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Speaker 1: Pushkin for hit Boy, It's All in a Name, Niggas

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Speaker 1: in Paris by Jay Z and Kanye West, Sika Mode

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Speaker 1: by Travis Scott, Thick by Beyonce from her newest album Renaissance,

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Speaker 1: as well as songs from Frank Ocean, Rihanna, Kendrick Lamar,

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Speaker 1: and so many more. Hit Boy's production has powered some

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Speaker 1: of the biggest hits off the best projects over the

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Speaker 1: last decade, which makes it all the more remarkable that

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Speaker 1: his actual crowning achievement has nothing at all to do

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Speaker 1: with radio hits or the latest artists. But the thing

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Speaker 1: that ensures hit Boy's enshrinement and whatever hall of fame

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Speaker 1: exists twenty thirty years from now is dropping back to

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Speaker 1: back to back masterpieces with one of rap's most legendary figures,

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Speaker 1: Nas Nas just won his first Grammy a few years

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Speaker 1: back from his album King's Disease, a project that was

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Speaker 1: fully produced by hit Boy. Since then, they've gone on

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Speaker 1: to release together KD two, Magic and KD three, each

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Speaker 1: album better than the last. And as if all of

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Speaker 1: that in the span of a few years wasn't enough,

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Speaker 1: hit Boys also just released a new solo album as

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Speaker 1: a producer, rapper called Surf or Drown. I talked to

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Speaker 1: hit Boy on today's Broken Record about his new solo project,

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Speaker 1: how he's recently just introduced a new but old piece

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Speaker 1: of equipment into his beat making process, about growing up

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Speaker 1: in the ie just east of Los Angeles, and what

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Speaker 1: he learned from having an uncle in Troop, one of

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Speaker 1: the smoothest R and B groups of the eighties and nineties.

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Speaker 1: This is Broken Record liner notes for the Digital Age.

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Speaker 1: I'm justin Mitchman. Here's my conversation with hit Boy. How

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Speaker 1: you doing today, man, solid man.

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Speaker 2: Yeah, it's just on the move as usual. Yeah, you're busy,

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Speaker 2: It's non stop.

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Speaker 1: How you keeping up? Man?

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Speaker 2: I don't even know between being a dad and doing this.

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Speaker 2: It's just like you gotta just go push yourself. Man,

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Speaker 2: don't get burnt out like some I mean, you know,

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Speaker 2: it's just like just go.

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Speaker 1: Yeah. Do you feel like you're in a creative zenith,

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Speaker 1: like at the top of your creative game at the moment, Yeah.

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Speaker 2: For sure, I'm taking it there. I'm definitely like. It's

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Speaker 2: just like I always wanted to be able to just

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Speaker 2: tap in and make pretty much any style of beat

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Speaker 2: that I wanted to at any given moment, and that's

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Speaker 2: like where I'm at now, Like I could just somebody

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Speaker 2: need a certain sound, or if I'm hearing something, I

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Speaker 2: could really like execute it a lot more than earlier

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Speaker 2: in my career. So that's exciting.

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Speaker 1: But that was a goal early in the career.

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Speaker 2: Still, yeah, just like you know, I would get to

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Speaker 2: a certain point on my production and then kind of

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Speaker 2: get just stumped, don't what to do next. But now

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Speaker 2: it's like I made so many beats, so many songs,

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Speaker 2: it's just coming to me.

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Speaker 1: Can you think of something recently where before you might

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Speaker 1: have gotten stumped but you were able to move it forward.

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Speaker 2: Just beats in general, you know what I mean. I

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Speaker 2: can't think of a specific thing, but now and now

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Speaker 2: I also understand that you can build things over time.

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Speaker 2: They like before, like I used to overcrowd my beats,

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Speaker 2: and artists used to tell me, like, man, the beats

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Speaker 2: they dope. But at the same time, I don't know

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Speaker 2: where I could fit in because it's so much instrumentation,

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Speaker 2: a lot going on. So I just scaled it back

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Speaker 2: and now it's like, Okay, I can get a voice

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Speaker 2: on there that I could get inspired again and add

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Speaker 2: another sound and a breakdown and just something that makes sense.

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Speaker 1: At the right sound. Do you think I do that

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Speaker 1: your beats were maybe crowded for certain people before. Do

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Speaker 1: you think that maybe goes back to just when you

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Speaker 1: were just making beats just for yourself, Like, yeah.

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Speaker 2: For sure, definitely, you know. I mean I always made

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Speaker 2: beats with the intention of getting somebody on them, even

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Speaker 2: if it was just myself, because I was writing before

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Speaker 2: when you're learning to make beats, yeah, because I was

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Speaker 2: making songs before I was making beats. So I was

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Speaker 2: like trying to find something that made sense for me

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Speaker 2: or whoever else to get on, you know, but I

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Speaker 2: would so.

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Speaker 1: You used to make a beats for you to get on. Yes,

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Speaker 1: you're tired of just wrapping over instrumentals from other people.

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Speaker 2: I was in a group with a kid and he

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Speaker 2: made all the beats at first, so we did like

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Speaker 2: a few projects together. I'm like fourteen, fifteen years old,

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Speaker 2: you know what I mean. So by the time I

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Speaker 2: turned sixteen, we had made a couple of projects and

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Speaker 2: I just start playing with the fl studio at his

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Speaker 2: crib and was like, Yo, this is really like fun.

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Speaker 2: It's like a video game for me. Yeah, And I

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Speaker 2: just was like I just took a real liking to

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Speaker 2: it and kept pushing with it.

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Speaker 1: Did you do anything musically growing up and playing the

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Speaker 1: instruments or nah?

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Speaker 2: But I was around a lot of music. Yeah. My

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Speaker 2: uncle Rodney B was in a group called Troop, And

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Speaker 2: I just saw the whole lifestyle, you know what I mean,

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Speaker 2: them being in the studio video shoots, the style, like

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Speaker 2: the music, the dance moves like it just the R

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Speaker 2: and B group. Yeah yeah, yeah, my uncle and my

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Speaker 2: my grandma started the group. She was managing them up

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Speaker 2: until they got signed, and like she really whipped them

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Speaker 2: into shape to like really like be focused on that level.

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Speaker 1: That's crazy.

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Speaker 2: She just always had a passion for music herself, and

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Speaker 2: well my uncle started getting to a certain age, she

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Speaker 2: just was like, you need to start a group, and

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Speaker 2: they started a group and they really went and had

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Speaker 2: a couple number ones and had some success.

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Speaker 1: What was that like for you? Growing up? Seeing that crazy?

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Speaker 2: It got me like on a focused level, I'm on now,

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Speaker 2: you know what I mean? Like I always just seen

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Speaker 2: like they it was doing it on a real level.

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Speaker 2: So I seen it. I seen everything, the whole lifestyle,

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Speaker 2: and I just was intrigued.

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Speaker 1: Yeah, for you at that time. Was hip hop the

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Speaker 1: thing where you were locked in on hip hop? Or

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Speaker 1: did you see that maybe even.

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Speaker 2: Think like, yeah, I mean what my uncle played all

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Speaker 2: type of music. So I heard Nwa, I heard Snoop,

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Speaker 2: I heard ice Cube, I heard just like all the

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Speaker 2: West Coast, you know, hip hop, but it was a

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Speaker 2: lot of R and B, B and played too, because

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Speaker 2: there was an R and B group. So just like

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Speaker 2: hearing them chord changes and just like really seeing the

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Speaker 2: musicality in it. That's kind of like what was hitting me.

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Speaker 2: But I didn't know exactly what it was, but it

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Speaker 2: was the emotion of the coors and the emotion of

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Speaker 2: the drum patterns and the groove and the feeling that

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Speaker 2: just was like I was downloading into my DNA and

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Speaker 2: downloading that DNA.

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Speaker 1: And so now that you're making music, you started to

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Speaker 1: realize the things that you're attracted to and making music.

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Speaker 2: Somewhat come from that. Oh yeah, change for sure. I

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Speaker 2: mean me being able to do a music soul child album.

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Speaker 2: We just dropped Victims and Villains. That's literally because my

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Speaker 2: uncle used to play his first album over and over

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Speaker 2: and over, so I just like already knew kind of

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Speaker 2: where to take it, what I would want to hear

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Speaker 2: personally with just updating it to where it's at now.

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Speaker 2: But saw a lot of time when I'm making music,

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Speaker 2: I just like tap into that original emotion that I

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Speaker 2: would feel before I knew what it was.

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Speaker 1: What was your first meeting with music?

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Speaker 2: Like? It was dope because he already had reached out

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Speaker 2: telling me he loved what I was doing with knaves, so.

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Speaker 1: He just showed what NAS project had come at that

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Speaker 1: point when he reached out.

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Speaker 2: Magic, it was all all Katie won KT two and

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Speaker 2: Magic had come out, not KT three yet. Matter of fact, no,

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Speaker 2: Magic hadn't even come out. Magic was about to come out.

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Speaker 2: And because I remember playing him some of the music

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Speaker 2: and he was just like, Yo, this is crazy. Nobody

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Speaker 2: even knew he was doing it. But uh, when he

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Speaker 2: pulled up, it just was respect, you know. Yeah, And

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Speaker 2: I just had so many beats that fit into where

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Speaker 2: he wanted to go. It kind of was like an

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Speaker 2: easy process.

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Speaker 1: But the intention wasn't necessarily to do a full record

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Speaker 1: together or what nah.

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Speaker 2: He just was like, we need to tap in and

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Speaker 2: you know, work, see what happened, And after a while

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Speaker 2: you start getting eight, nine, ten, songs. It's like, nah,

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Speaker 2: this got to be the album.

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Speaker 1: But that's probably happened before, right.

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Speaker 2: No, I mean with Nas, I didn't plan on making

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Speaker 2: I mean four albums with him. I didn't even know

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Speaker 2: I was gonna make one album with him. He just

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Speaker 2: was coming to get some beats and we just kept working,

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Speaker 2: you know what I mean, he just kept pulling up.

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Speaker 2: It's something about the spot I'm in and just the

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Speaker 2: zone I'm in personally that makes artists want to keep

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Speaker 2: coming back. For the most part, the physical spot really

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Speaker 2: just physical spot work in childish studios.

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Speaker 1: Yeah, where is that?

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Speaker 2: What's Hollywood? Not far from here? Like five minutes and

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Speaker 2: you just lock it out. Yeah. I've been there going

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Speaker 2: on five years and now, yeah, this is August, it'll

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Speaker 2: be five years. I've been in that studio and I've

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Speaker 2: just been making a lot of progress. It's kind of

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Speaker 2: like a homey type of situation, Like it kind of

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Speaker 2: reminds me of me making beats in my bedroom at

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Speaker 2: my mom crib. And I feel like that's what is

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Speaker 2: attractive about it, Like it's not like some to my

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Speaker 2: three year old, see three, it just makes it real

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Speaker 2: comfortable to come record, yeah, versus like this big room

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Speaker 2: that's got the lights all on and it's all stero.

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Speaker 2: It's like, nah, you're coming in. It's like man, it's

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Speaker 2: like almost like being at somebody crib.

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Speaker 1: Yeah. Right, that's taking taking a back, yeah for sure.

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Speaker 1: So surfer drown First of all, what's the title surfer DROWND?

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Speaker 2: I mean, I had went through some heavy stuff just

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Speaker 2: in the game, you know what I mean, just in life.

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Speaker 2: You know, we all got to figure out whether we're

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Speaker 2: gonna surf for drown, but just especially the music industry,

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Speaker 2: I feel like I've been to the mountaintop. I've been

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Speaker 2: around the amazing artists and like, you know, getting that

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Speaker 2: respect and then the flip side, you know, trying to

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Speaker 2: figure it out. Like you know, I could have literally

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Speaker 2: drowned and just like either quit music or like I've

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Speaker 2: been in situations to where some people wouldn't even wanted

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Speaker 2: to be alive no more, you know what I mean,

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Speaker 2: just like kind of felt like you lost it all

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Speaker 2: and not getting the respect, not getting the replies from people,

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Speaker 2: not getting the same you know energy you was, And

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Speaker 2: I really like pulled myself about it at you know

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Speaker 2: what I mean. I used to have a hundred people

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Speaker 2: around me. Then it flipped to having nobody around the

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Speaker 2: day that I found out I had like zero dollars

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Speaker 2: in my account, which was like six years ago after

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Speaker 2: having millions, nobody was there. Nobody was around, you know

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Speaker 2: what I mean. This was like, Wow, when you get

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Speaker 2: into it, they gonna be there, and when you not,

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Speaker 2: they not gonna be there. So it's like you gotta

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Speaker 2: look inside yourself. And that's where the whole Surf for

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Speaker 2: Drown concept came from. Like in surf Club is my

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Speaker 2: that's my label, that's my click. That's since I was

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Speaker 2: seventeen years old, been pushing surf Club And that's just

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Speaker 2: kind of a play on that too.

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Speaker 1: Yeah, how did you get surf Club out of it? Were

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Speaker 1: you in Fontana on that?

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Speaker 2: I was in Fontana, Yeah, it was. It's crazy because

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Speaker 2: I was at the Ontario Mills with the Homie Chili

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Speaker 2: Chill with be Care and a couple other people this

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Speaker 2: like two thousand and five, went to the Hollister store

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Speaker 2: at Ontario Mills at the mall bought these all. We

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Speaker 2: all bought that these kind of like matching similar sweaters

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Speaker 2: and mindset surf Club on it, and we all kind

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Speaker 2: of collectively was like, Yo, that should be the click

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Speaker 2: name surf Club. It just sounded hard. So we just

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Speaker 2: ran with it from there, and you know, it's like

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Speaker 2: we've always gotten respect as far as that name goes. Man.

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Speaker 2: Like you can hear like Drake shouting it out on

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Speaker 2: multiple songs and just people that like really they understand

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Speaker 2: like the legacy of it that if you really tapped

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Speaker 2: in on it.

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Speaker 1: Tapp into your vibe. Even hearing no shout out like

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Speaker 1: the ie after the like what crazy far it's crazy?

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Speaker 2: People hit me at me on ig and be like, yo,

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Speaker 2: hit I love this. I E Weather. I'm like, that's crazy, y'all.

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Speaker 2: Now just put that in the spectrum somebody from Queens,

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Speaker 2: New York, Queen's Bridge, just like you just never know

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Speaker 2: how it's gonna come together.

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Speaker 1: Man, It's insane. Man. Yeah, did you ever feel like

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Speaker 1: quitty like that point when you're at zero.

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Speaker 2: Dollars that and before that and so many times, man,

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Speaker 2: just like dealing with the game and getting to know yourself,

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Speaker 2: knowing how this works, like knowing who you got around you, Like, yeah,

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Speaker 2: it all can be like emotionally like heavy, but I

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Speaker 2: love music so much.

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Speaker 1: Well, what's the part of it that's like the unintended

249
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Speaker 1: stuff that something in it for the music.

250
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Speaker 2: But it's like, like, so I signed a publishing deal

251
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Speaker 2: when I was one year out of high school with

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Speaker 2: you know, by this time, you know, my uncle was

253
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Speaker 2: popping late eighties, early nineties. This is two thousand and six,

254
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Speaker 2: two thousand and seven. He can't really give me the guidance.

255
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Speaker 2: I don't really have that many people that I can,

256
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Speaker 2: you know, get so like I signed a deal that

257
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Speaker 2: I'm still into this day right now. So I'm talking

258
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Speaker 2: about I'm thirty five, about to be thirty six next month,

259
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Speaker 2: and I've been in the deal since I was nineteen,

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Speaker 2: So that alone, it's been like a mental thing. It's

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Speaker 2: been just like you know, I got to see so

262
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Speaker 2: many people like who didn't sign you know, crazy deal

263
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Speaker 2: come up after me and be kind of like looked

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Speaker 2: at in a different light, revered in a different light

265
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Speaker 2: when it's like I actually got the discography just the

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Speaker 2: way things been structured, Like you know, I'm still waiting

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Speaker 2: to get out that deal and even just like live

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Speaker 2: on the level that I should be living on, you

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Speaker 2: know what I mean, which I'm living great, I'm living beautiful.

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Speaker 2: I'm blessed all that, but there's more like I see,

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Speaker 2: you know what it's gonna be, what it can be?

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Speaker 1: How much longer does that deal run?

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Speaker 2: I mean, it's supposed to be an earn out deal now,

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Speaker 2: which just got renegotiated. And when you say so versus

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Speaker 2: like me having to have, like I had an MDRC deal,

276
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Speaker 2: which is like, you know, it's percentages and once you

277
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Speaker 2: add up, they'll find some other way to make it

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Speaker 2: not really count as what it's supposed to be in

279
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Speaker 2: black and white and that's just all contractual just you know,

280
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Speaker 2: wordage and stuff like that. But yeah, now it's like,

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Speaker 2: I mean, I should have hopefully two years in this

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Speaker 2: deal left.

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Speaker 1: You know, and it's a publishing deal.

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Speaker 2: Publishing deal, right, yeah, yeah, So that's like, you know,

285
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Speaker 2: that's just like a part of what can weigh you

286
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Speaker 2: down at times when you talking to lawyers and they're like, yo,

287
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Speaker 2: this is the worst contract I've ever seen. That. That's

288
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Speaker 2: not something as a creative you want to hear, especially

289
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Speaker 2: when you did that deal so premature, so young, so

290
00:13:57,836 --> 00:14:00,516
Speaker 2: just new to everything going on, Like I didn't expect

291
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Speaker 2: me to still be in a deal that I signed

292
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Speaker 2: from then, you know, It's like I didn't even find

293
00:14:05,556 --> 00:14:07,636
Speaker 2: out that it was a bad deal until I made

294
00:14:07,676 --> 00:14:10,476
Speaker 2: a hit, which was I got signed oh seven. I

295
00:14:10,516 --> 00:14:12,996
Speaker 2: didn't make a real, real hit, top radio hit until

296
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Speaker 2: like twenty eleven in Paris. Yeah, exactly. I found out

297
00:14:16,796 --> 00:14:20,436
Speaker 2: after Niggas in Paris dropped and I was like, okay,

298
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Speaker 2: so where's the real, real money. And they're like, oh, well,

299
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Speaker 2: you signed to this contract, so you know it's not

300
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Speaker 2: gonna be the way you thought it was gonna be.

301
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Speaker 1: So who was getting the money?

302
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Speaker 2: I mean, it's just like not that I'm not getting

303
00:14:33,676 --> 00:14:35,876
Speaker 2: the money from that song, it's just more so like

304
00:14:35,916 --> 00:14:38,836
Speaker 2: you know how some people are making hit and it's

305
00:14:38,836 --> 00:14:41,876
Speaker 2: like going viral or whatever the case, they'll go be

306
00:14:41,916 --> 00:14:45,076
Speaker 2: able to negotiate a new deal or something, get five

307
00:14:45,156 --> 00:14:47,476
Speaker 2: ten million dollars or something like that. But I've never

308
00:14:47,516 --> 00:14:50,316
Speaker 2: been able to do that with you know, even after

309
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Speaker 2: making hits that should have allowed me to hit in exactly.

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Speaker 1: That's crazy. Yeah, given you've been locked into something that's

311
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Speaker 1: felt so I mean beyond restrictive felt, it's felt.

312
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Speaker 2: Yeah. Even just talking about this right now, though, like

313
00:15:06,196 --> 00:15:08,596
Speaker 2: that brought me to this place, because you know, you

314
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Speaker 2: get to a point where you want to do this.

315
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Speaker 2: You want to just like get the singles and you

316
00:15:12,596 --> 00:15:15,676
Speaker 2: want to like be have every song just be niggas

317
00:15:15,676 --> 00:15:17,956
Speaker 2: in pairs perform at ten twelve times, Like it's not

318
00:15:17,996 --> 00:15:20,996
Speaker 2: gonna all be that. So I got to this point

319
00:15:21,036 --> 00:15:22,756
Speaker 2: where it's like I got to find out how to

320
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Speaker 2: get my respect in another way, which was like it's

321
00:15:25,396 --> 00:15:27,196
Speaker 2: a blessing to work with nas And so.

322
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Speaker 1: Was that intentional or do you think that just happened?

323
00:15:29,636 --> 00:15:31,676
Speaker 2: It was a mixture of both, you know what I mean,

324
00:15:31,996 --> 00:15:33,676
Speaker 2: was just like trying to figure it out and then

325
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Speaker 2: understanding like Okay, if I somebody like Benny the Butcher,

326
00:15:36,796 --> 00:15:40,076
Speaker 2: Big Sean, Naves Music, Soul Child, one of them come through,

327
00:15:40,156 --> 00:15:42,076
Speaker 2: I gotta lock in on a different level. I can't

328
00:15:42,156 --> 00:15:44,596
Speaker 2: let them leave. I gotta like have so much heat

329
00:15:44,756 --> 00:15:47,036
Speaker 2: that it's like, nah, bro, I'm rocking with you.

330
00:15:47,316 --> 00:15:48,236
Speaker 1: Yeah, it just took me.

331
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Speaker 2: To that level.

332
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Speaker 1: Did did anyone guide you to that thinking? Or like did

333
00:15:50,796 --> 00:15:51,676
Speaker 1: you kind of have to get.

334
00:15:51,516 --> 00:15:54,596
Speaker 2: Through watching the game seeing just it was more so

335
00:15:54,836 --> 00:15:55,796
Speaker 2: just watching.

336
00:15:55,636 --> 00:15:58,676
Speaker 1: You feel like early on you had mentors in the

337
00:15:58,756 --> 00:15:59,756
Speaker 1: production game.

338
00:16:00,116 --> 00:16:01,996
Speaker 2: Yeah, of course, Like I got signed to Polo to

339
00:16:02,116 --> 00:16:05,716
Speaker 2: Don and he was doing big pop records and doing

340
00:16:05,756 --> 00:16:08,436
Speaker 2: big R and B songs and rap songs too, and

341
00:16:09,196 --> 00:16:11,316
Speaker 2: got to see the game at a high level. And

342
00:16:11,396 --> 00:16:14,996
Speaker 2: even though even if he like didn't directly tell me

343
00:16:15,036 --> 00:16:18,476
Speaker 2: exactly ABC what to do, I watched it. I watched him,

344
00:16:18,596 --> 00:16:21,436
Speaker 2: I watched his ups in his downs. Just like even

345
00:16:21,636 --> 00:16:25,996
Speaker 2: learning from my interaction with people. Gotta just like treat

346
00:16:26,036 --> 00:16:29,116
Speaker 2: everybody decently because you don't know who's gonna become who's

347
00:16:29,156 --> 00:16:35,796
Speaker 2: going to listen. I knew so many people, Drake, Frank Ocean, Tyler,

348
00:16:35,796 --> 00:16:38,916
Speaker 2: the Creator, Kendrick Lamar, like knew these people before they

349
00:16:38,996 --> 00:16:42,036
Speaker 2: blew up. So it's like you just gotta, like you

350
00:16:42,036 --> 00:16:45,316
Speaker 2: you gotta understand that anybody it can turn up for them.

351
00:16:45,356 --> 00:16:47,156
Speaker 1: So did you have good relationships with them?

352
00:16:47,356 --> 00:16:50,196
Speaker 2: Yeah, for sure, show Yeah, but just in general, you know,

353
00:16:50,676 --> 00:16:53,236
Speaker 2: just like just like learning and uh, that got me

354
00:16:53,276 --> 00:16:55,316
Speaker 2: to this place where it's like I feel like I

355
00:16:55,356 --> 00:16:57,916
Speaker 2: get more respect for doing these albums than doing a

356
00:16:57,956 --> 00:17:01,036
Speaker 2: big giant single. People look at me different now, people

357
00:17:01,196 --> 00:17:04,436
Speaker 2: understand like, oh, he's he's not one of those you

358
00:17:04,436 --> 00:17:04,876
Speaker 2: know what I mean.

359
00:17:04,916 --> 00:17:07,716
Speaker 1: He Like, seriously, it's really hard to get people to

360
00:17:07,876 --> 00:17:12,116
Speaker 1: concentrate on a project like a full project, man, and

361
00:17:12,196 --> 00:17:14,676
Speaker 1: to have multiple now like the two out this year.

362
00:17:14,996 --> 00:17:17,316
Speaker 1: The not I mean like just to have so now

363
00:17:17,396 --> 00:17:21,036
Speaker 1: like a whole body of just like actual projects. It's

364
00:17:21,076 --> 00:17:24,076
Speaker 1: not just like Niggas in Paris or Click, which are

365
00:17:24,116 --> 00:17:26,556
Speaker 1: great records, but like to actually now have like this,

366
00:17:27,516 --> 00:17:30,556
Speaker 1: it puts you in a in my mind, and a

367
00:17:30,596 --> 00:17:32,996
Speaker 1: different stature of producer, you know.

368
00:17:33,596 --> 00:17:38,076
Speaker 2: One million percent. Man, It just makes people respect what

369
00:17:38,196 --> 00:17:40,196
Speaker 2: you do more. I feel like, man, cause like I've

370
00:17:40,236 --> 00:17:46,036
Speaker 2: had big radio songs and didn't get nowhere near this revered, respected, honor,

371
00:17:46,196 --> 00:17:48,716
Speaker 2: you know what I mean like, And that's like it's

372
00:17:48,836 --> 00:17:51,396
Speaker 2: just a mental thing too, Like you can't really get

373
00:17:51,396 --> 00:17:54,636
Speaker 2: caught up in thinking that the name or the massive

374
00:17:54,676 --> 00:17:57,956
Speaker 2: success of something that's going really lock people into what

375
00:17:58,236 --> 00:18:01,476
Speaker 2: exactly who you are and what your brand is. You

376
00:18:01,556 --> 00:18:03,716
Speaker 2: got to just make them waves and make them plays

377
00:18:03,716 --> 00:18:06,276
Speaker 2: that make them respecting on a different level. It's not

378
00:18:06,316 --> 00:18:08,276
Speaker 2: always going to be the like I put out an

379
00:18:08,316 --> 00:18:10,996
Speaker 2: artist a song, a big name artist this year, and

380
00:18:10,996 --> 00:18:12,636
Speaker 2: then I put out a song with Alchemists, and a

381
00:18:12,676 --> 00:18:15,236
Speaker 2: song with Alchemist who is a less you know, lesser

382
00:18:15,316 --> 00:18:18,316
Speaker 2: no name than this guy. Blew that shit out the water.

383
00:18:18,476 --> 00:18:20,236
Speaker 2: So it's like you know, you just you know, you

384
00:18:20,276 --> 00:18:23,276
Speaker 2: can't get caught up in just none of the industry

385
00:18:23,356 --> 00:18:25,516
Speaker 2: tactics and thinking that, oh it's gonna be this way,

386
00:18:25,556 --> 00:18:26,036
Speaker 2: Oh it's.

387
00:18:25,876 --> 00:18:29,356
Speaker 1: Gonna be think with this person just because that's this song.

388
00:18:29,276 --> 00:18:31,636
Speaker 2: Gonna be successful just because you know it's it. Don't

389
00:18:31,636 --> 00:18:32,116
Speaker 2: work like that.

390
00:18:32,116 --> 00:18:34,956
Speaker 1: You can't game it like that. How much of you

391
00:18:34,996 --> 00:18:37,276
Speaker 1: going from like you know you at a high school.

392
00:18:37,956 --> 00:18:40,196
Speaker 1: You sound like a deal. You're still locked into bad

393
00:18:40,196 --> 00:18:42,556
Speaker 1: deal to now been around nos like, have you picked

394
00:18:42,636 --> 00:18:45,116
Speaker 1: up on some of his the way he thinks about

395
00:18:45,116 --> 00:18:46,156
Speaker 1: his team too.

396
00:18:46,116 --> 00:18:48,556
Speaker 2: Yeah, for sure, I pick up on just like how

397
00:18:48,596 --> 00:18:50,676
Speaker 2: to be a solid person, you know what I mean.

398
00:18:50,756 --> 00:18:53,276
Speaker 2: He ain't never the loudest in the room. He ain't

399
00:18:53,316 --> 00:18:56,356
Speaker 2: never gotta make itself seem like something like he just

400
00:18:56,516 --> 00:18:58,716
Speaker 2: is who he is. So it's like I'm already personally

401
00:18:58,756 --> 00:19:01,556
Speaker 2: that type of person too, But I learned even more, like, bro,

402
00:19:01,756 --> 00:19:03,956
Speaker 2: just be humble, do what you do. You're gonna get

403
00:19:03,956 --> 00:19:06,196
Speaker 2: the respect you deserve when you work for it, you

404
00:19:06,196 --> 00:19:08,116
Speaker 2: know what I mean? So I just learned just like

405
00:19:08,156 --> 00:19:10,956
Speaker 2: on some life shit being around him, and obviously business too,

406
00:19:11,076 --> 00:19:13,556
Speaker 2: like he's doing his thing and it's just like you

407
00:19:13,636 --> 00:19:15,916
Speaker 2: have no choice. If you're really there and being attentive

408
00:19:15,956 --> 00:19:18,836
Speaker 2: and you want to learn, you're gonna pick up on it.

409
00:19:19,036 --> 00:19:22,036
Speaker 1: Yeah. Man, we have to pause for a quick break.

410
00:19:22,316 --> 00:19:24,756
Speaker 1: When we're back, you'll hear all about hit boys beat

411
00:19:24,796 --> 00:19:33,276
Speaker 1: making philosophy. We're back with more of my conversation with

412
00:19:33,436 --> 00:19:37,316
Speaker 1: hit Boy. When you started making beats on FL studio,

413
00:19:37,316 --> 00:19:38,476
Speaker 1: which you still use, right.

414
00:19:38,436 --> 00:19:43,156
Speaker 2: I do. Yeah, that's why I just implemented NPC live

415
00:19:43,276 --> 00:19:46,036
Speaker 2: and to I still use FL. I just record what

416
00:19:46,076 --> 00:19:48,876
Speaker 2: I'm doing on live into FL and that's like been

417
00:19:48,876 --> 00:19:52,276
Speaker 2: making my process even easier with making beats because it's

418
00:19:52,276 --> 00:19:54,596
Speaker 2: funny because FL is like a lot of people that

419
00:19:54,716 --> 00:19:57,716
Speaker 2: use it know that, like sometimes you have latency problems.

420
00:19:57,716 --> 00:20:00,636
Speaker 2: So I really have been working with latency for ten

421
00:20:00,836 --> 00:20:02,196
Speaker 2: twelve years.

422
00:20:01,836 --> 00:20:04,476
Speaker 1: Like little working with that lag for yeah, exactly.

423
00:20:04,596 --> 00:20:06,236
Speaker 2: So it's like I'm kind of like better than I

424
00:20:06,236 --> 00:20:08,436
Speaker 2: even think I am, because now that I want a

425
00:20:08,476 --> 00:20:10,756
Speaker 2: NPC and am feeling stuff in real time, I'm just like,

426
00:20:10,796 --> 00:20:12,716
Speaker 2: oh man, it's just so much easier.

427
00:20:13,236 --> 00:20:15,676
Speaker 1: So how did you account for the latency for the

428
00:20:15,756 --> 00:20:16,796
Speaker 1: lag all those years?

429
00:20:16,836 --> 00:20:18,636
Speaker 2: I just did it so much that it just kind

430
00:20:18,636 --> 00:20:20,636
Speaker 2: of became regular to me, normal to me?

431
00:20:21,036 --> 00:20:22,756
Speaker 1: Did it impact or sound? You think?

432
00:20:23,276 --> 00:20:26,796
Speaker 2: Who knows? This put me in his own where it's like,

433
00:20:26,836 --> 00:20:28,836
Speaker 2: you know, I'm really working on this beat, Like I'm

434
00:20:28,836 --> 00:20:30,316
Speaker 2: putting work into this beat.

435
00:20:30,396 --> 00:20:35,116
Speaker 1: You know when did you decide to start incorporating the NPC.

436
00:20:35,556 --> 00:20:39,276
Speaker 2: Just like four months ago? It's like recently I got

437
00:20:39,276 --> 00:20:42,556
Speaker 2: the Supreme NPC Live NAS actually bought it for me,

438
00:20:42,636 --> 00:20:45,716
Speaker 2: and I was just one day like me, I need

439
00:20:45,716 --> 00:20:48,196
Speaker 2: to crack this open, matter of fact. No, my homeboy,

440
00:20:48,276 --> 00:20:53,916
Speaker 2: James Fauntleroy, writer extraordinary legendary artists all that he was,

441
00:20:54,516 --> 00:20:56,356
Speaker 2: came by and played me some beats that he had

442
00:20:56,396 --> 00:20:58,116
Speaker 2: made on the NPC Live and he was like, bro,

443
00:20:58,196 --> 00:21:00,596
Speaker 2: you gotta get on this. And then that's when I

444
00:21:00,636 --> 00:21:02,396
Speaker 2: cracked it up. And maybe a week later or a

445
00:21:02,396 --> 00:21:04,916
Speaker 2: few days later, and I'm like, yo, this is fun.

446
00:21:04,956 --> 00:21:07,796
Speaker 2: It makes the process way more even fun, you know

447
00:21:07,796 --> 00:21:09,716
Speaker 2: what I mean? I already have fun while I'm making beats.

448
00:21:09,756 --> 00:21:11,916
Speaker 2: But that's like make it almost like a cheat.

449
00:21:11,956 --> 00:21:15,636
Speaker 1: Cold did not give it to you for you to

450
00:21:15,676 --> 00:21:17,796
Speaker 1: make beats on or was it sort of just like hey, you're.

451
00:21:17,636 --> 00:21:19,836
Speaker 2: Just like it's a dope piece, Like even if I

452
00:21:19,916 --> 00:21:21,796
Speaker 2: never opened it like I probably could have sold it

453
00:21:21,876 --> 00:21:25,156
Speaker 2: for however much, you know what I mean, But I'm like, nah,

454
00:21:25,196 --> 00:21:26,796
Speaker 2: I gotta, I gotta get it in.

455
00:21:27,036 --> 00:21:29,876
Speaker 1: So have you made anything yet with NPC that you

456
00:21:29,916 --> 00:21:31,476
Speaker 1: feel like is gonna make it to a project.

457
00:21:31,796 --> 00:21:34,756
Speaker 2: Yeah? Yeah, for sure already, Yeah for sure. Like I

458
00:21:34,836 --> 00:21:37,636
Speaker 2: don't play like my I look at myself like a

459
00:21:37,676 --> 00:21:41,116
Speaker 2: department store, like a just like a store for real,

460
00:21:41,196 --> 00:21:44,036
Speaker 2: Like when you come through, you're gonna find something, whether

461
00:21:44,076 --> 00:21:47,756
Speaker 2: it's the jacket, the shirt, maybe the whole outfit, the shoes, something,

462
00:21:47,916 --> 00:21:50,196
Speaker 2: You're gonna find something that works for what you're doing.

463
00:21:50,356 --> 00:21:53,876
Speaker 2: Nine times out of ten are just like kind of like,

464
00:21:53,996 --> 00:21:56,356
Speaker 2: let me just keep cranking out product and it's like

465
00:21:56,516 --> 00:21:58,436
Speaker 2: the latest stuff I do. I make sure I play

466
00:21:58,476 --> 00:22:00,956
Speaker 2: it for the artist that's coming to work with me,

467
00:22:00,996 --> 00:22:03,476
Speaker 2: and it just kind of always connects some ow.

468
00:22:03,956 --> 00:22:05,916
Speaker 1: Are the artists that you ever make something for where

469
00:22:05,916 --> 00:22:08,396
Speaker 1: you feel like you you seek them out to show

470
00:22:08,436 --> 00:22:11,276
Speaker 1: them some certific like this could really work for this person.

471
00:22:11,876 --> 00:22:15,876
Speaker 2: Yeah, I mean, especially more early in my career like now,

472
00:22:16,836 --> 00:22:18,636
Speaker 2: I mean, well, if I know I'm not locked in

473
00:22:18,636 --> 00:22:20,636
Speaker 2: with Knaves, I'm gonna getting that zone. Like after we

474
00:22:20,676 --> 00:22:23,916
Speaker 2: do three four records. Like it's like, okay, some switches

475
00:22:23,956 --> 00:22:25,476
Speaker 2: in my brain where it's like I know where to

476
00:22:25,516 --> 00:22:27,596
Speaker 2: take it for the rest of the time on to

477
00:22:27,716 --> 00:22:31,396
Speaker 2: keep it in this linear thing but still be dynamic.

478
00:22:31,996 --> 00:22:33,516
Speaker 1: So you still locked in with knas.

479
00:22:33,716 --> 00:22:36,396
Speaker 2: I'm super locked in. We was in the studio last night,

480
00:22:36,636 --> 00:22:38,596
Speaker 2: probably gonna be in the studio after we're done with

481
00:22:38,636 --> 00:22:41,916
Speaker 2: this podcast. Man, it's just like we're just like it's honestly,

482
00:22:41,916 --> 00:22:43,876
Speaker 2: I feel like we're still working on the first album.

483
00:22:43,956 --> 00:22:47,036
Speaker 2: Like it's just been like a progressive thing. Like I've

484
00:22:47,076 --> 00:22:49,596
Speaker 2: seen people work on albums for five six years, and

485
00:22:49,716 --> 00:22:52,316
Speaker 2: if we were just now about to come out the album,

486
00:22:52,396 --> 00:22:55,396
Speaker 2: people would just like be even more mind blown because

487
00:22:55,396 --> 00:22:58,356
Speaker 2: the progress. But it was good that we, you know,

488
00:22:58,636 --> 00:23:01,516
Speaker 2: have been just making the projects, dropping them. We're getting

489
00:23:01,516 --> 00:23:04,636
Speaker 2: this live feedback, we getting all this support, all this respect.

490
00:23:04,956 --> 00:23:08,956
Speaker 2: He's up my respect level just in music in general.

491
00:23:09,316 --> 00:23:12,156
Speaker 2: And people look at him it's like, you know, like, Wow,

492
00:23:12,316 --> 00:23:16,076
Speaker 2: you can age gracefully. You could still keep it hip hop,

493
00:23:16,116 --> 00:23:20,116
Speaker 2: you can still keep it fresh, still cutting edge, modern

494
00:23:20,356 --> 00:23:22,476
Speaker 2: at you know what I'm saying. Whatever age, And it's

495
00:23:22,476 --> 00:23:24,316
Speaker 2: not even about that, It's just about what.

496
00:23:24,716 --> 00:23:28,716
Speaker 1: You guys are doing is timeless. It's crazy.

497
00:23:28,876 --> 00:23:29,636
Speaker 2: Appreciate that.

498
00:23:29,676 --> 00:23:32,076
Speaker 1: Man, It's crazy. I gotta say, like, I think jay

499
00:23:32,196 --> 00:23:35,196
Speaker 1: Z did that similar thing with four four four made

500
00:23:35,196 --> 00:23:37,756
Speaker 1: it feel like you don't have to be the newest

501
00:23:38,356 --> 00:23:43,236
Speaker 1: the artist to make something that that resonats, impacts and vibrates,

502
00:23:43,756 --> 00:23:48,396
Speaker 1: but you guys did it. KD, KD two, Magic, KD three,

503
00:23:48,716 --> 00:23:53,356
Speaker 1: And to have every project be flawless really a point

504
00:23:53,356 --> 00:23:58,236
Speaker 1: where it's like like those are just so next level incredible,

505
00:23:58,356 --> 00:24:00,196
Speaker 1: Like how to you even choose one? That's like it's

506
00:24:00,236 --> 00:24:03,116
Speaker 1: like it's like having three ematics, you know.

507
00:24:03,556 --> 00:24:06,396
Speaker 2: Man. Yeah, I just seen somebody on Twitter say something

508
00:24:06,396 --> 00:24:08,676
Speaker 2: about the first KD and I'm like, damn, we have

509
00:24:08,796 --> 00:24:11,556
Speaker 2: some on there. It was like a different And I

510
00:24:11,596 --> 00:24:13,876
Speaker 2: feel like we every song we make is like a

511
00:24:14,036 --> 00:24:16,476
Speaker 2: real song with some type of structure, some type of

512
00:24:16,756 --> 00:24:18,876
Speaker 2: you know, it might be a new way of thinking

513
00:24:18,876 --> 00:24:21,596
Speaker 2: about it, but it's just like something that's gluing it

514
00:24:21,636 --> 00:24:23,716
Speaker 2: together as an actual song, you know what I mean.

515
00:24:23,836 --> 00:24:26,636
Speaker 2: And I feel like we've progressed into like really him

516
00:24:26,716 --> 00:24:29,836
Speaker 2: just digging into that bag of just getting raps off,

517
00:24:29,956 --> 00:24:32,756
Speaker 2: but still keeping a structure to where people can enjoy

518
00:24:32,756 --> 00:24:35,316
Speaker 2: the song and it's not just three minutes are rapping

519
00:24:35,356 --> 00:24:37,076
Speaker 2: like you still got to hook you still. But he

520
00:24:37,276 --> 00:24:40,476
Speaker 2: just like just flashed back like and took it to

521
00:24:40,556 --> 00:24:42,476
Speaker 2: a place that people of what people really want to

522
00:24:42,516 --> 00:24:43,076
Speaker 2: hear from him?

523
00:24:43,156 --> 00:24:45,556
Speaker 1: How are the concepts coming up? Like I'm thinking off

524
00:24:45,556 --> 00:24:47,636
Speaker 1: this newer phone like Michael and Quincy like that, that's

525
00:24:47,676 --> 00:24:48,596
Speaker 1: just a concept.

526
00:24:48,836 --> 00:24:52,596
Speaker 2: He actually uh had that idea for a little minute,

527
00:24:52,676 --> 00:24:55,756
Speaker 2: like for probably like some months, and he would just

528
00:24:55,796 --> 00:24:58,796
Speaker 2: talk about it. I didn't know exactly what because I

529
00:24:58,796 --> 00:25:02,196
Speaker 2: feel like most people would have just sampled either some

530
00:25:02,356 --> 00:25:05,156
Speaker 2: off thriller or off the wall or just something that

531
00:25:06,196 --> 00:25:08,996
Speaker 2: kind of like was a similar aesthetic to those. But

532
00:25:09,516 --> 00:25:12,876
Speaker 2: we took it left field and had like the break

533
00:25:12,916 --> 00:25:17,036
Speaker 2: beat with the dirty acoustic bass and then the horns

534
00:25:17,116 --> 00:25:20,076
Speaker 2: and chord changes and just like you know, really having

535
00:25:20,116 --> 00:25:20,756
Speaker 2: fun with it.

536
00:25:20,956 --> 00:25:22,676
Speaker 1: So we had the concept for a minute, but there

537
00:25:22,716 --> 00:25:24,076
Speaker 1: wasn't a beat attached.

538
00:25:23,716 --> 00:25:25,996
Speaker 2: To it or yeah, because I was thinking about how

539
00:25:26,036 --> 00:25:28,716
Speaker 2: they approach it, Like I never want to be surface

540
00:25:28,836 --> 00:25:30,876
Speaker 2: level and just be like, Okay, cool, I'm gonna go

541
00:25:31,476 --> 00:25:32,316
Speaker 2: sample a quincy.

542
00:25:32,396 --> 00:25:35,956
Speaker 1: So easy thing to do, just sample body heat or something.

543
00:25:35,836 --> 00:25:39,236
Speaker 2: Right, Yeah, No, it's like just come with a new

544
00:25:39,276 --> 00:25:40,636
Speaker 2: wave Damn.

545
00:25:40,996 --> 00:25:43,476
Speaker 1: Yeah, did you grow up a NAS fan? Like growing

546
00:25:43,556 --> 00:25:45,236
Speaker 1: up on the West Coast. I grew up on the

547
00:25:45,276 --> 00:25:49,756
Speaker 1: West Coast. NAS was respected. I respected NAS always, but

548
00:25:49,996 --> 00:25:52,796
Speaker 1: it wasn't the thing that I was always hearing coming right.

549
00:25:52,956 --> 00:25:57,156
Speaker 2: You know, man, that's funny because I just was having

550
00:25:57,156 --> 00:26:00,916
Speaker 2: this conversation with somebody just about how like things are

551
00:26:00,996 --> 00:26:03,236
Speaker 2: marketed in the way people look at things, you know

552
00:26:03,236 --> 00:26:06,116
Speaker 2: what I mean. I always had a super major respect

553
00:26:06,196 --> 00:26:10,036
Speaker 2: for NAS, but working with him and digging into his discography,

554
00:26:10,596 --> 00:26:15,076
Speaker 2: listening to how the albums was sequenced, Like I listened

555
00:26:15,076 --> 00:26:17,396
Speaker 2: to all his intros, like just back to back to

556
00:26:17,476 --> 00:26:20,596
Speaker 2: back to back, just trying to capture that that energy,

557
00:26:20,636 --> 00:26:23,916
Speaker 2: and I really got more of an appreciation for who

558
00:26:23,956 --> 00:26:27,596
Speaker 2: he really is and what he's contributed to music in general,

559
00:26:27,636 --> 00:26:30,236
Speaker 2: you know what I mean. So I always had major

560
00:26:30,316 --> 00:26:32,356
Speaker 2: respect for him, but I just like grew to really

561
00:26:32,436 --> 00:26:34,636
Speaker 2: understand like, oh, this this dude is, you know what

562
00:26:34,636 --> 00:26:36,556
Speaker 2: I mean? Because I was on the West Coast, so

563
00:26:36,596 --> 00:26:39,396
Speaker 2: it wasn't as much other than the hits I following

564
00:26:39,476 --> 00:26:42,036
Speaker 2: with the world and stuff like that will play on

565
00:26:42,076 --> 00:26:43,596
Speaker 2: the radio all the time, you know what I mean.

566
00:26:44,196 --> 00:26:46,716
Speaker 2: But I didn't like, you know, my family super West Coast,

567
00:26:46,756 --> 00:26:49,076
Speaker 2: so they didn't just have his albums on repeat. But

568
00:26:49,116 --> 00:26:52,476
Speaker 2: I did have friends who, you know, you know, if

569
00:26:52,516 --> 00:26:54,316
Speaker 2: I was the jay Z guy, I got a homeboy

570
00:26:54,356 --> 00:26:56,796
Speaker 2: who was the NAS guy, and we've back and forth

571
00:26:56,876 --> 00:26:58,716
Speaker 2: takeover ether or whatever, you know what I mean.

572
00:26:58,716 --> 00:27:00,196
Speaker 1: And that's just like, I don't know, like probably sounds

573
00:27:00,236 --> 00:27:02,356
Speaker 1: like for you too. For me, that like both of

574
00:27:02,396 --> 00:27:06,156
Speaker 1: them didn't enter my my world as like beloved beloved

575
00:27:06,196 --> 00:27:09,476
Speaker 1: artists until like that that beef time, like eat and

576
00:27:09,556 --> 00:27:11,516
Speaker 1: take a ri et cetera. But like you know, like

577
00:27:11,556 --> 00:27:13,796
Speaker 1: Ellmatic when you talk to anyone from New York, that's

578
00:27:13,836 --> 00:27:16,116
Speaker 1: just like hands down easily. But it's like for me,

579
00:27:16,156 --> 00:27:16,516
Speaker 1: it's like, I.

580
00:27:16,556 --> 00:27:19,676
Speaker 2: Mean, ninety four death Row was going insane out here,

581
00:27:19,716 --> 00:27:24,036
Speaker 2: so it's no rially like swallowing that up. Yeah, you know,

582
00:27:24,356 --> 00:27:27,676
Speaker 2: but I get it now though, I get it. And

583
00:27:27,756 --> 00:27:31,156
Speaker 2: his longevity just speaks to you know what he's always

584
00:27:31,196 --> 00:27:33,636
Speaker 2: been like he been doing this since he was sixteen seventeen.

585
00:27:34,276 --> 00:27:37,236
Speaker 2: For him to be forty nine, it's just like still

586
00:27:37,316 --> 00:27:39,716
Speaker 2: rapping at a high level, projecting his voice at the

587
00:27:39,796 --> 00:27:40,636
Speaker 2: highest levels.

588
00:27:40,716 --> 00:27:44,876
Speaker 1: His voice sounds I think the best it's ever sounded crazy.

589
00:27:45,236 --> 00:27:48,916
Speaker 1: So when when you guys are in sessions, will you

590
00:27:48,956 --> 00:27:52,036
Speaker 1: guys discuss his approach on the song, like the way

591
00:27:52,076 --> 00:27:55,156
Speaker 1: he's attacking a song a beat or his kick.

592
00:27:55,116 --> 00:27:58,476
Speaker 2: Like yeah, I mean it's both ways. Sometimes I'll come

593
00:27:58,516 --> 00:28:01,356
Speaker 2: in and you know, I might be like, yo, you

594
00:28:01,396 --> 00:28:04,116
Speaker 2: should you should start rapping at this bar, like it

595
00:28:04,236 --> 00:28:05,876
Speaker 2: might not it might not be the one, or it

596
00:28:05,956 --> 00:28:08,036
Speaker 2: might be just like a off place, and then I

597
00:28:08,156 --> 00:28:09,956
Speaker 2: just let him just take get from there, and he

598
00:28:10,156 --> 00:28:13,796
Speaker 2: usually spark another idea for me, like like sometimes with

599
00:28:13,876 --> 00:28:16,516
Speaker 2: the hooks, he'll record something and I'll just take the

600
00:28:16,596 --> 00:28:18,596
Speaker 2: last word or what he said or last line, the

601
00:28:18,596 --> 00:28:21,036
Speaker 2: way he said fly back and kind of just structure

602
00:28:21,036 --> 00:28:22,756
Speaker 2: a hook and then let him finish it out and

603
00:28:22,796 --> 00:28:25,556
Speaker 2: it just makes it easy wherever he going, I'm going,

604
00:28:25,596 --> 00:28:26,596
Speaker 2: and we just making it work.

605
00:28:26,676 --> 00:28:28,476
Speaker 1: So you'll structure a hook out of something that he

606
00:28:28,516 --> 00:28:31,316
Speaker 1: may be intended as a verse exactly. I heard stories

607
00:28:31,316 --> 00:28:33,396
Speaker 1: about Dre doing that for like Snoop back on, like

608
00:28:33,436 --> 00:28:36,476
Speaker 1: the chronic and doggy style, Like Snooper would just freestyle

609
00:28:36,516 --> 00:28:38,396
Speaker 1: something be like but it intended like that's the verse,

610
00:28:38,436 --> 00:28:39,076
Speaker 1: but it'd be like.

611
00:28:39,756 --> 00:28:41,916
Speaker 2: It's about that pocket the way it's hitting the pocket.

612
00:28:42,156 --> 00:28:45,156
Speaker 2: Just like as a producer or whoever, if you're a songmaker,

613
00:28:45,156 --> 00:28:47,836
Speaker 2: you will just hear certain things that maybe the artists

614
00:28:47,876 --> 00:28:50,516
Speaker 2: not paying attention to. And it's like, I'm trying to

615
00:28:50,516 --> 00:28:52,996
Speaker 2: take advantage of all this shit. This is not like.

616
00:28:52,956 --> 00:28:55,956
Speaker 1: That's your job to hear what they're looking to it.

617
00:28:56,556 --> 00:28:59,996
Speaker 2: He opened to my ideas, so and that's that's that's

618
00:29:00,036 --> 00:29:03,396
Speaker 2: where I'm empowered, just like him being able to see

619
00:29:03,396 --> 00:29:05,476
Speaker 2: my vision when it when I play a beat, it

620
00:29:05,556 --> 00:29:07,676
Speaker 2: the beating, I might not even be all the way done.

621
00:29:07,716 --> 00:29:09,876
Speaker 2: But if I'm excited about something and I got a

622
00:29:09,956 --> 00:29:13,196
Speaker 2: chord structure or some drums and put it together, and

623
00:29:13,596 --> 00:29:15,156
Speaker 2: like he down to write to it, he down to

624
00:29:15,236 --> 00:29:15,716
Speaker 2: wrap on it.

625
00:29:16,036 --> 00:29:20,436
Speaker 1: Just that baseline like unfinished. Yeah, kernel of an idea.

626
00:29:21,636 --> 00:29:23,796
Speaker 2: That's it because most you know, especially now in the

627
00:29:23,836 --> 00:29:26,236
Speaker 2: New age, they if it don't sound like the top

628
00:29:26,236 --> 00:29:29,716
Speaker 2: of rap Caviard the number one song, some like artists

629
00:29:29,756 --> 00:29:31,676
Speaker 2: won't even pay attention to it. They don't want to

630
00:29:31,676 --> 00:29:34,876
Speaker 2: build and really like make a song. Most a lot,

631
00:29:34,996 --> 00:29:36,676
Speaker 2: not most, but a lot of artists.

632
00:29:37,116 --> 00:29:39,236
Speaker 1: Yeah, I mean that's probably that's a real vulnerable place

633
00:29:39,236 --> 00:29:40,196
Speaker 1: for you to be as a producer.

634
00:29:40,396 --> 00:29:42,876
Speaker 2: Yeah, earlier in my career, like I'll sit there and

635
00:29:43,036 --> 00:29:45,876
Speaker 2: just go through as many beats as it took. But

636
00:29:45,916 --> 00:29:48,236
Speaker 2: now it's like, man, if we gotta go past maybe

637
00:29:48,276 --> 00:29:52,796
Speaker 2: five beats, we probably you just go find another producer. Well,

638
00:29:53,236 --> 00:29:56,036
Speaker 2: we'll reconvene. Just come pull back up on me and

639
00:29:56,076 --> 00:29:58,036
Speaker 2: we'll lock in when it's time, you know, Because I

640
00:29:58,076 --> 00:30:00,676
Speaker 2: feel like, if if I'm gonna have an artist come in,

641
00:30:01,036 --> 00:30:03,116
Speaker 2: I'm gonna play them something that I can hear them

642
00:30:03,116 --> 00:30:05,076
Speaker 2: on and if we not on the same wavelength, and

643
00:30:05,156 --> 00:30:06,196
Speaker 2: that just is what it is.

644
00:30:06,396 --> 00:30:10,836
Speaker 1: Yeah, the Rihanna joint you did on Anti, that one,

645
00:30:10,876 --> 00:30:13,476
Speaker 1: that was one that it took a while, right, I did.

646
00:30:13,396 --> 00:30:17,596
Speaker 2: Two on Anti po's and the song Woo, and that

647
00:30:17,716 --> 00:30:19,916
Speaker 2: was that was a build, that was a process. I

648
00:30:19,956 --> 00:30:21,916
Speaker 2: had the basis of it though. When we sat down.

649
00:30:22,916 --> 00:30:25,596
Speaker 2: I was in a room with Travis Scott the Weekend

650
00:30:25,916 --> 00:30:29,836
Speaker 2: Tire Dollar Sign and the Dream and I just had

651
00:30:29,876 --> 00:30:33,436
Speaker 2: my UH had to contact UH sort of NPC and

652
00:30:33,476 --> 00:30:37,076
Speaker 2: I was just playing with them guitar stabs and just

653
00:30:37,196 --> 00:30:39,276
Speaker 2: came up with that pattern and everybody in the room

654
00:30:39,396 --> 00:30:42,476
Speaker 2: just when crazy start humming melodies and writing to it,

655
00:30:42,516 --> 00:30:44,756
Speaker 2: and it just got built out progressively.

656
00:30:45,036 --> 00:30:46,396
Speaker 1: That's got to be a hell of feeling to have

657
00:30:46,476 --> 00:30:48,956
Speaker 1: that room start vibing on what's your play?

658
00:30:49,316 --> 00:30:53,356
Speaker 2: Yeah? I just remember like weekend seeing melodies, Travis coming

659
00:30:53,436 --> 00:30:56,636
Speaker 2: up with his wave and it came together.

660
00:30:56,796 --> 00:30:59,276
Speaker 1: But it wasn't Rihanna session, so you knew whatever was

661
00:30:59,756 --> 00:31:02,996
Speaker 1: for that project for sure. Okay, Okay, a couple of

662
00:31:03,076 --> 00:31:05,636
Speaker 1: songs from the last few Nods records I want to

663
00:31:05,636 --> 00:31:10,396
Speaker 1: talk about just to having Premiere cut on Wave, Guys.

664
00:31:10,076 --> 00:31:13,076
Speaker 2: That was ill. That's because it was like a collective thing.

665
00:31:13,236 --> 00:31:16,436
Speaker 2: Like when Rocky came through to do his verse, he

666
00:31:16,676 --> 00:31:18,916
Speaker 2: was like, Yo, we should get Premiere to scratch on this,

667
00:31:18,996 --> 00:31:20,836
Speaker 2: and it was like yo, me and Nas was low

668
00:31:20,916 --> 00:31:23,436
Speaker 2: key already kind of thinking like that. So it just

669
00:31:23,476 --> 00:31:24,036
Speaker 2: made sense.

670
00:31:24,476 --> 00:31:25,556
Speaker 1: Who hit Premiere?

671
00:31:26,236 --> 00:31:28,996
Speaker 2: Oh that had to be. Nas just tapped in with

672
00:31:29,076 --> 00:31:31,476
Speaker 2: him and he did it off the love you know

673
00:31:31,516 --> 00:31:34,476
Speaker 2: what I mean, just went in and made it sound

674
00:31:34,556 --> 00:31:36,396
Speaker 2: like authentic Premiere vibes.

675
00:31:36,836 --> 00:31:40,436
Speaker 1: Did you have any notes on it? Nah? Then it

676
00:31:40,476 --> 00:31:44,756
Speaker 1: was solid one take. So you do E p m D.

677
00:31:45,276 --> 00:31:48,756
Speaker 1: How did the epm D concept for the Ryan Coogler

678
00:31:48,836 --> 00:31:52,036
Speaker 1: film Judas and Juice. Yeah, Judas a Black Man sida,

679
00:31:52,076 --> 00:31:53,996
Speaker 1: how did how did that concept come up? For that?

680
00:31:54,316 --> 00:31:58,196
Speaker 2: I just had to beat and uh Nas walking the

681
00:31:58,196 --> 00:32:00,916
Speaker 2: stew I was playing it loud and he just start

682
00:32:01,476 --> 00:32:03,796
Speaker 2: coming up with flows and then set the EPM D

683
00:32:04,516 --> 00:32:07,036
Speaker 2: line and just went from there. We just built it

684
00:32:07,036 --> 00:32:11,076
Speaker 2: out and uh it was four or Kate King's Disease too,

685
00:32:11,396 --> 00:32:13,196
Speaker 2: like that was supposed to be a record on there.

686
00:32:13,236 --> 00:32:16,076
Speaker 2: It ended up being a remix on King's Disease Too,

687
00:32:16,356 --> 00:32:19,276
Speaker 2: but the original was just it was supposed to be

688
00:32:19,276 --> 00:32:22,756
Speaker 2: for the album. And uh I was involved in Judis

689
00:32:22,756 --> 00:32:25,276
Speaker 2: and the Black messide kind of like heavily on the

690
00:32:25,316 --> 00:32:28,596
Speaker 2: executive production side. So I actually put a record on

691
00:32:28,636 --> 00:32:31,076
Speaker 2: my own with me rapping on their call broad Day.

692
00:32:31,556 --> 00:32:33,476
Speaker 2: They was just like, yo, we need more records. I'll

693
00:32:33,516 --> 00:32:36,196
Speaker 2: just start submitting joints and EPMD. They was like this

694
00:32:36,316 --> 00:32:39,276
Speaker 2: is perfect and they ended up doing the video and

695
00:32:39,316 --> 00:32:40,156
Speaker 2: all that.

696
00:32:40,156 --> 00:32:42,316
Speaker 1: That's amazing, But to them, when did you guys decide

697
00:32:42,316 --> 00:32:43,836
Speaker 1: do you want to still keep it for the record.

698
00:32:44,716 --> 00:32:50,036
Speaker 2: We just love the joint and uh Nas I guess

699
00:32:50,196 --> 00:32:53,196
Speaker 2: was uh I forgot how the eminem thing came about,

700
00:32:53,356 --> 00:32:56,076
Speaker 2: but he just was like, man, we should throw eminem on.

701
00:32:56,156 --> 00:32:59,196
Speaker 2: It reached out to him. He did the joint quick,

702
00:32:59,316 --> 00:33:02,076
Speaker 2: you know what I mean, hopped on it. Uh EPMD

703
00:33:02,116 --> 00:33:04,756
Speaker 2: didn't even know that Eminem was on it until it

704
00:33:05,156 --> 00:33:06,636
Speaker 2: was about to drop, you know what I mean. So

705
00:33:06,716 --> 00:33:09,356
Speaker 2: that was an ill moment, just like it all coming

706
00:33:09,356 --> 00:33:12,756
Speaker 2: together and everybody from their own air just getting they respect.

707
00:33:12,996 --> 00:33:15,756
Speaker 1: That's one of those records man, where it's like, again,

708
00:33:15,796 --> 00:33:17,796
Speaker 1: that's why these projects are so incredible. Man, like just

709
00:33:17,876 --> 00:33:20,756
Speaker 1: getting premiere on that magic joint. But when you have.

710
00:33:20,796 --> 00:33:23,636
Speaker 2: Warren Hill on KD two, yeah, you know what I mean,

711
00:33:23,756 --> 00:33:26,156
Speaker 2: that's something like Okay, as a producer, you just like,

712
00:33:26,276 --> 00:33:29,316
Speaker 2: don't first of all, she don't even like rap like

713
00:33:29,436 --> 00:33:30,356
Speaker 2: that much, no.

714
00:33:30,436 --> 00:33:32,236
Speaker 1: More, don't anythings.

715
00:33:32,796 --> 00:33:36,516
Speaker 2: Just like for me to like have a premiere Lauren

716
00:33:36,596 --> 00:33:38,916
Speaker 2: Hill rap verse on one of my beats, that's just ill.

717
00:33:39,356 --> 00:33:41,756
Speaker 1: Yeah, when's the last time you heard of Lauren Hill verse?

718
00:33:42,436 --> 00:33:43,676
Speaker 1: Like a new Lauren Hill.

719
00:33:43,756 --> 00:33:47,196
Speaker 2: She went in, she went in and for bars, bars,

720
00:33:47,276 --> 00:33:49,396
Speaker 2: like she was like two verses put in the one.

721
00:33:49,756 --> 00:33:50,676
Speaker 1: How did that come up?

722
00:33:51,476 --> 00:33:55,436
Speaker 2: They just cool Nas and Lauren Hill. So through them talking,

723
00:33:55,476 --> 00:33:58,116
Speaker 2: I guess they they wanted to do a joint and uh,

724
00:33:58,796 --> 00:34:01,596
Speaker 2: when we made the song, Nas was like this this

725
00:34:01,676 --> 00:34:03,276
Speaker 2: is the one. We gotta put Lauren on it.

726
00:34:03,876 --> 00:34:05,036
Speaker 1: Did he have his verse already?

727
00:34:05,516 --> 00:34:09,196
Speaker 2: Yeah he did, he did, He had his verse and

728
00:34:09,516 --> 00:34:11,836
Speaker 2: sent it over and she literally did. She did it

729
00:34:11,876 --> 00:34:12,956
Speaker 2: within days.

730
00:34:12,636 --> 00:34:14,156
Speaker 1: Like did you think it was really gonna happen?

731
00:34:14,516 --> 00:34:17,956
Speaker 2: I didn't personally, but it just like came together. Man.

732
00:34:18,036 --> 00:34:22,596
Speaker 1: It was ill again, even the resisting the temptation to

733
00:34:22,596 --> 00:34:24,876
Speaker 1: do the obvious, which would be to do like if

734
00:34:24,916 --> 00:34:27,236
Speaker 1: I ruled the world too.

735
00:34:27,516 --> 00:34:30,356
Speaker 2: You know that concept was dope for her too, because

736
00:34:30,356 --> 00:34:32,756
Speaker 2: she do be on her you know, nobody was just

737
00:34:32,756 --> 00:34:35,236
Speaker 2: like out the way type vibe as far as I

738
00:34:35,236 --> 00:34:38,956
Speaker 2: can see. And yeah, it just brought the concept all the.

739
00:34:38,876 --> 00:34:42,676
Speaker 1: Way home, did she? And she recorded it, She recorded.

740
00:34:42,276 --> 00:34:45,756
Speaker 2: In her own space but sent the vocals in and yeah,

741
00:34:45,796 --> 00:34:50,236
Speaker 2: it was just a moment. What about Death Row East,

742
00:34:50,476 --> 00:34:52,596
Speaker 2: Death Row East? That was the first song we did

743
00:34:52,636 --> 00:34:54,916
Speaker 2: for KD too. Man, that set the tone, Like that

744
00:34:55,036 --> 00:34:58,276
Speaker 2: concept is powerful. It's a moment that a lot of people,

745
00:34:58,436 --> 00:35:00,716
Speaker 2: a lot of Internet talk, a lot of podcasts, people

746
00:35:00,756 --> 00:35:04,396
Speaker 2: telling their recollection of what happened at Brian Park between

747
00:35:04,556 --> 00:35:08,636
Speaker 2: Knaves and Park and Death Row and Na's click and

748
00:35:08,676 --> 00:35:12,116
Speaker 2: he just beha was straight like POV of what really happened.

749
00:35:12,316 --> 00:35:15,116
Speaker 1: How much was death Row and POC and Johnny J.

750
00:35:15,476 --> 00:35:17,556
Speaker 1: And how much is that like all part of your consciousness?

751
00:35:17,636 --> 00:35:20,756
Speaker 2: Yeah, I downloaded that DNA from just hearing it all

752
00:35:20,756 --> 00:35:23,276
Speaker 2: the time. Like that was like massive on a commercial

753
00:35:23,356 --> 00:35:26,956
Speaker 2: level in underground like everybody rock with the Death Row

754
00:35:27,036 --> 00:35:30,636
Speaker 2: stuff like Snoop Pop all that, and doing that song,

755
00:35:30,716 --> 00:35:32,516
Speaker 2: I just was like, man, I need to like tap

756
00:35:32,596 --> 00:35:35,596
Speaker 2: into as much as I can as far as like

757
00:35:35,716 --> 00:35:38,756
Speaker 2: pot producers go. And then I just like already watched

758
00:35:38,756 --> 00:35:41,116
Speaker 2: like documentaries and stuff on Johnny J. And I was like,

759
00:35:41,196 --> 00:35:43,676
Speaker 2: that's the producer I need to channel the most on

760
00:35:43,676 --> 00:35:44,116
Speaker 2: this song.

761
00:35:44,396 --> 00:35:45,236
Speaker 1: What made you feel that?

762
00:35:45,436 --> 00:35:47,716
Speaker 2: Because it just reminded me of a Tupac beat like

763
00:35:47,836 --> 00:35:50,236
Speaker 2: death Row type of vibe, like that melodic kind of

764
00:35:50,276 --> 00:35:53,596
Speaker 2: guitar stuff with the groove over it. It just yeah,

765
00:35:53,676 --> 00:35:54,636
Speaker 2: it had that energy.

766
00:35:55,356 --> 00:35:58,796
Speaker 1: It's an incredible beat. Man. Appreciate the locking in with

767
00:35:58,876 --> 00:36:01,436
Speaker 1: NAS for those records you locked in with Soul Child.

768
00:36:02,316 --> 00:36:04,116
Speaker 1: It's really rare these days, and it's funny, like I

769
00:36:04,156 --> 00:36:06,156
Speaker 1: guess it maybe it goes back to even el Maati

770
00:36:06,276 --> 00:36:09,556
Speaker 1: when like Not's having all those incredible producers. This first

771
00:36:09,596 --> 00:36:12,916
Speaker 1: record really kind of seemed to popularize like having a

772
00:36:12,916 --> 00:36:17,036
Speaker 1: bunch of different producers on your record, but yeah, what

773
00:36:17,076 --> 00:36:18,076
Speaker 1: you're doing now is rare.

774
00:36:18,236 --> 00:36:21,116
Speaker 2: Man appreciate that, yeah, I mean yeah, it just that's

775
00:36:21,116 --> 00:36:24,076
Speaker 2: the flip side of that. Now it's like he started

776
00:36:24,076 --> 00:36:27,356
Speaker 2: off working with just all different bunch of different producers.

777
00:36:27,356 --> 00:36:30,196
Speaker 2: Now you've been locked in with me for three years,

778
00:36:30,236 --> 00:36:33,756
Speaker 2: and it's like, don't seem like we stopping no time soon?

779
00:36:34,276 --> 00:36:36,916
Speaker 2: Like we really having fun with it.

780
00:36:36,956 --> 00:36:39,636
Speaker 1: So where are you finding the time? Then? So you know,

781
00:36:39,796 --> 00:36:44,516
Speaker 1: within thirteen months, it's Katie two, it's Magic, It's Kati three,

782
00:36:44,956 --> 00:36:47,956
Speaker 1: and now you're out with your own record right surf

783
00:36:48,036 --> 00:36:51,396
Speaker 1: for Drunks and the soul child record music, so Child record, Like,

784
00:36:51,436 --> 00:36:53,076
Speaker 1: how like where are you finding the time?

785
00:36:53,116 --> 00:36:56,436
Speaker 2: Man? I just got to just go just like don't

786
00:36:56,836 --> 00:36:59,356
Speaker 2: don't don't not to say don't think, but just like

787
00:36:59,476 --> 00:37:03,636
Speaker 2: really any type of energy that I can put into

788
00:37:03,836 --> 00:37:07,316
Speaker 2: being in the studio and just progressing with my sound

789
00:37:07,476 --> 00:37:10,116
Speaker 2: and just helping other artists. I'm on that. You know,

790
00:37:10,556 --> 00:37:13,476
Speaker 2: this is what I worked for to have artists trusted

791
00:37:13,516 --> 00:37:15,876
Speaker 2: me on this level. Now that I got that, it's

792
00:37:15,916 --> 00:37:19,196
Speaker 2: like I gotta like really hold that up high and

793
00:37:19,396 --> 00:37:23,556
Speaker 2: take advantage of this, like these opportunities.

794
00:37:23,316 --> 00:37:27,036
Speaker 1: How natural does rhyming still come to? Does writing and performing?

795
00:37:27,756 --> 00:37:31,956
Speaker 2: Man, this is like getting so much easier, I would say,

796
00:37:32,076 --> 00:37:34,756
Speaker 2: just because I've been in the studio with people like

797
00:37:34,836 --> 00:37:36,996
Speaker 2: Big Sean, like with you know what I'm saying. I

798
00:37:37,236 --> 00:37:41,196
Speaker 2: executive produced Detroit two for Big Sean, did a project

799
00:37:41,276 --> 00:37:45,076
Speaker 2: called what You Expect a ep whim. I mean being

800
00:37:45,116 --> 00:37:47,476
Speaker 2: around Benny the Butcher, I produced you know, his album

801
00:37:47,516 --> 00:37:50,596
Speaker 2: Burdening Proof in twenty twenty that was like, you know,

802
00:37:50,836 --> 00:37:54,356
Speaker 2: just kind of heavy on the underground and working with

803
00:37:54,476 --> 00:37:57,716
Speaker 2: nas Man, I'm working with some top tiered artists.

804
00:37:57,956 --> 00:37:58,876
Speaker 1: Some of the most premier.

805
00:38:00,596 --> 00:38:04,716
Speaker 2: I'm like, you know, they watching and being fans and studying,

806
00:38:04,836 --> 00:38:06,316
Speaker 2: you know, just as far as what I'm doing on

807
00:38:06,356 --> 00:38:08,916
Speaker 2: the production, and I'm doing the same on the artist,

808
00:38:09,316 --> 00:38:13,076
Speaker 2: And so that's just helping me cultivate a whole just

809
00:38:13,356 --> 00:38:14,636
Speaker 2: next level with myself.

810
00:38:15,076 --> 00:38:17,156
Speaker 1: Have you always been writing on the side.

811
00:38:17,196 --> 00:38:20,516
Speaker 2: Yeah, for sure. I always been dropping projects, dropping singles,

812
00:38:20,676 --> 00:38:23,236
Speaker 2: just like you know, That's always been my passion. But

813
00:38:23,756 --> 00:38:26,996
Speaker 2: it's like the beat making aspect of it is so

814
00:38:27,076 --> 00:38:30,436
Speaker 2: much fun to me that I just took a liking

815
00:38:30,476 --> 00:38:31,556
Speaker 2: to it. You know what I mean. I feel like

816
00:38:31,596 --> 00:38:33,076
Speaker 2: if I would have been chasing trying to be an

817
00:38:33,116 --> 00:38:35,156
Speaker 2: artist all these years, who knows, you know, it could

818
00:38:35,196 --> 00:38:37,556
Speaker 2: have worked out, couldn't have. But now it's like I

819
00:38:37,596 --> 00:38:39,876
Speaker 2: have an ultimate cheat code, Like I could see the

820
00:38:39,876 --> 00:38:42,716
Speaker 2: studentmate and make songs all day. As soon as one

821
00:38:42,756 --> 00:38:45,796
Speaker 2: of the greatest artists living, you know, lead a studio,

822
00:38:45,876 --> 00:38:47,676
Speaker 2: whoever that may be. You know what I mean, I'm

823
00:38:47,756 --> 00:38:50,116
Speaker 2: able to start recording my own stuff. They didn't left

824
00:38:50,116 --> 00:38:53,116
Speaker 2: that energy in the studio. I watched them put bars

825
00:38:53,196 --> 00:38:55,356
Speaker 2: and lines together, and you know, it's just like it's

826
00:38:55,356 --> 00:38:57,076
Speaker 2: just helping me with my own structure.

827
00:38:57,236 --> 00:39:00,236
Speaker 1: That's incredible, man, that you that you're able to sit

828
00:39:00,316 --> 00:39:03,196
Speaker 1: there and watch the people at the best of the best.

829
00:39:03,796 --> 00:39:06,076
Speaker 2: Yeah, and having just like the mind to want to,

830
00:39:06,356 --> 00:39:08,236
Speaker 2: you know, look at it a different way, like I'm

831
00:39:08,276 --> 00:39:10,116
Speaker 2: in there really trying to learn. I'm trying to get

832
00:39:10,156 --> 00:39:13,516
Speaker 2: better every day, like I ain't wasting no time.

833
00:39:14,876 --> 00:39:17,076
Speaker 1: We're gonna take one last quick break and then come

834
00:39:17,116 --> 00:39:19,956
Speaker 1: back with the rest of my conversation with hit Boy.

835
00:39:24,236 --> 00:39:27,556
Speaker 1: We're back with hit Boy. How is it being around

836
00:39:27,716 --> 00:39:31,476
Speaker 1: as a producer MC? How is it being around yay

837
00:39:31,796 --> 00:39:34,036
Speaker 1: in the in your good music years.

838
00:39:34,596 --> 00:39:36,436
Speaker 2: When I first moved to Atlanta after that sign I

839
00:39:36,436 --> 00:39:39,516
Speaker 2: did with Polo that was like my college years, and

840
00:39:39,596 --> 00:39:42,836
Speaker 2: like the years with Kanye was like the Oh, I

841
00:39:42,876 --> 00:39:45,636
Speaker 2: got a job that's at a high level, but I

842
00:39:45,676 --> 00:39:47,716
Speaker 2: gotta still learn, you know what I mean. I still

843
00:39:47,756 --> 00:39:50,156
Speaker 2: got a lot of learning to do, like understanding like

844
00:39:50,796 --> 00:39:53,356
Speaker 2: this thing moves quick, and you have to move fast.

845
00:39:53,396 --> 00:39:55,916
Speaker 2: You gotta be efficient. You gotta be on top of

846
00:39:55,956 --> 00:39:59,596
Speaker 2: it at all times. And that's really what that taught me,

847
00:39:59,636 --> 00:40:02,236
Speaker 2: Like you gotta be putting like he was sleeping in

848
00:40:02,316 --> 00:40:06,636
Speaker 2: the stool, like wake up, saying close, start recording, start whatever,

849
00:40:06,716 --> 00:40:09,876
Speaker 2: like chopping up samples. I'm just like that's the level.

850
00:40:10,236 --> 00:40:14,116
Speaker 1: Yeah, It's almost like yeah, seen, I haven't watched that

851
00:40:14,196 --> 00:40:16,236
Speaker 1: Genius documentary and just seeing some footage or yeah in

852
00:40:16,276 --> 00:40:17,916
Speaker 1: the studio almost reminds you, like when you see those

853
00:40:17,956 --> 00:40:20,876
Speaker 1: little clips of like Poc in the studio, like it's

854
00:40:20,876 --> 00:40:24,316
Speaker 1: just the energies on on a hundred, like there's there's

855
00:40:24,356 --> 00:40:25,916
Speaker 1: work to do, Like let's do the world.

856
00:40:25,996 --> 00:40:28,076
Speaker 2: Like he ain't he's not in there playing and he

857
00:40:28,116 --> 00:40:29,916
Speaker 2: ain't gonna be nice about it. He's not gonna be

858
00:40:29,956 --> 00:40:33,236
Speaker 2: polite talking softly. He's gonna let you know, like you

859
00:40:33,436 --> 00:40:35,916
Speaker 2: fucking up, like like do this shit the right way

860
00:40:35,956 --> 00:40:36,836
Speaker 2: type shit? You know what I mean?

861
00:40:36,836 --> 00:40:37,956
Speaker 1: Did you ever catch that wrath?

862
00:40:38,636 --> 00:40:40,836
Speaker 2: The first time I sat down to make a beat

863
00:40:40,876 --> 00:40:43,716
Speaker 2: with him was the song lift Off. I watched the Throne.

864
00:40:43,756 --> 00:40:47,236
Speaker 2: He had me trying some drums and some other instrumentations.

865
00:40:47,396 --> 00:40:49,596
Speaker 2: This is when I don't think I had ever really

866
00:40:49,636 --> 00:40:52,796
Speaker 2: got a session from nobody, and they told me to

867
00:40:53,276 --> 00:40:55,996
Speaker 2: basically rework it and strip things away. Like he kept

868
00:40:55,996 --> 00:40:58,796
Speaker 2: telling me to strip these these drums away, but I

869
00:40:58,836 --> 00:41:01,756
Speaker 2: couldn't really understand exactly how he was saying it. So

870
00:41:01,796 --> 00:41:04,756
Speaker 2: he started kind of firing up on me to where

871
00:41:04,756 --> 00:41:06,156
Speaker 2: I had to really look at them. I'm like, we

872
00:41:06,356 --> 00:41:08,836
Speaker 2: just met, homie, you know what I mean. Like so

873
00:41:08,876 --> 00:41:12,676
Speaker 2: it's like yeah, but that just like taught me, like nah, Broy,

874
00:41:12,836 --> 00:41:16,556
Speaker 2: I remember his exact words. I just kept forgetting to

875
00:41:16,636 --> 00:41:18,636
Speaker 2: mute the drums or something was going on, and he

876
00:41:18,716 --> 00:41:20,956
Speaker 2: was like, these drums are gonna be the death of me.

877
00:41:21,276 --> 00:41:24,476
Speaker 2: Like I just remember. I'm like, it's that series broke.

878
00:41:26,276 --> 00:41:28,716
Speaker 2: I'm like that's crazy, you know what I mean? But

879
00:41:29,116 --> 00:41:32,436
Speaker 2: you know that's his passion. That's why he got twenty

880
00:41:32,476 --> 00:41:35,996
Speaker 2: something Grammys or however many and his respected on that

881
00:41:36,116 --> 00:41:39,076
Speaker 2: level is because he don't he not playing.

882
00:41:39,356 --> 00:41:41,116
Speaker 1: You don't seem like the kind of person that ever

883
00:41:41,316 --> 00:41:43,756
Speaker 1: like be like that. But have you moved from that time?

884
00:41:43,836 --> 00:41:46,156
Speaker 1: Have you moved closer on the spectrum of like just

885
00:41:46,196 --> 00:41:47,436
Speaker 1: sort of more relaxed to like.

886
00:41:47,396 --> 00:41:49,876
Speaker 2: Oh, yeah, for sure we didn't have our We've been

887
00:41:49,996 --> 00:41:52,356
Speaker 2: super cool. I mean we ain't in contact like that

888
00:41:52,436 --> 00:41:53,116
Speaker 2: right now, but I.

889
00:41:53,316 --> 00:41:55,676
Speaker 1: Mean, like creatively for you, like, have you moved closer

890
00:41:55,876 --> 00:41:59,116
Speaker 1: towards that like kind of almost perfectionist kind of vibe

891
00:41:59,116 --> 00:42:00,196
Speaker 1: in his studio way?

892
00:42:00,356 --> 00:42:02,876
Speaker 2: In all way, I'm just like a much more chill

893
00:42:03,356 --> 00:42:06,916
Speaker 2: personality than he is. Yeah, even though we both geminis,

894
00:42:06,996 --> 00:42:09,716
Speaker 2: he a June Jemina may be and Biggie got the

895
00:42:09,716 --> 00:42:13,476
Speaker 2: same birthday. Wow, And yeah, but I definitely like, you know,

896
00:42:14,516 --> 00:42:15,516
Speaker 2: shit gotta get done.

897
00:42:15,716 --> 00:42:19,556
Speaker 1: Yeah, when Niggas and Paris became what it became, Yeah,

898
00:42:19,756 --> 00:42:21,116
Speaker 1: what was that feeling like for you?

899
00:42:21,956 --> 00:42:24,436
Speaker 2: It was ill because Kanye had been telling me like

900
00:42:24,596 --> 00:42:27,076
Speaker 2: through emails because I was the one song I didn't

901
00:42:27,076 --> 00:42:29,516
Speaker 2: hear off the album. I had heard most of them songs,

902
00:42:29,556 --> 00:42:31,716
Speaker 2: and I had heard like the song I had did

903
00:42:31,796 --> 00:42:34,116
Speaker 2: other songs that I was excited about that I'm thinking

904
00:42:34,236 --> 00:42:36,436
Speaker 2: gonna be on Watch the Throne. None of them may

905
00:42:36,596 --> 00:42:39,396
Speaker 2: made it anywhere, and Niggas in Paris was the one

906
00:42:39,796 --> 00:42:43,196
Speaker 2: random beat out of maybe sixty seventy beats I had

907
00:42:43,236 --> 00:42:46,836
Speaker 2: sent Kanye through email and he somehow pulled it up

908
00:42:46,836 --> 00:42:48,836
Speaker 2: when it was in Paris and they must have been

909
00:42:48,916 --> 00:42:51,836
Speaker 2: lit vibing and played it and it just turned them up.

910
00:42:51,876 --> 00:42:55,796
Speaker 2: So yeah, but he was I hadn't linked back with him,

911
00:42:56,036 --> 00:42:58,036
Speaker 2: like for like a month and a half, two months.

912
00:42:58,116 --> 00:43:00,596
Speaker 2: I was out in Cali, he was in Paris and wherever.

913
00:43:01,276 --> 00:43:04,836
Speaker 2: And when I went to they had the listening party

914
00:43:04,876 --> 00:43:08,516
Speaker 2: at the Observatory in New York, crazy like stars on

915
00:43:08,556 --> 00:43:11,276
Speaker 2: the ceiling and all that, playing the album super loud.

916
00:43:11,276 --> 00:43:14,916
Speaker 2: He brought in some crazy speakers and I just like

917
00:43:15,356 --> 00:43:18,316
Speaker 2: the first two songs played got to Niggas in Paris.

918
00:43:18,516 --> 00:43:21,956
Speaker 2: Everybody in observatory stood up. DJ Kyler was next to

919
00:43:21,996 --> 00:43:24,636
Speaker 2: me and just everybody was vibe and just like, oh,

920
00:43:24,676 --> 00:43:29,876
Speaker 2: this is the one right right. So I'm like, man, yeah,

921
00:43:29,956 --> 00:43:32,756
Speaker 2: it just worked out. Damn yeah.

922
00:43:32,996 --> 00:43:35,236
Speaker 1: As a young producer at the time, that really being

923
00:43:35,236 --> 00:43:37,356
Speaker 1: your first, like you called it, earlier, first real big hit.

924
00:43:37,836 --> 00:43:39,956
Speaker 1: Did that put pressure on you? On? Do pressure on you?

925
00:43:40,076 --> 00:43:41,956
Speaker 1: Or did it make you feel like now everything's going

926
00:43:41,996 --> 00:43:43,116
Speaker 1: to be hit? Or what? Did it?

927
00:43:43,556 --> 00:43:45,676
Speaker 2: Man? It's all that all the above, you know what

928
00:43:45,676 --> 00:43:47,396
Speaker 2: I mean, That's how I got to that point to

929
00:43:47,436 --> 00:43:50,716
Speaker 2: where you know, I had to had that surfer drown moment.

930
00:43:50,796 --> 00:43:53,156
Speaker 2: I was from niggas in pairis to that. I was

931
00:43:53,436 --> 00:43:57,916
Speaker 2: twenty eleven to twenty seventeen, just was like this all

932
00:43:57,956 --> 00:44:00,276
Speaker 2: the way until it got you know what I mean.

933
00:44:00,436 --> 00:44:01,436
Speaker 1: Really feel that way?

934
00:44:01,916 --> 00:44:04,516
Speaker 2: Yeah, I do personally just on just just for this.

935
00:44:04,716 --> 00:44:07,156
Speaker 1: You're still making good records and all that exactly.

936
00:44:06,836 --> 00:44:09,556
Speaker 2: Still making records like you know, Sorry even came out

937
00:44:09,556 --> 00:44:12,596
Speaker 2: twenty fifteen sixteen off Lemonade, and you know, I'm working

938
00:44:12,636 --> 00:44:14,596
Speaker 2: with these people, but I'm seeing the way I'm not

939
00:44:14,636 --> 00:44:17,076
Speaker 2: getting the respect I'm not getting I'm getting. You know,

940
00:44:17,076 --> 00:44:19,556
Speaker 2: I look on Twitter, I watched I pay attention to socials.

941
00:44:19,596 --> 00:44:21,436
Speaker 2: I pay attention. I'm looking at what people saying, like

942
00:44:21,436 --> 00:44:23,356
Speaker 2: where hit boy, Yeah, hey boy fell off? Here boy?

943
00:44:23,436 --> 00:44:26,076
Speaker 2: This hey boy? That mind you? It was like I

944
00:44:26,076 --> 00:44:29,436
Speaker 2: got records that's been recorded with you know, jay Z

945
00:44:29,596 --> 00:44:32,756
Speaker 2: and Beyonce on them and I've you know, got stuff

946
00:44:32,756 --> 00:44:35,316
Speaker 2: with Travis Scott and all that, but it's like the

947
00:44:35,396 --> 00:44:38,156
Speaker 2: niggas in pair of situation definitely, like just like was

948
00:44:38,196 --> 00:44:40,996
Speaker 2: a crazy ride because like I attracted you know, different

949
00:44:41,036 --> 00:44:43,716
Speaker 2: label deals and stuff like that that I was able

950
00:44:43,756 --> 00:44:45,276
Speaker 2: to get a lot of money from but didn't know

951
00:44:45,276 --> 00:44:46,916
Speaker 2: what to do with it, didn't know how to move,

952
00:44:46,996 --> 00:44:49,956
Speaker 2: didn't know I had to have the right infrastructure in

953
00:44:50,036 --> 00:44:51,996
Speaker 2: the right you know, just team around me and all that.

954
00:44:52,076 --> 00:44:54,036
Speaker 2: And that's what was the learning curve. That was the

955
00:44:54,956 --> 00:44:56,676
Speaker 2: you're gonna have to give this back to the game

956
00:44:56,876 --> 00:44:58,796
Speaker 2: to get it back triple, you know what I mean.

957
00:44:59,436 --> 00:45:03,236
Speaker 2: And UH just kind of programmed myself to you know,

958
00:45:03,276 --> 00:45:05,636
Speaker 2: cause it's like after that, you want to chase that,

959
00:45:05,716 --> 00:45:08,876
Speaker 2: and then you start to feel like, damn, this song

960
00:45:09,196 --> 00:45:11,756
Speaker 2: being performed ten times, this song ain't played all day

961
00:45:11,796 --> 00:45:15,276
Speaker 2: on the radio, so I fell off or whatever the

962
00:45:15,316 --> 00:45:17,476
Speaker 2: case is. You want to chase that feeling, but you

963
00:45:17,516 --> 00:45:19,716
Speaker 2: can't do that. You gotta understand that everything is gonna

964
00:45:19,716 --> 00:45:23,756
Speaker 2: have his space. Like me and NAS and granted we

965
00:45:23,836 --> 00:45:26,356
Speaker 2: haven't really pushed for this. We ain't had no giant

966
00:45:26,836 --> 00:45:29,316
Speaker 2: you know, radio record or nothing like that, but I

967
00:45:29,356 --> 00:45:31,676
Speaker 2: get way more respect off of anything I ever did

968
00:45:31,716 --> 00:45:33,636
Speaker 2: on radio, off this not all.

969
00:45:33,596 --> 00:45:37,756
Speaker 1: Those things feel so much bigger than any like radio play, crazy,

970
00:45:37,836 --> 00:45:41,796
Speaker 1: like bigger than any of that. It's insane. Yeah, or

971
00:45:41,996 --> 00:45:44,676
Speaker 1: other rappers from Naz's era, are they looking at you

972
00:45:45,396 --> 00:45:48,116
Speaker 1: in any way to thinking that they can replicate?

973
00:45:48,196 --> 00:45:51,636
Speaker 2: So, I mean, oh yeah, I had a few people

974
00:45:51,716 --> 00:45:54,116
Speaker 2: reach out, but it's like it gotta be right, you

975
00:45:54,156 --> 00:45:56,596
Speaker 2: know what I mean. Like I worked on I mean,

976
00:45:56,636 --> 00:45:59,996
Speaker 2: even Game is like after NAS obviously, but just like

977
00:46:00,076 --> 00:46:03,676
Speaker 2: from that era of like real super hardcore rap. I

978
00:46:03,716 --> 00:46:06,836
Speaker 2: did like six songs on Dramatic for Game. Yeah, just

979
00:46:06,876 --> 00:46:08,636
Speaker 2: like I feel like that was a I mean it's

980
00:46:08,716 --> 00:46:11,796
Speaker 2: like he based kind of Dramatic off Illmatic, So it's

981
00:46:11,836 --> 00:46:15,036
Speaker 2: like he definitely was inspired by Bro and I was

982
00:46:15,076 --> 00:46:16,876
Speaker 2: just able to, like, you know, have it all come

983
00:46:16,956 --> 00:46:18,756
Speaker 2: full circle because I had worked with him before in

984
00:46:18,836 --> 00:46:19,276
Speaker 2: the past.

985
00:46:19,716 --> 00:46:20,876
Speaker 1: Do you want to do more R and B?

986
00:46:21,756 --> 00:46:21,996
Speaker 2: Yeah?

987
00:46:22,036 --> 00:46:22,436
Speaker 1: For sure?

988
00:46:22,556 --> 00:46:26,276
Speaker 2: I mean Bro, I mean, I don't know what a

989
00:46:27,036 --> 00:46:29,316
Speaker 2: like playlist they'll be putting, like Don Tyler Wrenn, But

990
00:46:29,316 --> 00:46:30,876
Speaker 2: I gotta look at him as a singer, you know

991
00:46:30,876 --> 00:46:32,876
Speaker 2: what I mean. I did two songs on his album,

992
00:46:32,916 --> 00:46:35,156
Speaker 2: did a single on his last album as well. So

993
00:46:35,636 --> 00:46:37,876
Speaker 2: you know, I'm doing these projects, but I'm also still

994
00:46:37,916 --> 00:46:40,516
Speaker 2: getting my joints off and working with different artists. Did

995
00:46:40,596 --> 00:46:43,076
Speaker 2: something on the Beyonce album. Even though I was like electronics,

996
00:46:43,116 --> 00:46:45,916
Speaker 2: she still is like, you know on some Queen R

997
00:46:45,916 --> 00:46:46,196
Speaker 2: and B.

998
00:46:46,876 --> 00:46:48,796
Speaker 1: Hey, Danny, can you play play Thick.

999
00:46:57,636 --> 00:46:59,836
Speaker 2: In the car and take you back to them?

1000
00:46:59,956 --> 00:47:01,836
Speaker 1: Are you in the studio Beyonce when she's recording this.

1001
00:47:02,476 --> 00:47:04,556
Speaker 2: I was in the studio to play her to beat

1002
00:47:04,996 --> 00:47:09,356
Speaker 2: and I heard some early ideas. But this song was

1003
00:47:09,396 --> 00:47:11,676
Speaker 2: made and what the beat was made in twenty fourteen,

1004
00:47:11,916 --> 00:47:15,116
Speaker 2: so it went through a whole transformations. I don't even

1005
00:47:15,156 --> 00:47:17,476
Speaker 2: remember what the original concept. I don't even know if

1006
00:47:17,476 --> 00:47:21,236
Speaker 2: it was the thick concept, but she flushed it out

1007
00:47:21,276 --> 00:47:23,396
Speaker 2: and turned it into a joint. And I actually got

1008
00:47:23,396 --> 00:47:25,796
Speaker 2: the link with her before the album came out, heard

1009
00:47:25,836 --> 00:47:28,596
Speaker 2: some joints, heard she played me this final version, and

1010
00:47:29,356 --> 00:47:31,676
Speaker 2: I was like, man, it's just like crazy that you

1011
00:47:31,676 --> 00:47:34,156
Speaker 2: know it took eight years for this to become what

1012
00:47:34,276 --> 00:47:34,916
Speaker 2: it is now?

1013
00:47:35,156 --> 00:47:36,836
Speaker 1: All right, man, I was just gonna say because from

1014
00:47:36,836 --> 00:47:39,716
Speaker 1: the time I've heard that, I was trying to imagine you.

1015
00:47:41,276 --> 00:47:42,516
Speaker 2: Like watching her record.

1016
00:47:43,916 --> 00:47:46,276
Speaker 1: Jay be in the room, Like, yeah, I didn't.

1017
00:47:46,076 --> 00:47:48,716
Speaker 2: Watch I didn't watch her record that, but I have

1018
00:47:48,836 --> 00:47:49,956
Speaker 2: seen her record.

1019
00:47:49,636 --> 00:47:52,236
Speaker 1: Before I was watching Beyond record.

1020
00:47:52,436 --> 00:47:53,876
Speaker 2: It is what you're think it is. This is you

1021
00:47:53,876 --> 00:47:56,756
Speaker 2: know what I mean, like real genius level, real thought

1022
00:47:56,796 --> 00:47:59,436
Speaker 2: out getting a song and just like doing it the

1023
00:47:59,556 --> 00:48:02,316
Speaker 2: exact way that the person you know might have gave

1024
00:48:02,356 --> 00:48:04,676
Speaker 2: it to her eyes like she gonna flip something and

1025
00:48:05,356 --> 00:48:09,436
Speaker 2: move parts around and really like she gets like a producer, writer,

1026
00:48:09,636 --> 00:48:10,356
Speaker 2: artists all that.

1027
00:48:11,476 --> 00:48:14,796
Speaker 1: Yeah, so that was so you made that twenty fourteen.

1028
00:48:14,876 --> 00:48:18,396
Speaker 2: Right, I made the beat twenty fourteen with the bridge

1029
00:48:18,476 --> 00:48:21,116
Speaker 2: and all that, with the chord changes I played and yeah.

1030
00:48:21,636 --> 00:48:23,196
Speaker 1: And back then, did you know it was going to

1031
00:48:23,276 --> 00:48:26,236
Speaker 1: be more of like a dance oriented.

1032
00:48:26,116 --> 00:48:30,676
Speaker 2: No, that was that was that was way back because

1033
00:48:30,676 --> 00:48:33,116
Speaker 2: we had recorded a lot of songs back then. That

1034
00:48:33,276 --> 00:48:35,116
Speaker 2: was the one that saw the light of day eight

1035
00:48:35,196 --> 00:48:35,716
Speaker 2: years later.

1036
00:48:36,076 --> 00:48:37,356
Speaker 1: Wow, that's that's wild.

1037
00:48:37,516 --> 00:48:41,436
Speaker 2: Yeah, it wasn't like definitely not no electronic or like

1038
00:48:41,516 --> 00:48:43,436
Speaker 2: you know that type of way back then.

1039
00:48:43,756 --> 00:48:46,116
Speaker 1: But it's incredible that you also, like, I mean, you've

1040
00:48:46,156 --> 00:48:48,116
Speaker 1: talked about it a couple of times here, and it's

1041
00:48:48,396 --> 00:48:52,156
Speaker 1: it's something it's actually something I didn't think about too

1042
00:48:52,236 --> 00:48:54,516
Speaker 1: much until I was listening to your new record and

1043
00:48:54,556 --> 00:48:57,076
Speaker 1: I was listening to Slipping in the Darkness, which again

1044
00:48:57,116 --> 00:49:00,196
Speaker 1: I thought was gonna be a sample Slipping in the Darkness, Right,

1045
00:49:00,236 --> 00:49:02,876
Speaker 1: you don't go for the obvious, but remember I think,

1046
00:49:02,876 --> 00:49:04,476
Speaker 1: all right, that's gonna be that sample. Put an on

1047
00:49:04,556 --> 00:49:09,476
Speaker 1: belts not and then the beat flips. That's the different beat.

1048
00:49:09,596 --> 00:49:13,316
Speaker 1: Later I realized it is Alchemist and you I don't

1049
00:49:13,316 --> 00:49:16,156
Speaker 1: know if it's on some friendly shit or like what

1050
00:49:16,276 --> 00:49:19,036
Speaker 1: you call out a couple of producers. Right, But in

1051
00:49:19,076 --> 00:49:21,596
Speaker 1: a way, that to me was like interesting, like you're like, yeah,

1052
00:49:21,596 --> 00:49:23,636
Speaker 1: you could, you could do this, but can you chop soul?

1053
00:49:23,836 --> 00:49:26,236
Speaker 1: You could do? I heard you without eight away.

1054
00:49:26,236 --> 00:49:30,796
Speaker 2: Just asked questions and said what I personally haven't heard,

1055
00:49:30,836 --> 00:49:33,916
Speaker 2: Like these dudes could have one hundred boomback beats in

1056
00:49:33,956 --> 00:49:35,876
Speaker 2: the stash that I just ain't heard. But I just

1057
00:49:35,956 --> 00:49:39,236
Speaker 2: made a statement saying that, you know, that's the sound

1058
00:49:39,316 --> 00:49:41,836
Speaker 2: I haven't heard from them. But look at Magic, look

1059
00:49:41,876 --> 00:49:44,836
Speaker 2: at or go to Travis Scott, go to Kanye West.

1060
00:49:44,836 --> 00:49:46,516
Speaker 2: You're gonna hear every sound for me. You know.

1061
00:49:46,636 --> 00:49:48,596
Speaker 1: The questioning though, it was brilliant because it really made

1062
00:49:48,636 --> 00:49:50,956
Speaker 1: me think about I was like that, like you really

1063
00:49:50,956 --> 00:49:53,076
Speaker 1: can do so many different things, Like I guess I

1064
00:49:53,156 --> 00:49:53,596
Speaker 1: knew it.

1065
00:49:53,596 --> 00:49:55,276
Speaker 2: It was more so like kind of like that too,

1066
00:49:55,436 --> 00:49:59,636
Speaker 2: like just promoting my versatility, promoting you know, and just

1067
00:49:59,716 --> 00:50:03,116
Speaker 2: kind of like carving a laying out for myself, like

1068
00:50:03,316 --> 00:50:06,436
Speaker 2: y'all gotta really pay attention. And that's what's been so

1069
00:50:06,636 --> 00:50:09,076
Speaker 2: tough for me, is like making a song like Troe

1070
00:50:09,476 --> 00:50:12,676
Speaker 2: for Drake and then making something for you know whoever.

1071
00:50:12,876 --> 00:50:15,036
Speaker 1: It's just like it's one train for a sex.

1072
00:50:15,396 --> 00:50:18,396
Speaker 2: It's hard for you to connect that just generally, you

1073
00:50:18,436 --> 00:50:20,436
Speaker 2: know what I mean, Just and just on a human level,

1074
00:50:20,436 --> 00:50:22,396
Speaker 2: it's just like not easy to keep up with a

1075
00:50:22,396 --> 00:50:24,796
Speaker 2: lot of shit. So if I'm all over the place,

1076
00:50:24,836 --> 00:50:28,156
Speaker 2: it's like, you know, hit Boy isn't the household name

1077
00:50:28,876 --> 00:50:31,036
Speaker 2: because of that, And that's what I feel like, you

1078
00:50:31,076 --> 00:50:32,556
Speaker 2: know what I mean. And now it's like getting more

1079
00:50:32,596 --> 00:50:35,436
Speaker 2: to that point. But I had to create a linear thing,

1080
00:50:35,516 --> 00:50:38,676
Speaker 2: which is now me just doing albums for people. None

1081
00:50:38,676 --> 00:50:40,556
Speaker 2: of the beats sound the same on the albums, but

1082
00:50:41,436 --> 00:50:43,436
Speaker 2: you know I did them, so it just connects with

1083
00:50:43,476 --> 00:50:44,556
Speaker 2: the brain a lot more.

1084
00:50:44,756 --> 00:50:46,716
Speaker 1: And that's one thing that also makes I think you

1085
00:50:47,356 --> 00:50:51,156
Speaker 1: doing a full album work also is that it doesn't

1086
00:50:51,196 --> 00:50:54,316
Speaker 1: necessarily sound like one producer like from Like it doesn't

1087
00:50:54,356 --> 00:50:56,316
Speaker 1: sound like the same bag of tricks every song you

1088
00:50:56,316 --> 00:50:59,116
Speaker 1: know or whatever. It's like, oh, every song sounds varied.

1089
00:50:59,436 --> 00:51:03,436
Speaker 1: It sounds like there's a lot of movement musically throughout

1090
00:51:03,476 --> 00:51:04,436
Speaker 1: the records.

1091
00:51:04,916 --> 00:51:08,276
Speaker 2: Having fun, man taking advantage and just like I said,

1092
00:51:08,316 --> 00:51:10,636
Speaker 2: like I always tapping my younger self, like, man, if

1093
00:51:10,676 --> 00:51:14,716
Speaker 2: I had this opportunity, however long ago before I got on,

1094
00:51:14,876 --> 00:51:17,116
Speaker 2: like I would have wanted to mash out. So I

1095
00:51:17,116 --> 00:51:18,836
Speaker 2: need to keep that same energy.

1096
00:51:18,676 --> 00:51:20,876
Speaker 1: That has got to be crazy for your younger self

1097
00:51:20,876 --> 00:51:26,396
Speaker 1: to be for records and with NAS many collaborations with

1098
00:51:27,716 --> 00:51:30,996
Speaker 1: Beyonce and Drake and.

1099
00:51:30,156 --> 00:51:32,836
Speaker 2: Yeah, I was on beyonce last three albums. It's like, man,

1100
00:51:32,876 --> 00:51:35,556
Speaker 2: whatever she's seeing me like, I appreciate it because it's

1101
00:51:35,676 --> 00:51:38,836
Speaker 2: like she'd been she'd pulled me in, like Beyonce album,

1102
00:51:38,916 --> 00:51:42,996
Speaker 2: the Lemonade album and then the Renaissance.

1103
00:51:42,996 --> 00:51:45,636
Speaker 1: And these are records that people are gonna be not

1104
00:51:45,716 --> 00:51:50,356
Speaker 1: just listening to, but like studying for decades. Yeah you

1105
00:51:50,396 --> 00:51:54,116
Speaker 1: know what I mean. They're not like fly by Night records.

1106
00:51:53,876 --> 00:51:56,796
Speaker 2: Right, Yeah, it's beautiful man for show. Shout out to her.

1107
00:51:56,716 --> 00:51:58,476
Speaker 1: When people go back and look at Prince Records and

1108
00:51:58,596 --> 00:52:01,516
Speaker 1: analyze every little thing, and Michael records.

1109
00:52:01,156 --> 00:52:03,436
Speaker 2: My son three years old, Like I get in the card.

1110
00:52:04,236 --> 00:52:07,116
Speaker 2: He like play kids songs. I'm like, what you want

1111
00:52:07,116 --> 00:52:10,316
Speaker 2: to hear Michael Jackson like he thinks as kids music like,

1112
00:52:10,356 --> 00:52:13,316
Speaker 2: but that's how good it is. It's resonating with like

1113
00:52:13,356 --> 00:52:16,196
Speaker 2: a kid all the way to a gangster, to a politician,

1114
00:52:16,236 --> 00:52:18,476
Speaker 2: to a lawyer, anybody. For the most part, you could

1115
00:52:18,476 --> 00:52:20,996
Speaker 2: feel Michael Jackson music. So it's like I want to,

1116
00:52:21,636 --> 00:52:24,396
Speaker 2: you know, be able to contribute something to the game

1117
00:52:24,436 --> 00:52:26,916
Speaker 2: on that similar level. And I take a lot of

1118
00:52:27,276 --> 00:52:29,116
Speaker 2: work that take a lot of locking in.

1119
00:52:29,796 --> 00:52:33,916
Speaker 1: If you had like a vision for like what artistically

1120
00:52:35,116 --> 00:52:37,156
Speaker 1: I mean maybe career wise too, but where you're at

1121
00:52:37,196 --> 00:52:38,476
Speaker 1: five years from now.

1122
00:52:38,716 --> 00:52:42,476
Speaker 2: Man man, just like really uh giving back, you know

1123
00:52:42,516 --> 00:52:46,076
Speaker 2: what I mean, and create more opportunities for where music

1124
00:52:46,156 --> 00:52:48,636
Speaker 2: is going. And for kids that's like trying to do

1125
00:52:48,676 --> 00:52:50,356
Speaker 2: their thing, you know what I mean. I see my

1126
00:52:50,436 --> 00:52:53,516
Speaker 2: homeboys James far Leroy and Lawrence with fifteen hundred, they

1127
00:52:53,516 --> 00:52:55,596
Speaker 2: got a whole academy, they got to school. That's something

1128
00:52:55,596 --> 00:52:58,076
Speaker 2: that I want to, you know, lock in and be

1129
00:52:58,156 --> 00:53:01,636
Speaker 2: able to teach and just like really inspire the next generation.

1130
00:53:02,196 --> 00:53:04,396
Speaker 2: It's like the game is getting crazy, Like I've been

1131
00:53:04,436 --> 00:53:06,836
Speaker 2: seeing it. I've been saying it for years. That is

1132
00:53:06,876 --> 00:53:09,556
Speaker 2: getting easier and easier to make beats. And now they

1133
00:53:09,596 --> 00:53:13,116
Speaker 2: got the artificial intelligence. You could type in the sound

1134
00:53:13,156 --> 00:53:15,036
Speaker 2: of vibe and it'll make the be for you. I

1135
00:53:15,036 --> 00:53:17,516
Speaker 2: feel like it's only gonna get better. Anybody gonna be

1136
00:53:17,556 --> 00:53:20,396
Speaker 2: able to just have music at the tip of their

1137
00:53:20,476 --> 00:53:23,476
Speaker 2: fingers now and just like make it sound quality somehow.

1138
00:53:23,516 --> 00:53:24,636
Speaker 1: So does that make you worry?

1139
00:53:24,876 --> 00:53:27,036
Speaker 2: Nah? That just like I need to I need to

1140
00:53:27,116 --> 00:53:29,156
Speaker 2: like link with some AI people and see how I

1141
00:53:29,156 --> 00:53:31,596
Speaker 2: can incorporate that into what I'm doing. It's just like

1142
00:53:31,636 --> 00:53:34,316
Speaker 2: that's where the world is going. It is what it is. Like.

1143
00:53:34,356 --> 00:53:38,876
Speaker 2: I don't never like try to be anti what's going on.

1144
00:53:39,036 --> 00:53:41,236
Speaker 2: It's like I want to implement it and see how

1145
00:53:41,276 --> 00:53:45,276
Speaker 2: I can use my personal style along with some AI shit.

1146
00:53:45,356 --> 00:53:47,876
Speaker 1: You know. Yeah, speaking of the way like things have

1147
00:53:47,996 --> 00:53:51,236
Speaker 1: changed in production over the years, I mean you kind

1148
00:53:51,236 --> 00:53:53,876
Speaker 1: of even say it too. So for Drown, it's like

1149
00:53:54,356 --> 00:53:56,796
Speaker 1: I haven't really seen you without a bunch of like

1150
00:53:56,836 --> 00:53:59,756
Speaker 1: co producers, Like the way that there's a bunch of

1151
00:54:00,396 --> 00:54:02,436
Speaker 1: The generous way of saying it is it's more collaborative

1152
00:54:02,476 --> 00:54:04,876
Speaker 1: process for you know. The other way of looking at

1153
00:54:04,916 --> 00:54:08,076
Speaker 1: it is it's a lot of people getting points or whatever.

1154
00:54:08,156 --> 00:54:08,436
Speaker 1: I mean.

1155
00:54:09,276 --> 00:54:11,596
Speaker 2: I mean, yeah, like I said, it's like getting easier

1156
00:54:11,596 --> 00:54:14,036
Speaker 2: and easier to like make music, and then like you know,

1157
00:54:14,236 --> 00:54:18,076
Speaker 2: some people are finesse's that's that specific line though, was

1158
00:54:18,236 --> 00:54:21,676
Speaker 2: for one person kind of attacked me out of nowhere,

1159
00:54:22,156 --> 00:54:24,716
Speaker 2: and I'm just like, I never seen one credit from

1160
00:54:24,756 --> 00:54:27,276
Speaker 2: you without a co producer, like go, look me up,

1161
00:54:27,356 --> 00:54:28,996
Speaker 2: you know what I mean, Like you trying to downplay

1162
00:54:29,036 --> 00:54:31,116
Speaker 2: what I do. And that's just all that was. But

1163
00:54:31,196 --> 00:54:34,716
Speaker 2: I understand like Quincy might not even touch the drums

1164
00:54:34,796 --> 00:54:37,556
Speaker 2: or keys on any thriller songs. Nah, you know what

1165
00:54:37,556 --> 00:54:40,436
Speaker 2: I mean. But we still revere him and respect him,

1166
00:54:40,476 --> 00:54:43,116
Speaker 2: and we know his genius. We know that he contributed

1167
00:54:43,196 --> 00:54:46,156
Speaker 2: something that really mattered to that project to be the

1168
00:54:46,156 --> 00:54:48,716
Speaker 2: producer on every song and to be the executive producer.

1169
00:54:48,796 --> 00:54:51,516
Speaker 2: But you got Greg feeling games, you got the guy

1170
00:54:51,556 --> 00:54:54,316
Speaker 2: who is programming the drums and all that, But that

1171
00:54:54,796 --> 00:54:57,556
Speaker 2: don't make him anything less. So it's like I'm not

1172
00:54:57,596 --> 00:55:01,036
Speaker 2: saying that it's not cool to work with other musicians.

1173
00:55:01,116 --> 00:55:03,556
Speaker 2: I do that I got credits. You know, I'd be

1174
00:55:03,676 --> 00:55:05,956
Speaker 2: generous with letting my homies come in. And if I

1175
00:55:05,996 --> 00:55:07,796
Speaker 2: hear something, it's like, yo, add a part to this,

1176
00:55:07,916 --> 00:55:09,956
Speaker 2: maybe try some drums here, Like you know, I'm still

1177
00:55:10,356 --> 00:55:12,996
Speaker 2: I'm still there conducting it though, you know what I mean,

1178
00:55:13,156 --> 00:55:15,716
Speaker 2: Like if you give me some pieces, I don't. I

1179
00:55:15,716 --> 00:55:18,636
Speaker 2: don't really just let people just freely do their thing,

1180
00:55:18,796 --> 00:55:20,796
Speaker 2: like I kind of just like kind of still got it.

1181
00:55:20,836 --> 00:55:23,756
Speaker 2: And that's what the genius part is. So you know,

1182
00:55:23,836 --> 00:55:25,236
Speaker 2: I understand that's part of the game.

1183
00:55:25,596 --> 00:55:29,196
Speaker 1: Some of the younger, young young artists. Are you enticed

1184
00:55:29,236 --> 00:55:32,116
Speaker 1: by working with them? Oh, for sure, I'll be down

1185
00:55:32,196 --> 00:55:34,716
Speaker 1: to the like you know something, I'm like, man, I

1186
00:55:34,716 --> 00:55:35,236
Speaker 1: can hear her.

1187
00:55:35,996 --> 00:55:39,436
Speaker 2: That's funny. Now, it's crazy because before a month just

1188
00:55:39,596 --> 00:55:43,276
Speaker 2: before like her like you know, following Drake and Drake,

1189
00:55:43,316 --> 00:55:46,516
Speaker 2: following her all this, Like I literally DMed her and

1190
00:55:46,916 --> 00:55:49,596
Speaker 2: she came to LA and when she hit me up,

1191
00:55:49,676 --> 00:55:52,076
Speaker 2: like I just was kind of just moving around, probably

1192
00:55:52,156 --> 00:55:54,796
Speaker 2: doing too much and wasn't able to link. And I

1193
00:55:54,876 --> 00:55:57,516
Speaker 2: was about to link her before the fame, before like

1194
00:55:57,556 --> 00:56:00,156
Speaker 2: the real pop off and ship, like I've seen the vision.

1195
00:56:00,156 --> 00:56:00,876
Speaker 2: I knew it was coming.

1196
00:56:00,916 --> 00:56:02,836
Speaker 1: Did you see it from off that off the Busted

1197
00:56:02,876 --> 00:56:05,356
Speaker 1: Down Challenge or what would you see?

1198
00:56:05,476 --> 00:56:07,876
Speaker 2: This is way back, bro. I just seen like the

1199
00:56:07,916 --> 00:56:10,116
Speaker 2: way she looks. She had a look and like you know,

1200
00:56:10,276 --> 00:56:12,836
Speaker 2: she like just had some tour the video for the

1201
00:56:13,756 --> 00:56:16,956
Speaker 2: Red Fro. This is this is some time ago. Like

1202
00:56:17,156 --> 00:56:19,596
Speaker 2: I mean, I just was like I hit her up

1203
00:56:19,596 --> 00:56:22,836
Speaker 2: and gave her my number when she came in, when

1204
00:56:22,836 --> 00:56:24,996
Speaker 2: she came out, we just never linked.

1205
00:56:25,396 --> 00:56:28,396
Speaker 1: It's got to happen, man, crazy, that's got to happen,

1206
00:56:28,396 --> 00:56:31,796
Speaker 1: because she was sounding real nice on your beats for sure. Man, Well,

1207
00:56:31,836 --> 00:56:34,036
Speaker 1: thanks so much for being gracious with your time, man,

1208
00:56:34,316 --> 00:56:35,876
Speaker 1: for sure for all the music.

1209
00:56:35,956 --> 00:56:40,516
Speaker 2: Man, appreciate y'all having me. Man, it was set up.

1210
00:56:40,476 --> 00:56:43,516
Speaker 1: Before you go. I got acol because it's important. Man.

1211
00:56:43,996 --> 00:56:47,276
Speaker 1: How good NAS is sounding or on.

1212
00:56:47,116 --> 00:56:50,076
Speaker 2: Your shout out to David kim our engineer. He mixed

1213
00:56:50,116 --> 00:56:53,036
Speaker 2: all four projects, my home boy. He makes a lot

1214
00:56:53,036 --> 00:56:55,796
Speaker 2: of other stuff, mixed most of my music. But it's

1215
00:56:55,876 --> 00:56:58,236
Speaker 2: kind of like a perfect triangle offense, you know what

1216
00:56:58,236 --> 00:57:00,116
Speaker 2: I mean, between me and him and Nas as far

1217
00:57:00,156 --> 00:57:04,276
Speaker 2: as sonics and getting you know, everybody putting it all

1218
00:57:04,316 --> 00:57:07,156
Speaker 2: into what's going on, like David is gonna go to

1219
00:57:07,236 --> 00:57:10,036
Speaker 2: extra mile to just make sure the music is pumping

1220
00:57:10,156 --> 00:57:12,916
Speaker 2: in the vocals, just like sitting in a proper place.

1221
00:57:12,716 --> 00:57:16,036
Speaker 1: Sitting perfect. Man. Whatever people was hearing in the day

1222
00:57:16,076 --> 00:57:18,076
Speaker 1: where they felt like they couldn't lay their voice into

1223
00:57:18,116 --> 00:57:20,556
Speaker 1: your beats because it's too crowded, It's like, whatever's going

1224
00:57:20,596 --> 00:57:22,956
Speaker 1: on now? Man, it's like sonically.

1225
00:57:22,636 --> 00:57:25,556
Speaker 2: Perfect, yeah, not for show, And that's what I'm working on.

1226
00:57:25,596 --> 00:57:27,716
Speaker 2: I just like want the music. I'm trying to get

1227
00:57:27,716 --> 00:57:30,276
Speaker 2: to that thriller level where it's like just like going

1228
00:57:30,316 --> 00:57:33,196
Speaker 2: into your ears perfectly and just hitting the veins and

1229
00:57:33,196 --> 00:57:34,596
Speaker 2: the soul. You know what it does.

1230
00:57:34,636 --> 00:57:37,156
Speaker 1: And I'm telling you like having nas At thirty years

1231
00:57:37,196 --> 00:57:39,996
Speaker 1: later sounding better than his every time, that's like having

1232
00:57:40,156 --> 00:57:43,956
Speaker 1: a Whitney ten years ago coming out with her best record.

1233
00:57:44,036 --> 00:57:47,116
Speaker 1: You know, like you got someone with an iconic voice

1234
00:57:47,116 --> 00:57:48,756
Speaker 1: sounding the best that they've ever sounded.

1235
00:57:48,796 --> 00:57:50,636
Speaker 2: That's why I'll be telling you too. I'm like, Bro,

1236
00:57:50,796 --> 00:57:53,596
Speaker 2: you could say ABC one two three on the beat

1237
00:57:53,636 --> 00:57:56,876
Speaker 2: and your voice is so cold that it's gonna sound ill.

1238
00:57:56,956 --> 00:57:59,476
Speaker 2: So I'm like the words and the way you putting

1239
00:57:59,476 --> 00:58:02,596
Speaker 2: it together, that's just like the mind blowing shit.

1240
00:58:02,756 --> 00:58:04,916
Speaker 1: Yeah, yeah, man, We must respect man.

1241
00:58:04,956 --> 00:58:06,076
Speaker 2: Appreciate you, Yes, sir.

1242
00:58:09,116 --> 00:58:11,836
Speaker 1: Thanks to hit Boys for breaking down his production process

1243
00:58:11,916 --> 00:58:15,036
Speaker 1: and inspiration. You can hear all of our favorite hit

1244
00:58:15,036 --> 00:58:18,276
Speaker 1: Boy produced tracks on a playlist at broken record podcast

1245
00:58:18,436 --> 00:58:21,876
Speaker 1: dot com. You can subscribe to our YouTube channel at

1246
00:58:21,916 --> 00:58:25,316
Speaker 1: YouTube dot com slash broken Record Podcast, where you can

1247
00:58:25,356 --> 00:58:29,236
Speaker 1: find all of our new episodes. Broken Record is produced

1248
00:58:29,236 --> 00:58:33,676
Speaker 1: with help from Leah Rose, Jason Gambrel, Ven Talliday, Nisha Venkat,

1249
00:58:33,956 --> 00:58:38,636
Speaker 1: Jordan McMillan, and Eric Sandler. Our editor is Sophie Crane.

1250
00:58:39,796 --> 00:58:42,996
Speaker 1: Broken Record is a production of Pushkin Industries. If you

1251
00:58:43,036 --> 00:58:45,916
Speaker 1: love this show and others from Pushkin, consider subscribing to

1252
00:58:46,116 --> 00:58:50,436
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription service that

1253
00:58:50,476 --> 00:58:54,396
Speaker 1: offers bonus content and uninterrupted ad free listening for only

1254
00:58:54,476 --> 00:58:57,756
Speaker 1: four ninety nine a month. Look for Pushkin Plus on

1255
00:58:57,836 --> 00:59:01,876
Speaker 1: Apple Podcasts subscriptions, and if you like the show, remember

1256
00:59:01,916 --> 00:59:04,716
Speaker 1: to share, rate, and review us on your podcast daft

1257
00:59:05,196 --> 00:59:10,796
Speaker 1: our Keumus Expecting Beats, I'm justin Richmond's What the pu