry.