WEBVTT - Hit-Boy

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<v Speaker 1>Pushkin for hit Boy, It's All in a Name, Niggas

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<v Speaker 1>in Paris by Jay Z and Kanye West, Sika Mode

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<v Speaker 1>by Travis Scott, Thick by Beyonce from her newest album Renaissance,

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<v Speaker 1>as well as songs from Frank Ocean, Rihanna, Kendrick Lamar,

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<v Speaker 1>and so many more. Hit Boy's production has powered some

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<v Speaker 1>of the biggest hits off the best projects over the

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<v Speaker 1>last decade, which makes it all the more remarkable that

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<v Speaker 1>his actual crowning achievement has nothing at all to do

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<v Speaker 1>with radio hits or the latest artists. But the thing

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<v Speaker 1>that ensures hit Boy's enshrinement and whatever hall of fame

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<v Speaker 1>exists twenty thirty years from now is dropping back to

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<v Speaker 1>back to back masterpieces with one of rap's most legendary figures,

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<v Speaker 1>Nas Nas just won his first Grammy a few years

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<v Speaker 1>back from his album King's Disease, a project that was

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

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<v Speaker 1>to release together KD two, Magic and KD three, each

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<v Speaker 1>album better than the last. And as if all of

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<v Speaker 1>that in the span of a few years wasn't enough,

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<v Speaker 1>hit Boys also just released a new solo album as

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<v Speaker 1>a producer, rapper called Surf or Drown. I talked to

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

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<v Speaker 1>how he's recently just introduced a new but old piece

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<v Speaker 1>of equipment into his beat making process, about growing up

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<v Speaker 1>in the ie just east of Los Angeles, and what

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<v Speaker 1>he learned from having an uncle in Troop, one of

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<v Speaker 1>the smoothest R and B groups of the eighties and nineties.

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<v Speaker 1>This is Broken Record liner notes for the Digital Age.

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

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<v Speaker 1>you doing today, man, solid man.

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

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<v Speaker 2>It's non stop.

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<v Speaker 1>How you keeping up? Man?

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

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<v Speaker 2>It's just like you gotta just go push yourself. Man,

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<v Speaker 2>don't get burnt out like some I mean, you know,

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<v Speaker 2>it's just like just go.

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<v Speaker 1>Yeah. Do you feel like you're in a creative zenith,

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<v Speaker 1>like at the top of your creative game at the moment, Yeah.

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

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<v Speaker 2>just like I always wanted to be able to just

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<v Speaker 2>tap in and make pretty much any style of beat

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<v Speaker 2>that I wanted to at any given moment, and that's

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<v Speaker 2>like where I'm at now, Like I could just somebody

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<v Speaker 2>need a certain sound, or if I'm hearing something, I

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<v Speaker 2>could really like execute it a lot more than earlier

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<v Speaker 2>in my career. So that's exciting.

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<v Speaker 1>But that was a goal early in the career.

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<v Speaker 2>Still, yeah, just like you know, I would get to

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<v Speaker 2>a certain point on my production and then kind of

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

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<v Speaker 2>it's like I made so many beats, so many songs,

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<v Speaker 2>it's just coming to me.

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<v Speaker 1>Can you think of something recently where before you might

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<v Speaker 1>have gotten stumped but you were able to move it forward.

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<v Speaker 2>Just beats in general, you know what I mean. I

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<v Speaker 2>can't think of a specific thing, but now and now

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<v Speaker 2>I also understand that you can build things over time.

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<v Speaker 2>They like before, like I used to overcrowd my beats,

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<v Speaker 2>and artists used to tell me, like, man, the beats

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

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<v Speaker 2>where I could fit in because it's so much instrumentation,

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<v Speaker 2>a lot going on. So I just scaled it back

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<v Speaker 2>and now it's like, Okay, I can get a voice

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<v Speaker 2>on there that I could get inspired again and add

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<v Speaker 2>another sound and a breakdown and just something that makes sense.

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<v Speaker 1>At the right sound. Do you think I do that

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<v Speaker 1>your beats were maybe crowded for certain people before. Do

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<v Speaker 1>you think that maybe goes back to just when you

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<v Speaker 1>were just making beats just for yourself, Like, yeah.

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<v Speaker 2>For sure, definitely, you know. I mean I always made

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<v Speaker 2>beats with the intention of getting somebody on them, even

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<v Speaker 2>if it was just myself, because I was writing before

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<v Speaker 2>when you're learning to make beats, yeah, because I was

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<v Speaker 2>making songs before I was making beats. So I was

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<v Speaker 2>like trying to find something that made sense for me

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<v Speaker 2>or whoever else to get on, you know, but I

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<v Speaker 2>would so.

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<v Speaker 1>You used to make a beats for you to get on. Yes,

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<v Speaker 1>you're tired of just wrapping over instrumentals from other people.

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<v Speaker 2>I was in a group with a kid and he

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<v Speaker 2>made all the beats at first, so we did like

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

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<v Speaker 2>you know what I mean. So by the time I

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<v Speaker 2>turned sixteen, we had made a couple of projects and

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<v Speaker 2>I just start playing with the fl studio at his

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<v Speaker 2>crib and was like, Yo, this is really like fun.

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

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<v Speaker 2>just was like I just took a real liking to

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<v Speaker 2>it and kept pushing with it.

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<v Speaker 1>Did you do anything musically growing up and playing the

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<v Speaker 1>instruments or nah?

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<v Speaker 2>But I was around a lot of music. Yeah. My

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<v Speaker 2>uncle Rodney B was in a group called Troop, And

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<v Speaker 2>I just saw the whole lifestyle, you know what I mean,

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<v Speaker 2>them being in the studio video shoots, the style, like

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<v Speaker 2>the music, the dance moves like it just the R

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<v Speaker 2>and B group. Yeah yeah, yeah, my uncle and my

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<v Speaker 2>my grandma started the group. She was managing them up

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<v Speaker 2>until they got signed, and like she really whipped them

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<v Speaker 2>into shape to like really like be focused on that level.

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<v Speaker 1>That's crazy.

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<v Speaker 2>She just always had a passion for music herself, and

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<v Speaker 2>well my uncle started getting to a certain age, she

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<v Speaker 2>just was like, you need to start a group, and

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<v Speaker 2>they started a group and they really went and had

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<v Speaker 2>a couple number ones and had some success.

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<v Speaker 1>What was that like for you? Growing up? Seeing that crazy?

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<v Speaker 2>It got me like on a focused level, I'm on now,

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<v Speaker 2>you know what I mean? Like I always just seen

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<v Speaker 2>like they it was doing it on a real level.

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<v Speaker 2>So I seen it. I seen everything, the whole lifestyle,

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<v Speaker 2>and I just was intrigued.

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<v Speaker 1>Yeah, for you at that time. Was hip hop the

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<v Speaker 1>thing where you were locked in on hip hop? Or

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<v Speaker 1>did you see that maybe even.

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<v Speaker 2>Think like, yeah, I mean what my uncle played all

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<v Speaker 2>type of music. So I heard Nwa, I heard Snoop,

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<v Speaker 2>I heard ice Cube, I heard just like all the

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<v Speaker 2>West Coast, you know, hip hop, but it was a

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<v Speaker 2>lot of R and B, B and played too, because

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<v Speaker 2>there was an R and B group. So just like

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<v Speaker 2>hearing them chord changes and just like really seeing the

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

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<v Speaker 2>But I didn't know exactly what it was, but it

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<v Speaker 2>was the emotion of the coors and the emotion of

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<v Speaker 2>the drum patterns and the groove and the feeling that

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<v Speaker 2>just was like I was downloading into my DNA and

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<v Speaker 2>downloading that DNA.

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<v Speaker 1>And so now that you're making music, you started to

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<v Speaker 1>realize the things that you're attracted to and making music.

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<v Speaker 2>Somewhat come from that. Oh yeah, change for sure. I

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<v Speaker 2>mean me being able to do a music soul child album.

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<v Speaker 2>We just dropped Victims and Villains. That's literally because my

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<v Speaker 2>uncle used to play his first album over and over

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<v Speaker 2>and over, so I just like already knew kind of

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<v Speaker 2>where to take it, what I would want to hear

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<v Speaker 2>personally with just updating it to where it's at now.

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<v Speaker 2>But saw a lot of time when I'm making music,

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<v Speaker 2>I just like tap into that original emotion that I

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<v Speaker 2>would feel before I knew what it was.

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<v Speaker 1>What was your first meeting with music?

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<v Speaker 2>Like? It was dope because he already had reached out

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<v Speaker 2>telling me he loved what I was doing with knaves, so.

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<v Speaker 1>He just showed what NAS project had come at that

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<v Speaker 1>point when he reached out.

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<v Speaker 2>Magic, it was all all Katie won KT two and

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

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<v Speaker 2>Magic hadn't even come out. Magic was about to come out.

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<v Speaker 2>And because I remember playing him some of the music

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<v Speaker 2>and he was just like, Yo, this is crazy. Nobody

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<v Speaker 2>even knew he was doing it. But uh, when he

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<v Speaker 2>pulled up, it just was respect, you know. Yeah, And

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<v Speaker 2>I just had so many beats that fit into where

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<v Speaker 2>he wanted to go. It kind of was like an

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<v Speaker 2>easy process.

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<v Speaker 1>But the intention wasn't necessarily to do a full record

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<v Speaker 1>together or what nah.

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<v Speaker 2>He just was like, we need to tap in and

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<v Speaker 2>you know, work, see what happened, And after a while

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

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<v Speaker 2>this got to be the album.

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<v Speaker 1>But that's probably happened before, right.

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<v Speaker 2>No, I mean with Nas, I didn't plan on making

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<v Speaker 2>I mean four albums with him. I didn't even know

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<v Speaker 2>I was gonna make one album with him. He just

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<v Speaker 2>was coming to get some beats and we just kept working,

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<v Speaker 2>you know what I mean, he just kept pulling up.

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<v Speaker 2>It's something about the spot I'm in and just the

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<v Speaker 2>zone I'm in personally that makes artists want to keep

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<v Speaker 2>coming back. For the most part, the physical spot really

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<v Speaker 2>just physical spot work in childish studios.

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<v Speaker 1>Yeah, where is that?

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<v Speaker 2>What's Hollywood? Not far from here? Like five minutes and

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<v Speaker 2>you just lock it out. Yeah. I've been there going

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<v Speaker 2>on five years and now, yeah, this is August, it'll

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<v Speaker 2>be five years. I've been in that studio and I've

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<v Speaker 2>just been making a lot of progress. It's kind of

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<v Speaker 2>like a homey type of situation, Like it kind of

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<v Speaker 2>reminds me of me making beats in my bedroom at

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<v Speaker 2>my mom crib. And I feel like that's what is

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<v Speaker 2>attractive about it, Like it's not like some to my

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<v Speaker 2>three year old, see three, it just makes it real

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<v Speaker 2>comfortable to come record, yeah, versus like this big room

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<v Speaker 2>that's got the lights all on and it's all stero.

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<v Speaker 2>It's like, nah, you're coming in. It's like man, it's

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<v Speaker 2>like almost like being at somebody crib.

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<v Speaker 1>Yeah. Right, that's taking taking a back, yeah for sure.

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

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<v Speaker 2>I mean, I had went through some heavy stuff just

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<v Speaker 2>in the game, you know what I mean, just in life.

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<v Speaker 2>You know, we all got to figure out whether we're

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<v Speaker 2>gonna surf for drown, but just especially the music industry,

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<v Speaker 2>I feel like I've been to the mountaintop. I've been

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<v Speaker 2>around the amazing artists and like, you know, getting that

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<v Speaker 2>respect and then the flip side, you know, trying to

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<v Speaker 2>figure it out. Like you know, I could have literally

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<v Speaker 2>drowned and just like either quit music or like I've

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<v Speaker 2>been in situations to where some people wouldn't even wanted

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<v Speaker 2>to be alive no more, you know what I mean,

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<v Speaker 2>just like kind of felt like you lost it all

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<v Speaker 2>and not getting the respect, not getting the replies from people,

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<v Speaker 2>not getting the same you know energy you was, And

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<v Speaker 2>I really like pulled myself about it at you know

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<v Speaker 2>what I mean. I used to have a hundred people

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<v Speaker 2>around me. Then it flipped to having nobody around the

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<v Speaker 2>day that I found out I had like zero dollars

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<v Speaker 2>in my account, which was like six years ago after

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<v Speaker 2>having millions, nobody was there. Nobody was around, you know

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<v Speaker 2>what I mean. This was like, Wow, when you get

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<v Speaker 2>into it, they gonna be there, and when you not,

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<v Speaker 2>they not gonna be there. So it's like you gotta

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<v Speaker 2>look inside yourself. And that's where the whole Surf for

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<v Speaker 2>Drown concept came from. Like in surf Club is my

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<v Speaker 2>that's my label, that's my click. That's since I was

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<v Speaker 2>seventeen years old, been pushing surf Club And that's just

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<v Speaker 2>kind of a play on that too.

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<v Speaker 1>Yeah, how did you get surf Club out of it? Were

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<v Speaker 1>you in Fontana on that?

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<v Speaker 2>I was in Fontana, Yeah, it was. It's crazy because

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<v Speaker 2>I was at the Ontario Mills with the Homie Chili

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<v Speaker 2>Chill with be Care and a couple other people this

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<v Speaker 2>like two thousand and five, went to the Hollister store

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<v Speaker 2>at Ontario Mills at the mall bought these all. We

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<v Speaker 2>all bought that these kind of like matching similar sweaters

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<v Speaker 2>and mindset surf Club on it, and we all kind

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<v Speaker 2>of collectively was like, Yo, that should be the click

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<v Speaker 2>name surf Club. It just sounded hard. So we just

0:10:58.676 --> 0:11:01.196
<v Speaker 2>ran with it from there, and you know, it's like

0:11:01.356 --> 0:11:04.196
<v Speaker 2>we've always gotten respect as far as that name goes. Man.

0:11:04.236 --> 0:11:06.956
<v Speaker 2>Like you can hear like Drake shouting it out on

0:11:07.116 --> 0:11:11.796
<v Speaker 2>multiple songs and just people that like really they understand

0:11:11.836 --> 0:11:14.156
<v Speaker 2>like the legacy of it that if you really tapped

0:11:14.196 --> 0:11:15.076
<v Speaker 2>in on it.

0:11:14.876 --> 0:11:17.076
<v Speaker 1>Tapp into your vibe. Even hearing no shout out like

0:11:17.156 --> 0:11:22.956
<v Speaker 1>the ie after the like what crazy far it's crazy?

0:11:23.196 --> 0:11:26.996
<v Speaker 2>People hit me at me on ig and be like, yo,

0:11:27.076 --> 0:11:29.716
<v Speaker 2>hit I love this. I E Weather. I'm like, that's crazy, y'all.

0:11:29.756 --> 0:11:33.116
<v Speaker 2>Now just put that in the spectrum somebody from Queens,

0:11:33.156 --> 0:11:36.836
<v Speaker 2>New York, Queen's Bridge, just like you just never know

0:11:36.836 --> 0:11:37.876
<v Speaker 2>how it's gonna come together.

0:11:37.956 --> 0:11:41.236
<v Speaker 1>Man, It's insane. Man. Yeah, did you ever feel like

0:11:41.316 --> 0:11:43.236
<v Speaker 1>quitty like that point when you're at zero.

0:11:43.036 --> 0:11:46.676
<v Speaker 2>Dollars that and before that and so many times, man,

0:11:46.916 --> 0:11:49.516
<v Speaker 2>just like dealing with the game and getting to know yourself,

0:11:49.916 --> 0:11:54.516
<v Speaker 2>knowing how this works, like knowing who you got around you, Like, yeah,

0:11:54.676 --> 0:11:58.636
<v Speaker 2>it all can be like emotionally like heavy, but I

0:11:58.676 --> 0:11:59.796
<v Speaker 2>love music so much.

0:11:59.956 --> 0:12:02.196
<v Speaker 1>Well, what's the part of it that's like the unintended

0:12:02.196 --> 0:12:03.756
<v Speaker 1>stuff that something in it for the music.

0:12:04.876 --> 0:12:08.196
<v Speaker 2>But it's like, like, so I signed a publishing deal

0:12:08.236 --> 0:12:10.276
<v Speaker 2>when I was one year out of high school with

0:12:10.556 --> 0:12:12.396
<v Speaker 2>you know, by this time, you know, my uncle was

0:12:12.436 --> 0:12:15.556
<v Speaker 2>popping late eighties, early nineties. This is two thousand and six,

0:12:15.636 --> 0:12:17.996
<v Speaker 2>two thousand and seven. He can't really give me the guidance.

0:12:18.076 --> 0:12:20.036
<v Speaker 2>I don't really have that many people that I can,

0:12:20.356 --> 0:12:22.836
<v Speaker 2>you know, get so like I signed a deal that

0:12:22.916 --> 0:12:25.316
<v Speaker 2>I'm still into this day right now. So I'm talking

0:12:25.316 --> 0:12:27.956
<v Speaker 2>about I'm thirty five, about to be thirty six next month,

0:12:28.436 --> 0:12:30.516
<v Speaker 2>and I've been in the deal since I was nineteen,

0:12:30.716 --> 0:12:34.876
<v Speaker 2>So that alone, it's been like a mental thing. It's

0:12:34.916 --> 0:12:37.716
<v Speaker 2>been just like you know, I got to see so

0:12:37.876 --> 0:12:40.836
<v Speaker 2>many people like who didn't sign you know, crazy deal

0:12:40.956 --> 0:12:43.516
<v Speaker 2>come up after me and be kind of like looked

0:12:43.516 --> 0:12:46.156
<v Speaker 2>at in a different light, revered in a different light

0:12:46.236 --> 0:12:49.076
<v Speaker 2>when it's like I actually got the discography just the

0:12:49.116 --> 0:12:51.596
<v Speaker 2>way things been structured, Like you know, I'm still waiting

0:12:51.596 --> 0:12:53.876
<v Speaker 2>to get out that deal and even just like live

0:12:53.956 --> 0:12:55.556
<v Speaker 2>on the level that I should be living on, you

0:12:55.596 --> 0:12:57.916
<v Speaker 2>know what I mean, which I'm living great, I'm living beautiful.

0:12:57.956 --> 0:13:01.716
<v Speaker 2>I'm blessed all that, but there's more like I see,

0:13:01.876 --> 0:13:04.076
<v Speaker 2>you know what it's gonna be, what it can be?

0:13:04.476 --> 0:13:05.956
<v Speaker 1>How much longer does that deal run?

0:13:07.036 --> 0:13:09.396
<v Speaker 2>I mean, it's supposed to be an earn out deal now,

0:13:09.476 --> 0:13:14.156
<v Speaker 2>which just got renegotiated. And when you say so versus

0:13:14.196 --> 0:13:17.436
<v Speaker 2>like me having to have, like I had an MDRC deal,

0:13:17.596 --> 0:13:21.076
<v Speaker 2>which is like, you know, it's percentages and once you

0:13:21.196 --> 0:13:23.596
<v Speaker 2>add up, they'll find some other way to make it

0:13:23.676 --> 0:13:26.076
<v Speaker 2>not really count as what it's supposed to be in

0:13:26.116 --> 0:13:30.076
<v Speaker 2>black and white and that's just all contractual just you know,

0:13:30.196 --> 0:13:33.276
<v Speaker 2>wordage and stuff like that. But yeah, now it's like,

0:13:33.356 --> 0:13:36.876
<v Speaker 2>I mean, I should have hopefully two years in this

0:13:37.036 --> 0:13:37.956
<v Speaker 2>deal left.

0:13:37.716 --> 0:13:39.116
<v Speaker 1>You know, and it's a publishing deal.

0:13:39.236 --> 0:13:42.556
<v Speaker 2>Publishing deal, right, yeah, yeah, So that's like, you know,

0:13:42.596 --> 0:13:45.796
<v Speaker 2>that's just like a part of what can weigh you

0:13:45.876 --> 0:13:48.116
<v Speaker 2>down at times when you talking to lawyers and they're like, yo,

0:13:48.196 --> 0:13:50.676
<v Speaker 2>this is the worst contract I've ever seen. That. That's

0:13:50.716 --> 0:13:53.236
<v Speaker 2>not something as a creative you want to hear, especially

0:13:53.276 --> 0:13:56.876
<v Speaker 2>when you did that deal so premature, so young, so

0:13:57.836 --> 0:14:00.516
<v Speaker 2>just new to everything going on, Like I didn't expect

0:14:00.516 --> 0:14:02.716
<v Speaker 2>me to still be in a deal that I signed

0:14:02.756 --> 0:14:05.556
<v Speaker 2>from then, you know, It's like I didn't even find

0:14:05.556 --> 0:14:07.636
<v Speaker 2>out that it was a bad deal until I made

0:14:07.676 --> 0:14:10.476
<v Speaker 2>a hit, which was I got signed oh seven. I

0:14:10.516 --> 0:14:12.996
<v Speaker 2>didn't make a real, real hit, top radio hit until

0:14:12.996 --> 0:14:16.556
<v Speaker 2>like twenty eleven in Paris. Yeah, exactly. I found out

0:14:16.796 --> 0:14:20.436
<v Speaker 2>after Niggas in Paris dropped and I was like, okay,

0:14:20.476 --> 0:14:23.276
<v Speaker 2>so where's the real, real money. And they're like, oh, well,

0:14:23.276 --> 0:14:25.796
<v Speaker 2>you signed to this contract, so you know it's not

0:14:25.836 --> 0:14:27.516
<v Speaker 2>gonna be the way you thought it was gonna be.

0:14:27.556 --> 0:14:28.636
<v Speaker 1>So who was getting the money?

0:14:29.716 --> 0:14:33.636
<v Speaker 2>I mean, it's just like not that I'm not getting

0:14:33.676 --> 0:14:35.876
<v Speaker 2>the money from that song, it's just more so like

0:14:35.916 --> 0:14:38.836
<v Speaker 2>you know how some people are making hit and it's

0:14:38.836 --> 0:14:41.876
<v Speaker 2>like going viral or whatever the case, they'll go be

0:14:41.916 --> 0:14:45.076
<v Speaker 2>able to negotiate a new deal or something, get five

0:14:45.156 --> 0:14:47.476
<v Speaker 2>ten million dollars or something like that. But I've never

0:14:47.516 --> 0:14:50.316
<v Speaker 2>been able to do that with you know, even after

0:14:50.356 --> 0:14:54.756
<v Speaker 2>making hits that should have allowed me to hit in exactly.

0:14:55.116 --> 0:14:58.636
<v Speaker 1>That's crazy. Yeah, given you've been locked into something that's

0:14:58.636 --> 0:15:02.036
<v Speaker 1>felt so I mean beyond restrictive felt, it's felt.

0:15:02.836 --> 0:15:05.116
<v Speaker 2>Yeah. Even just talking about this right now, though, like

0:15:06.196 --> 0:15:08.596
<v Speaker 2>that brought me to this place, because you know, you

0:15:08.636 --> 0:15:10.556
<v Speaker 2>get to a point where you want to do this.

0:15:10.676 --> 0:15:12.556
<v Speaker 2>You want to just like get the singles and you

0:15:12.596 --> 0:15:15.676
<v Speaker 2>want to like be have every song just be niggas

0:15:15.676 --> 0:15:17.956
<v Speaker 2>in pairs perform at ten twelve times, Like it's not

0:15:17.996 --> 0:15:20.996
<v Speaker 2>gonna all be that. So I got to this point

0:15:21.036 --> 0:15:22.756
<v Speaker 2>where it's like I got to find out how to

0:15:22.796 --> 0:15:25.396
<v Speaker 2>get my respect in another way, which was like it's

0:15:25.396 --> 0:15:27.196
<v Speaker 2>a blessing to work with nas And so.

0:15:27.236 --> 0:15:29.316
<v Speaker 1>Was that intentional or do you think that just happened?

0:15:29.636 --> 0:15:31.676
<v Speaker 2>It was a mixture of both, you know what I mean,

0:15:31.996 --> 0:15:33.676
<v Speaker 2>was just like trying to figure it out and then

0:15:33.756 --> 0:15:36.756
<v Speaker 2>understanding like Okay, if I somebody like Benny the Butcher,

0:15:36.796 --> 0:15:40.076
<v Speaker 2>Big Sean, Naves Music, Soul Child, one of them come through,

0:15:40.156 --> 0:15:42.076
<v Speaker 2>I gotta lock in on a different level. I can't

0:15:42.156 --> 0:15:44.596
<v Speaker 2>let them leave. I gotta like have so much heat

0:15:44.756 --> 0:15:47.036
<v Speaker 2>that it's like, nah, bro, I'm rocking with you.

0:15:47.316 --> 0:15:48.236
<v Speaker 1>Yeah, it just took me.

0:15:48.196 --> 0:15:48.796
<v Speaker 2>To that level.

0:15:48.876 --> 0:15:50.796
<v Speaker 1>Did did anyone guide you to that thinking? Or like did

0:15:50.796 --> 0:15:51.676
<v Speaker 1>you kind of have to get.

0:15:51.516 --> 0:15:54.596
<v Speaker 2>Through watching the game seeing just it was more so

0:15:54.836 --> 0:15:55.796
<v Speaker 2>just watching.

0:15:55.636 --> 0:15:58.676
<v Speaker 1>You feel like early on you had mentors in the

0:15:58.756 --> 0:15:59.756
<v Speaker 1>production game.

0:16:00.116 --> 0:16:01.996
<v Speaker 2>Yeah, of course, Like I got signed to Polo to

0:16:02.116 --> 0:16:05.716
<v Speaker 2>Don and he was doing big pop records and doing

0:16:05.756 --> 0:16:08.436
<v Speaker 2>big R and B songs and rap songs too, and

0:16:09.196 --> 0:16:11.316
<v Speaker 2>got to see the game at a high level. And

0:16:11.396 --> 0:16:14.996
<v Speaker 2>even though even if he like didn't directly tell me

0:16:15.036 --> 0:16:18.476
<v Speaker 2>exactly ABC what to do, I watched it. I watched him,

0:16:18.596 --> 0:16:21.436
<v Speaker 2>I watched his ups in his downs. Just like even

0:16:21.636 --> 0:16:25.996
<v Speaker 2>learning from my interaction with people. Gotta just like treat

0:16:26.036 --> 0:16:29.116
<v Speaker 2>everybody decently because you don't know who's gonna become who's

0:16:29.156 --> 0:16:35.796
<v Speaker 2>going to listen. I knew so many people, Drake, Frank Ocean, Tyler,

0:16:35.796 --> 0:16:38.916
<v Speaker 2>the Creator, Kendrick Lamar, like knew these people before they

0:16:38.996 --> 0:16:42.036
<v Speaker 2>blew up. So it's like you just gotta, like you

0:16:42.036 --> 0:16:45.316
<v Speaker 2>you gotta understand that anybody it can turn up for them.

0:16:45.356 --> 0:16:47.156
<v Speaker 1>So did you have good relationships with them?

0:16:47.356 --> 0:16:50.196
<v Speaker 2>Yeah, for sure, show Yeah, but just in general, you know,

0:16:50.676 --> 0:16:53.236
<v Speaker 2>just like just like learning and uh, that got me

0:16:53.276 --> 0:16:55.316
<v Speaker 2>to this place where it's like I feel like I

0:16:55.356 --> 0:16:57.916
<v Speaker 2>get more respect for doing these albums than doing a

0:16:57.956 --> 0:17:01.036
<v Speaker 2>big giant single. People look at me different now, people

0:17:01.196 --> 0:17:04.436
<v Speaker 2>understand like, oh, he's he's not one of those you

0:17:04.436 --> 0:17:04.876
<v Speaker 2>know what I mean.

0:17:04.916 --> 0:17:07.716
<v Speaker 1>He Like, seriously, it's really hard to get people to

0:17:07.876 --> 0:17:12.116
<v Speaker 1>concentrate on a project like a full project, man, and

0:17:12.196 --> 0:17:14.676
<v Speaker 1>to have multiple now like the two out this year.

0:17:14.996 --> 0:17:17.316
<v Speaker 1>The not I mean like just to have so now

0:17:17.396 --> 0:17:21.036
<v Speaker 1>like a whole body of just like actual projects. It's

0:17:21.076 --> 0:17:24.076
<v Speaker 1>not just like Niggas in Paris or Click, which are

0:17:24.116 --> 0:17:26.556
<v Speaker 1>great records, but like to actually now have like this,

0:17:27.516 --> 0:17:30.556
<v Speaker 1>it puts you in a in my mind, and a

0:17:30.596 --> 0:17:32.996
<v Speaker 1>different stature of producer, you know.

0:17:33.596 --> 0:17:38.076
<v Speaker 2>One million percent. Man, It just makes people respect what

0:17:38.196 --> 0:17:40.196
<v Speaker 2>you do more. I feel like, man, cause like I've

0:17:40.236 --> 0:17:46.036
<v Speaker 2>had big radio songs and didn't get nowhere near this revered, respected, honor,

0:17:46.196 --> 0:17:48.716
<v Speaker 2>you know what I mean like, And that's like it's

0:17:48.836 --> 0:17:51.396
<v Speaker 2>just a mental thing too, Like you can't really get

0:17:51.396 --> 0:17:54.636
<v Speaker 2>caught up in thinking that the name or the massive

0:17:54.676 --> 0:17:57.956
<v Speaker 2>success of something that's going really lock people into what

0:17:58.236 --> 0:18:01.476
<v Speaker 2>exactly who you are and what your brand is. You

0:18:01.556 --> 0:18:03.716
<v Speaker 2>got to just make them waves and make them plays

0:18:03.716 --> 0:18:06.276
<v Speaker 2>that make them respecting on a different level. It's not

0:18:06.316 --> 0:18:08.276
<v Speaker 2>always going to be the like I put out an

0:18:08.316 --> 0:18:10.996
<v Speaker 2>artist a song, a big name artist this year, and

0:18:10.996 --> 0:18:12.636
<v Speaker 2>then I put out a song with Alchemists, and a

0:18:12.676 --> 0:18:15.236
<v Speaker 2>song with Alchemist who is a less you know, lesser

0:18:15.316 --> 0:18:18.316
<v Speaker 2>no name than this guy. Blew that shit out the water.

0:18:18.476 --> 0:18:20.236
<v Speaker 2>So it's like you know, you just you know, you

0:18:20.276 --> 0:18:23.276
<v Speaker 2>can't get caught up in just none of the industry

0:18:23.356 --> 0:18:25.516
<v Speaker 2>tactics and thinking that, oh it's gonna be this way,

0:18:25.556 --> 0:18:26.036
<v Speaker 2>Oh it's.

0:18:25.876 --> 0:18:29.356
<v Speaker 1>Gonna be think with this person just because that's this song.

0:18:29.276 --> 0:18:31.636
<v Speaker 2>Gonna be successful just because you know it's it. Don't

0:18:31.636 --> 0:18:32.116
<v Speaker 2>work like that.

0:18:32.116 --> 0:18:34.956
<v Speaker 1>You can't game it like that. How much of you

0:18:34.996 --> 0:18:37.276
<v Speaker 1>going from like you know you at a high school.

0:18:37.956 --> 0:18:40.196
<v Speaker 1>You sound like a deal. You're still locked into bad

0:18:40.196 --> 0:18:42.556
<v Speaker 1>deal to now been around nos like, have you picked

0:18:42.636 --> 0:18:45.116
<v Speaker 1>up on some of his the way he thinks about

0:18:45.116 --> 0:18:46.156
<v Speaker 1>his team too.

0:18:46.116 --> 0:18:48.556
<v Speaker 2>Yeah, for sure, I pick up on just like how

0:18:48.596 --> 0:18:50.676
<v Speaker 2>to be a solid person, you know what I mean.

0:18:50.756 --> 0:18:53.276
<v Speaker 2>He ain't never the loudest in the room. He ain't

0:18:53.316 --> 0:18:56.356
<v Speaker 2>never gotta make itself seem like something like he just

0:18:56.516 --> 0:18:58.716
<v Speaker 2>is who he is. So it's like I'm already personally

0:18:58.756 --> 0:19:01.556
<v Speaker 2>that type of person too, But I learned even more, like, bro,

0:19:01.756 --> 0:19:03.956
<v Speaker 2>just be humble, do what you do. You're gonna get

0:19:03.956 --> 0:19:06.196
<v Speaker 2>the respect you deserve when you work for it, you

0:19:06.196 --> 0:19:08.116
<v Speaker 2>know what I mean? So I just learned just like

0:19:08.156 --> 0:19:10.956
<v Speaker 2>on some life shit being around him, and obviously business too,

0:19:11.076 --> 0:19:13.556
<v Speaker 2>like he's doing his thing and it's just like you

0:19:13.636 --> 0:19:15.916
<v Speaker 2>have no choice. If you're really there and being attentive

0:19:15.956 --> 0:19:18.836
<v Speaker 2>and you want to learn, you're gonna pick up on it.

0:19:19.036 --> 0:19:22.036
<v Speaker 1>Yeah. Man, we have to pause for a quick break.

0:19:22.316 --> 0:19:24.756
<v Speaker 1>When we're back, you'll hear all about hit boys beat

0:19:24.796 --> 0:19:33.276
<v Speaker 1>making philosophy. We're back with more of my conversation with

0:19:33.436 --> 0:19:37.316
<v Speaker 1>hit Boy. When you started making beats on FL studio,

0:19:37.316 --> 0:19:38.476
<v Speaker 1>which you still use, right.

0:19:38.436 --> 0:19:43.156
<v Speaker 2>I do. Yeah, that's why I just implemented NPC live

0:19:43.276 --> 0:19:46.036
<v Speaker 2>and to I still use FL. I just record what

0:19:46.076 --> 0:19:48.876
<v Speaker 2>I'm doing on live into FL and that's like been

0:19:48.876 --> 0:19:52.276
<v Speaker 2>making my process even easier with making beats because it's

0:19:52.276 --> 0:19:54.596
<v Speaker 2>funny because FL is like a lot of people that

0:19:54.716 --> 0:19:57.716
<v Speaker 2>use it know that, like sometimes you have latency problems.

0:19:57.716 --> 0:20:00.636
<v Speaker 2>So I really have been working with latency for ten

0:20:00.836 --> 0:20:02.196
<v Speaker 2>twelve years.

0:20:01.836 --> 0:20:04.476
<v Speaker 1>Like little working with that lag for yeah, exactly.

0:20:04.596 --> 0:20:06.236
<v Speaker 2>So it's like I'm kind of like better than I

0:20:06.236 --> 0:20:08.436
<v Speaker 2>even think I am, because now that I want a

0:20:08.476 --> 0:20:10.756
<v Speaker 2>NPC and am feeling stuff in real time, I'm just like,

0:20:10.796 --> 0:20:12.716
<v Speaker 2>oh man, it's just so much easier.

0:20:13.236 --> 0:20:15.676
<v Speaker 1>So how did you account for the latency for the

0:20:15.756 --> 0:20:16.796
<v Speaker 1>lag all those years?

0:20:16.836 --> 0:20:18.636
<v Speaker 2>I just did it so much that it just kind

0:20:18.636 --> 0:20:20.636
<v Speaker 2>of became regular to me, normal to me?

0:20:21.036 --> 0:20:22.756
<v Speaker 1>Did it impact or sound? You think?

0:20:23.276 --> 0:20:26.796
<v Speaker 2>Who knows? This put me in his own where it's like,

0:20:26.836 --> 0:20:28.836
<v Speaker 2>you know, I'm really working on this beat, Like I'm

0:20:28.836 --> 0:20:30.316
<v Speaker 2>putting work into this beat.

0:20:30.396 --> 0:20:35.116
<v Speaker 1>You know when did you decide to start incorporating the NPC.

0:20:35.556 --> 0:20:39.276
<v Speaker 2>Just like four months ago? It's like recently I got

0:20:39.276 --> 0:20:42.556
<v Speaker 2>the Supreme NPC Live NAS actually bought it for me,

0:20:42.636 --> 0:20:45.716
<v Speaker 2>and I was just one day like me, I need

0:20:45.716 --> 0:20:48.196
<v Speaker 2>to crack this open, matter of fact. No, my homeboy,

0:20:48.276 --> 0:20:53.916
<v Speaker 2>James Fauntleroy, writer extraordinary legendary artists all that he was,

0:20:54.516 --> 0:20:56.356
<v Speaker 2>came by and played me some beats that he had

0:20:56.396 --> 0:20:58.116
<v Speaker 2>made on the NPC Live and he was like, bro,

0:20:58.196 --> 0:21:00.596
<v Speaker 2>you gotta get on this. And then that's when I

0:21:00.636 --> 0:21:02.396
<v Speaker 2>cracked it up. And maybe a week later or a

0:21:02.396 --> 0:21:04.916
<v Speaker 2>few days later, and I'm like, yo, this is fun.

0:21:04.956 --> 0:21:07.796
<v Speaker 2>It makes the process way more even fun, you know

0:21:07.796 --> 0:21:09.716
<v Speaker 2>what I mean? I already have fun while I'm making beats.

0:21:09.756 --> 0:21:11.916
<v Speaker 2>But that's like make it almost like a cheat.

0:21:11.956 --> 0:21:15.636
<v Speaker 1>Cold did not give it to you for you to

0:21:15.676 --> 0:21:17.796
<v Speaker 1>make beats on or was it sort of just like hey, you're.

0:21:17.636 --> 0:21:19.836
<v Speaker 2>Just like it's a dope piece, Like even if I

0:21:19.916 --> 0:21:21.796
<v Speaker 2>never opened it like I probably could have sold it

0:21:21.876 --> 0:21:25.156
<v Speaker 2>for however much, you know what I mean, But I'm like, nah,

0:21:25.196 --> 0:21:26.796
<v Speaker 2>I gotta, I gotta get it in.

0:21:27.036 --> 0:21:29.876
<v Speaker 1>So have you made anything yet with NPC that you

0:21:29.916 --> 0:21:31.476
<v Speaker 1>feel like is gonna make it to a project.

0:21:31.796 --> 0:21:34.756
<v Speaker 2>Yeah? Yeah, for sure already, Yeah for sure. Like I

0:21:34.836 --> 0:21:37.636
<v Speaker 2>don't play like my I look at myself like a

0:21:37.676 --> 0:21:41.116
<v Speaker 2>department store, like a just like a store for real,

0:21:41.196 --> 0:21:44.036
<v Speaker 2>Like when you come through, you're gonna find something, whether

0:21:44.076 --> 0:21:47.756
<v Speaker 2>it's the jacket, the shirt, maybe the whole outfit, the shoes, something,

0:21:47.916 --> 0:21:50.196
<v Speaker 2>You're gonna find something that works for what you're doing.

0:21:50.356 --> 0:21:53.876
<v Speaker 2>Nine times out of ten are just like kind of like,

0:21:53.996 --> 0:21:56.356
<v Speaker 2>let me just keep cranking out product and it's like

0:21:56.516 --> 0:21:58.436
<v Speaker 2>the latest stuff I do. I make sure I play

0:21:58.476 --> 0:22:00.956
<v Speaker 2>it for the artist that's coming to work with me,

0:22:00.996 --> 0:22:03.476
<v Speaker 2>and it just kind of always connects some ow.

0:22:03.956 --> 0:22:05.916
<v Speaker 1>Are the artists that you ever make something for where

0:22:05.916 --> 0:22:08.396
<v Speaker 1>you feel like you you seek them out to show

0:22:08.436 --> 0:22:11.276
<v Speaker 1>them some certific like this could really work for this person.

0:22:11.876 --> 0:22:15.876
<v Speaker 2>Yeah, I mean, especially more early in my career like now,

0:22:16.836 --> 0:22:18.636
<v Speaker 2>I mean, well, if I know I'm not locked in

0:22:18.636 --> 0:22:20.636
<v Speaker 2>with Knaves, I'm gonna getting that zone. Like after we

0:22:20.676 --> 0:22:23.916
<v Speaker 2>do three four records. Like it's like, okay, some switches

0:22:23.956 --> 0:22:25.476
<v Speaker 2>in my brain where it's like I know where to

0:22:25.516 --> 0:22:27.596
<v Speaker 2>take it for the rest of the time on to

0:22:27.716 --> 0:22:31.396
<v Speaker 2>keep it in this linear thing but still be dynamic.

0:22:31.996 --> 0:22:33.516
<v Speaker 1>So you still locked in with knas.

0:22:33.716 --> 0:22:36.396
<v Speaker 2>I'm super locked in. We was in the studio last night,

0:22:36.636 --> 0:22:38.596
<v Speaker 2>probably gonna be in the studio after we're done with

0:22:38.636 --> 0:22:41.916
<v Speaker 2>this podcast. Man, it's just like we're just like it's honestly,

0:22:41.916 --> 0:22:43.876
<v Speaker 2>I feel like we're still working on the first album.

0:22:43.956 --> 0:22:47.036
<v Speaker 2>Like it's just been like a progressive thing. Like I've

0:22:47.076 --> 0:22:49.596
<v Speaker 2>seen people work on albums for five six years, and

0:22:49.716 --> 0:22:52.316
<v Speaker 2>if we were just now about to come out the album,

0:22:52.396 --> 0:22:55.396
<v Speaker 2>people would just like be even more mind blown because

0:22:55.396 --> 0:22:58.356
<v Speaker 2>the progress. But it was good that we, you know,

0:22:58.636 --> 0:23:01.516
<v Speaker 2>have been just making the projects, dropping them. We're getting

0:23:01.516 --> 0:23:04.636
<v Speaker 2>this live feedback, we getting all this support, all this respect.

0:23:04.956 --> 0:23:08.956
<v Speaker 2>He's up my respect level just in music in general.

0:23:09.316 --> 0:23:12.156
<v Speaker 2>And people look at him it's like, you know, like, Wow,

0:23:12.316 --> 0:23:16.076
<v Speaker 2>you can age gracefully. You could still keep it hip hop,

0:23:16.116 --> 0:23:20.116
<v Speaker 2>you can still keep it fresh, still cutting edge, modern

0:23:20.356 --> 0:23:22.476
<v Speaker 2>at you know what I'm saying. Whatever age, And it's

0:23:22.476 --> 0:23:24.316
<v Speaker 2>not even about that, It's just about what.

0:23:24.716 --> 0:23:28.716
<v Speaker 1>You guys are doing is timeless. It's crazy.

0:23:28.876 --> 0:23:29.636
<v Speaker 2>Appreciate that.

0:23:29.676 --> 0:23:32.076
<v Speaker 1>Man, It's crazy. I gotta say, like, I think jay

0:23:32.196 --> 0:23:35.196
<v Speaker 1>Z did that similar thing with four four four made

0:23:35.196 --> 0:23:37.756
<v Speaker 1>it feel like you don't have to be the newest

0:23:38.356 --> 0:23:43.236
<v Speaker 1>the artist to make something that that resonats, impacts and vibrates,

0:23:43.756 --> 0:23:48.396
<v Speaker 1>but you guys did it. KD, KD two, Magic, KD three,

0:23:48.716 --> 0:23:53.356
<v Speaker 1>And to have every project be flawless really a point

0:23:53.356 --> 0:23:58.236
<v Speaker 1>where it's like like those are just so next level incredible,

0:23:58.356 --> 0:24:00.196
<v Speaker 1>Like how to you even choose one? That's like it's

0:24:00.236 --> 0:24:03.116
<v Speaker 1>like it's like having three ematics, you know.

0:24:03.556 --> 0:24:06.396
<v Speaker 2>Man. Yeah, I just seen somebody on Twitter say something

0:24:06.396 --> 0:24:08.676
<v Speaker 2>about the first KD and I'm like, damn, we have

0:24:08.796 --> 0:24:11.556
<v Speaker 2>some on there. It was like a different And I

0:24:11.596 --> 0:24:13.876
<v Speaker 2>feel like we every song we make is like a

0:24:14.036 --> 0:24:16.476
<v Speaker 2>real song with some type of structure, some type of

0:24:16.756 --> 0:24:18.876
<v Speaker 2>you know, it might be a new way of thinking

0:24:18.876 --> 0:24:21.596
<v Speaker 2>about it, but it's just like something that's gluing it

0:24:21.636 --> 0:24:23.716
<v Speaker 2>together as an actual song, you know what I mean.

0:24:23.836 --> 0:24:26.636
<v Speaker 2>And I feel like we've progressed into like really him

0:24:26.716 --> 0:24:29.836
<v Speaker 2>just digging into that bag of just getting raps off,

0:24:29.956 --> 0:24:32.756
<v Speaker 2>but still keeping a structure to where people can enjoy

0:24:32.756 --> 0:24:35.316
<v Speaker 2>the song and it's not just three minutes are rapping

0:24:35.356 --> 0:24:37.076
<v Speaker 2>like you still got to hook you still. But he

0:24:37.276 --> 0:24:40.476
<v Speaker 2>just like just flashed back like and took it to

0:24:40.556 --> 0:24:42.476
<v Speaker 2>a place that people of what people really want to

0:24:42.516 --> 0:24:43.076
<v Speaker 2>hear from him?

0:24:43.156 --> 0:24:45.556
<v Speaker 1>How are the concepts coming up? Like I'm thinking off

0:24:45.556 --> 0:24:47.636
<v Speaker 1>this newer phone like Michael and Quincy like that, that's

0:24:47.676 --> 0:24:48.596
<v Speaker 1>just a concept.

0:24:48.836 --> 0:24:52.596
<v Speaker 2>He actually uh had that idea for a little minute,

0:24:52.676 --> 0:24:55.756
<v Speaker 2>like for probably like some months, and he would just

0:24:55.796 --> 0:24:58.796
<v Speaker 2>talk about it. I didn't know exactly what because I

0:24:58.796 --> 0:25:02.196
<v Speaker 2>feel like most people would have just sampled either some

0:25:02.356 --> 0:25:05.156
<v Speaker 2>off thriller or off the wall or just something that

0:25:06.196 --> 0:25:08.996
<v Speaker 2>kind of like was a similar aesthetic to those. But

0:25:09.516 --> 0:25:12.876
<v Speaker 2>we took it left field and had like the break

0:25:12.916 --> 0:25:17.036
<v Speaker 2>beat with the dirty acoustic bass and then the horns

0:25:17.116 --> 0:25:20.076
<v Speaker 2>and chord changes and just like you know, really having

0:25:20.116 --> 0:25:20.756
<v Speaker 2>fun with it.

0:25:20.956 --> 0:25:22.676
<v Speaker 1>So we had the concept for a minute, but there

0:25:22.716 --> 0:25:24.076
<v Speaker 1>wasn't a beat attached.

0:25:23.716 --> 0:25:25.996
<v Speaker 2>To it or yeah, because I was thinking about how

0:25:26.036 --> 0:25:28.716
<v Speaker 2>they approach it, Like I never want to be surface

0:25:28.836 --> 0:25:30.876
<v Speaker 2>level and just be like, Okay, cool, I'm gonna go

0:25:31.476 --> 0:25:32.316
<v Speaker 2>sample a quincy.

0:25:32.396 --> 0:25:35.956
<v Speaker 1>So easy thing to do, just sample body heat or something.

0:25:35.836 --> 0:25:39.236
<v Speaker 2>Right, Yeah, No, it's like just come with a new

0:25:39.276 --> 0:25:40.636
<v Speaker 2>wave Damn.

0:25:40.996 --> 0:25:43.476
<v Speaker 1>Yeah, did you grow up a NAS fan? Like growing

0:25:43.556 --> 0:25:45.236
<v Speaker 1>up on the West Coast. I grew up on the

0:25:45.276 --> 0:25:49.756
<v Speaker 1>West Coast. NAS was respected. I respected NAS always, but

0:25:49.996 --> 0:25:52.796
<v Speaker 1>it wasn't the thing that I was always hearing coming right.

0:25:52.956 --> 0:25:57.156
<v Speaker 2>You know, man, that's funny because I just was having

0:25:57.156 --> 0:26:00.916
<v Speaker 2>this conversation with somebody just about how like things are

0:26:00.996 --> 0:26:03.236
<v Speaker 2>marketed in the way people look at things, you know

0:26:03.236 --> 0:26:06.116
<v Speaker 2>what I mean. I always had a super major respect

0:26:06.196 --> 0:26:10.036
<v Speaker 2>for NAS, but working with him and digging into his discography,

0:26:10.596 --> 0:26:15.076
<v Speaker 2>listening to how the albums was sequenced, Like I listened

0:26:15.076 --> 0:26:17.396
<v Speaker 2>to all his intros, like just back to back to

0:26:17.476 --> 0:26:20.596
<v Speaker 2>back to back, just trying to capture that that energy,

0:26:20.636 --> 0:26:23.916
<v Speaker 2>and I really got more of an appreciation for who

0:26:23.956 --> 0:26:27.596
<v Speaker 2>he really is and what he's contributed to music in general,

0:26:27.636 --> 0:26:30.236
<v Speaker 2>you know what I mean. So I always had major

0:26:30.316 --> 0:26:32.356
<v Speaker 2>respect for him, but I just like grew to really

0:26:32.436 --> 0:26:34.636
<v Speaker 2>understand like, oh, this this dude is, you know what

0:26:34.636 --> 0:26:36.556
<v Speaker 2>I mean? Because I was on the West Coast, so

0:26:36.596 --> 0:26:39.396
<v Speaker 2>it wasn't as much other than the hits I following

0:26:39.476 --> 0:26:42.036
<v Speaker 2>with the world and stuff like that will play on

0:26:42.076 --> 0:26:43.596
<v Speaker 2>the radio all the time, you know what I mean.

0:26:44.196 --> 0:26:46.716
<v Speaker 2>But I didn't like, you know, my family super West Coast,

0:26:46.756 --> 0:26:49.076
<v Speaker 2>so they didn't just have his albums on repeat. But

0:26:49.116 --> 0:26:52.476
<v Speaker 2>I did have friends who, you know, you know, if

0:26:52.516 --> 0:26:54.316
<v Speaker 2>I was the jay Z guy, I got a homeboy

0:26:54.356 --> 0:26:56.796
<v Speaker 2>who was the NAS guy, and we've back and forth

0:26:56.876 --> 0:26:58.716
<v Speaker 2>takeover ether or whatever, you know what I mean.

0:26:58.716 --> 0:27:00.196
<v Speaker 1>And that's just like, I don't know, like probably sounds

0:27:00.236 --> 0:27:02.356
<v Speaker 1>like for you too. For me, that like both of

0:27:02.396 --> 0:27:06.156
<v Speaker 1>them didn't enter my my world as like beloved beloved

0:27:06.196 --> 0:27:09.476
<v Speaker 1>artists until like that that beef time, like eat and

0:27:09.556 --> 0:27:11.516
<v Speaker 1>take a ri et cetera. But like you know, like

0:27:11.556 --> 0:27:13.796
<v Speaker 1>Ellmatic when you talk to anyone from New York, that's

0:27:13.836 --> 0:27:16.116
<v Speaker 1>just like hands down easily. But it's like for me,

0:27:16.156 --> 0:27:16.516
<v Speaker 1>it's like, I.

0:27:16.556 --> 0:27:19.676
<v Speaker 2>Mean, ninety four death Row was going insane out here,

0:27:19.716 --> 0:27:24.036
<v Speaker 2>so it's no rially like swallowing that up. Yeah, you know,

0:27:24.356 --> 0:27:27.676
<v Speaker 2>but I get it now though, I get it. And

0:27:27.756 --> 0:27:31.156
<v Speaker 2>his longevity just speaks to you know what he's always

0:27:31.196 --> 0:27:33.636
<v Speaker 2>been like he been doing this since he was sixteen seventeen.

0:27:34.276 --> 0:27:37.236
<v Speaker 2>For him to be forty nine, it's just like still

0:27:37.316 --> 0:27:39.716
<v Speaker 2>rapping at a high level, projecting his voice at the

0:27:39.796 --> 0:27:40.636
<v Speaker 2>highest levels.

0:27:40.716 --> 0:27:44.876
<v Speaker 1>His voice sounds I think the best it's ever sounded crazy.

0:27:45.236 --> 0:27:48.916
<v Speaker 1>So when when you guys are in sessions, will you

0:27:48.956 --> 0:27:52.036
<v Speaker 1>guys discuss his approach on the song, like the way

0:27:52.076 --> 0:27:55.156
<v Speaker 1>he's attacking a song a beat or his kick.

0:27:55.116 --> 0:27:58.476
<v Speaker 2>Like yeah, I mean it's both ways. Sometimes I'll come

0:27:58.516 --> 0:28:01.356
<v Speaker 2>in and you know, I might be like, yo, you

0:28:01.396 --> 0:28:04.116
<v Speaker 2>should you should start rapping at this bar, like it

0:28:04.236 --> 0:28:05.876
<v Speaker 2>might not it might not be the one, or it

0:28:05.956 --> 0:28:08.036
<v Speaker 2>might be just like a off place, and then I

0:28:08.156 --> 0:28:09.956
<v Speaker 2>just let him just take get from there, and he

0:28:10.156 --> 0:28:13.796
<v Speaker 2>usually spark another idea for me, like like sometimes with

0:28:13.876 --> 0:28:16.516
<v Speaker 2>the hooks, he'll record something and I'll just take the

0:28:16.596 --> 0:28:18.596
<v Speaker 2>last word or what he said or last line, the

0:28:18.596 --> 0:28:21.036
<v Speaker 2>way he said fly back and kind of just structure

0:28:21.036 --> 0:28:22.756
<v Speaker 2>a hook and then let him finish it out and

0:28:22.796 --> 0:28:25.556
<v Speaker 2>it just makes it easy wherever he going, I'm going,

0:28:25.596 --> 0:28:26.596
<v Speaker 2>and we just making it work.

0:28:26.676 --> 0:28:28.476
<v Speaker 1>So you'll structure a hook out of something that he

0:28:28.516 --> 0:28:31.316
<v Speaker 1>may be intended as a verse exactly. I heard stories

0:28:31.316 --> 0:28:33.396
<v Speaker 1>about Dre doing that for like Snoop back on, like

0:28:33.436 --> 0:28:36.476
<v Speaker 1>the chronic and doggy style, Like Snooper would just freestyle

0:28:36.516 --> 0:28:38.396
<v Speaker 1>something be like but it intended like that's the verse,

0:28:38.436 --> 0:28:39.076
<v Speaker 1>but it'd be like.

0:28:39.756 --> 0:28:41.916
<v Speaker 2>It's about that pocket the way it's hitting the pocket.

0:28:42.156 --> 0:28:45.156
<v Speaker 2>Just like as a producer or whoever, if you're a songmaker,

0:28:45.156 --> 0:28:47.836
<v Speaker 2>you will just hear certain things that maybe the artists

0:28:47.876 --> 0:28:50.516
<v Speaker 2>not paying attention to. And it's like, I'm trying to

0:28:50.516 --> 0:28:52.996
<v Speaker 2>take advantage of all this shit. This is not like.

0:28:52.956 --> 0:28:55.956
<v Speaker 1>That's your job to hear what they're looking to it.

0:28:56.556 --> 0:28:59.996
<v Speaker 2>He opened to my ideas, so and that's that's that's

0:29:00.036 --> 0:29:03.396
<v Speaker 2>where I'm empowered, just like him being able to see

0:29:03.396 --> 0:29:05.476
<v Speaker 2>my vision when it when I play a beat, it

0:29:05.556 --> 0:29:07.676
<v Speaker 2>the beating, I might not even be all the way done.

0:29:07.716 --> 0:29:09.876
<v Speaker 2>But if I'm excited about something and I got a

0:29:09.956 --> 0:29:13.196
<v Speaker 2>chord structure or some drums and put it together, and

0:29:13.596 --> 0:29:15.156
<v Speaker 2>like he down to write to it, he down to

0:29:15.236 --> 0:29:15.716
<v Speaker 2>wrap on it.

0:29:16.036 --> 0:29:20.436
<v Speaker 1>Just that baseline like unfinished. Yeah, kernel of an idea.

0:29:21.636 --> 0:29:23.796
<v Speaker 2>That's it because most you know, especially now in the

0:29:23.836 --> 0:29:26.236
<v Speaker 2>New age, they if it don't sound like the top

0:29:26.236 --> 0:29:29.716
<v Speaker 2>of rap Caviard the number one song, some like artists

0:29:29.756 --> 0:29:31.676
<v Speaker 2>won't even pay attention to it. They don't want to

0:29:31.676 --> 0:29:34.876
<v Speaker 2>build and really like make a song. Most a lot,

0:29:34.996 --> 0:29:36.676
<v Speaker 2>not most, but a lot of artists.

0:29:37.116 --> 0:29:39.236
<v Speaker 1>Yeah, I mean that's probably that's a real vulnerable place

0:29:39.236 --> 0:29:40.196
<v Speaker 1>for you to be as a producer.

0:29:40.396 --> 0:29:42.876
<v Speaker 2>Yeah, earlier in my career, like I'll sit there and

0:29:43.036 --> 0:29:45.876
<v Speaker 2>just go through as many beats as it took. But

0:29:45.916 --> 0:29:48.236
<v Speaker 2>now it's like, man, if we gotta go past maybe

0:29:48.276 --> 0:29:52.796
<v Speaker 2>five beats, we probably you just go find another producer. Well,

0:29:53.236 --> 0:29:56.036
<v Speaker 2>we'll reconvene. Just come pull back up on me and

0:29:56.076 --> 0:29:58.036
<v Speaker 2>we'll lock in when it's time, you know, Because I

0:29:58.076 --> 0:30:00.676
<v Speaker 2>feel like, if if I'm gonna have an artist come in,

0:30:01.036 --> 0:30:03.116
<v Speaker 2>I'm gonna play them something that I can hear them

0:30:03.116 --> 0:30:05.076
<v Speaker 2>on and if we not on the same wavelength, and

0:30:05.156 --> 0:30:06.196
<v Speaker 2>that just is what it is.

0:30:06.396 --> 0:30:10.836
<v Speaker 1>Yeah, the Rihanna joint you did on Anti, that one,

0:30:10.876 --> 0:30:13.476
<v Speaker 1>that was one that it took a while, right, I did.

0:30:13.396 --> 0:30:17.596
<v Speaker 2>Two on Anti po's and the song Woo, and that

0:30:17.716 --> 0:30:19.916
<v Speaker 2>was that was a build, that was a process. I

0:30:19.956 --> 0:30:21.916
<v Speaker 2>had the basis of it though. When we sat down.

0:30:22.916 --> 0:30:25.596
<v Speaker 2>I was in a room with Travis Scott the Weekend

0:30:25.916 --> 0:30:29.836
<v Speaker 2>Tire Dollar Sign and the Dream and I just had

0:30:29.876 --> 0:30:33.436
<v Speaker 2>my UH had to contact UH sort of NPC and

0:30:33.476 --> 0:30:37.076
<v Speaker 2>I was just playing with them guitar stabs and just

0:30:37.196 --> 0:30:39.276
<v Speaker 2>came up with that pattern and everybody in the room

0:30:39.396 --> 0:30:42.476
<v Speaker 2>just when crazy start humming melodies and writing to it,

0:30:42.516 --> 0:30:44.756
<v Speaker 2>and it just got built out progressively.

0:30:45.036 --> 0:30:46.396
<v Speaker 1>That's got to be a hell of feeling to have

0:30:46.476 --> 0:30:48.956
<v Speaker 1>that room start vibing on what's your play?

0:30:49.316 --> 0:30:53.356
<v Speaker 2>Yeah? I just remember like weekend seeing melodies, Travis coming

0:30:53.436 --> 0:30:56.636
<v Speaker 2>up with his wave and it came together.

0:30:56.796 --> 0:30:59.276
<v Speaker 1>But it wasn't Rihanna session, so you knew whatever was

0:30:59.756 --> 0:31:02.996
<v Speaker 1>for that project for sure. Okay, Okay, a couple of

0:31:03.076 --> 0:31:05.636
<v Speaker 1>songs from the last few Nods records I want to

0:31:05.636 --> 0:31:10.396
<v Speaker 1>talk about just to having Premiere cut on Wave, Guys.

0:31:10.076 --> 0:31:13.076
<v Speaker 2>That was ill. That's because it was like a collective thing.

0:31:13.236 --> 0:31:16.436
<v Speaker 2>Like when Rocky came through to do his verse, he

0:31:16.676 --> 0:31:18.916
<v Speaker 2>was like, Yo, we should get Premiere to scratch on this,

0:31:18.996 --> 0:31:20.836
<v Speaker 2>and it was like yo, me and Nas was low

0:31:20.916 --> 0:31:23.436
<v Speaker 2>key already kind of thinking like that. So it just

0:31:23.476 --> 0:31:24.036
<v Speaker 2>made sense.

0:31:24.476 --> 0:31:25.556
<v Speaker 1>Who hit Premiere?

0:31:26.236 --> 0:31:28.996
<v Speaker 2>Oh that had to be. Nas just tapped in with

0:31:29.076 --> 0:31:31.476
<v Speaker 2>him and he did it off the love you know

0:31:31.516 --> 0:31:34.476
<v Speaker 2>what I mean, just went in and made it sound

0:31:34.556 --> 0:31:36.396
<v Speaker 2>like authentic Premiere vibes.

0:31:36.836 --> 0:31:40.436
<v Speaker 1>Did you have any notes on it? Nah? Then it

0:31:40.476 --> 0:31:44.756
<v Speaker 1>was solid one take. So you do E p m D.

0:31:45.276 --> 0:31:48.756
<v Speaker 1>How did the epm D concept for the Ryan Coogler

0:31:48.836 --> 0:31:52.036
<v Speaker 1>film Judas and Juice. Yeah, Judas a Black Man sida,

0:31:52.076 --> 0:31:53.996
<v Speaker 1>how did how did that concept come up? For that?

0:31:54.316 --> 0:31:58.196
<v Speaker 2>I just had to beat and uh Nas walking the

0:31:58.196 --> 0:32:00.916
<v Speaker 2>stew I was playing it loud and he just start

0:32:01.476 --> 0:32:03.796
<v Speaker 2>coming up with flows and then set the EPM D

0:32:04.516 --> 0:32:07.036
<v Speaker 2>line and just went from there. We just built it

0:32:07.036 --> 0:32:11.076
<v Speaker 2>out and uh it was four or Kate King's Disease too,

0:32:11.396 --> 0:32:13.196
<v Speaker 2>like that was supposed to be a record on there.

0:32:13.236 --> 0:32:16.076
<v Speaker 2>It ended up being a remix on King's Disease Too,

0:32:16.356 --> 0:32:19.276
<v Speaker 2>but the original was just it was supposed to be

0:32:19.276 --> 0:32:22.756
<v Speaker 2>for the album. And uh I was involved in Judis

0:32:22.756 --> 0:32:25.276
<v Speaker 2>and the Black messide kind of like heavily on the

0:32:25.316 --> 0:32:28.596
<v Speaker 2>executive production side. So I actually put a record on

0:32:28.636 --> 0:32:31.076
<v Speaker 2>my own with me rapping on their call broad Day.

0:32:31.556 --> 0:32:33.476
<v Speaker 2>They was just like, yo, we need more records. I'll

0:32:33.516 --> 0:32:36.196
<v Speaker 2>just start submitting joints and EPMD. They was like this

0:32:36.316 --> 0:32:39.276
<v Speaker 2>is perfect and they ended up doing the video and

0:32:39.316 --> 0:32:40.156
<v Speaker 2>all that.

0:32:40.156 --> 0:32:42.316
<v Speaker 1>That's amazing, But to them, when did you guys decide

0:32:42.316 --> 0:32:43.836
<v Speaker 1>do you want to still keep it for the record.

0:32:44.716 --> 0:32:50.036
<v Speaker 2>We just love the joint and uh Nas I guess

0:32:50.196 --> 0:32:53.196
<v Speaker 2>was uh I forgot how the eminem thing came about,

0:32:53.356 --> 0:32:56.076
<v Speaker 2>but he just was like, man, we should throw eminem on.

0:32:56.156 --> 0:32:59.196
<v Speaker 2>It reached out to him. He did the joint quick,

0:32:59.316 --> 0:33:02.076
<v Speaker 2>you know what I mean, hopped on it. Uh EPMD

0:33:02.116 --> 0:33:04.756
<v Speaker 2>didn't even know that Eminem was on it until it

0:33:05.156 --> 0:33:06.636
<v Speaker 2>was about to drop, you know what I mean. So

0:33:06.716 --> 0:33:09.356
<v Speaker 2>that was an ill moment, just like it all coming

0:33:09.356 --> 0:33:12.756
<v Speaker 2>together and everybody from their own air just getting they respect.

0:33:12.996 --> 0:33:15.756
<v Speaker 1>That's one of those records man, where it's like, again,

0:33:15.796 --> 0:33:17.796
<v Speaker 1>that's why these projects are so incredible. Man, like just

0:33:17.876 --> 0:33:20.756
<v Speaker 1>getting premiere on that magic joint. But when you have.

0:33:20.796 --> 0:33:23.636
<v Speaker 2>Warren Hill on KD two, yeah, you know what I mean,

0:33:23.756 --> 0:33:26.156
<v Speaker 2>that's something like Okay, as a producer, you just like,

0:33:26.276 --> 0:33:29.316
<v Speaker 2>don't first of all, she don't even like rap like

0:33:29.436 --> 0:33:30.356
<v Speaker 2>that much, no.

0:33:30.436 --> 0:33:32.236
<v Speaker 1>More, don't anythings.

0:33:32.796 --> 0:33:36.516
<v Speaker 2>Just like for me to like have a premiere Lauren

0:33:36.596 --> 0:33:38.916
<v Speaker 2>Hill rap verse on one of my beats, that's just ill.

0:33:39.356 --> 0:33:41.756
<v Speaker 1>Yeah, when's the last time you heard of Lauren Hill verse?

0:33:42.436 --> 0:33:43.676
<v Speaker 1>Like a new Lauren Hill.

0:33:43.756 --> 0:33:47.196
<v Speaker 2>She went in, she went in and for bars, bars,

0:33:47.276 --> 0:33:49.396
<v Speaker 2>like she was like two verses put in the one.

0:33:49.756 --> 0:33:50.676
<v Speaker 1>How did that come up?

0:33:51.476 --> 0:33:55.436
<v Speaker 2>They just cool Nas and Lauren Hill. So through them talking,

0:33:55.476 --> 0:33:58.116
<v Speaker 2>I guess they they wanted to do a joint and uh,

0:33:58.796 --> 0:34:01.596
<v Speaker 2>when we made the song, Nas was like this this

0:34:01.676 --> 0:34:03.276
<v Speaker 2>is the one. We gotta put Lauren on it.

0:34:03.876 --> 0:34:05.036
<v Speaker 1>Did he have his verse already?

0:34:05.516 --> 0:34:09.196
<v Speaker 2>Yeah he did, he did, He had his verse and

0:34:09.516 --> 0:34:11.836
<v Speaker 2>sent it over and she literally did. She did it

0:34:11.876 --> 0:34:12.956
<v Speaker 2>within days.

0:34:12.636 --> 0:34:14.156
<v Speaker 1>Like did you think it was really gonna happen?

0:34:14.516 --> 0:34:17.956
<v Speaker 2>I didn't personally, but it just like came together. Man.

0:34:18.036 --> 0:34:22.596
<v Speaker 1>It was ill again, even the resisting the temptation to

0:34:22.596 --> 0:34:24.876
<v Speaker 1>do the obvious, which would be to do like if

0:34:24.916 --> 0:34:27.236
<v Speaker 1>I ruled the world too.

0:34:27.516 --> 0:34:30.356
<v Speaker 2>You know that concept was dope for her too, because

0:34:30.356 --> 0:34:32.756
<v Speaker 2>she do be on her you know, nobody was just

0:34:32.756 --> 0:34:35.236
<v Speaker 2>like out the way type vibe as far as I

0:34:35.236 --> 0:34:38.956
<v Speaker 2>can see. And yeah, it just brought the concept all the.

0:34:38.876 --> 0:34:42.676
<v Speaker 1>Way home, did she? And she recorded it, She recorded.

0:34:42.276 --> 0:34:45.756
<v Speaker 2>In her own space but sent the vocals in and yeah,

0:34:45.796 --> 0:34:50.236
<v Speaker 2>it was just a moment. What about Death Row East,

0:34:50.476 --> 0:34:52.596
<v Speaker 2>Death Row East? That was the first song we did

0:34:52.636 --> 0:34:54.916
<v Speaker 2>for KD too. Man, that set the tone, Like that

0:34:55.036 --> 0:34:58.276
<v Speaker 2>concept is powerful. It's a moment that a lot of people,

0:34:58.436 --> 0:35:00.716
<v Speaker 2>a lot of Internet talk, a lot of podcasts, people

0:35:00.756 --> 0:35:04.396
<v Speaker 2>telling their recollection of what happened at Brian Park between

0:35:04.556 --> 0:35:08.636
<v Speaker 2>Knaves and Park and Death Row and Na's click and

0:35:08.676 --> 0:35:12.116
<v Speaker 2>he just beha was straight like POV of what really happened.

0:35:12.316 --> 0:35:15.116
<v Speaker 1>How much was death Row and POC and Johnny J.

0:35:15.476 --> 0:35:17.556
<v Speaker 1>And how much is that like all part of your consciousness?

0:35:17.636 --> 0:35:20.756
<v Speaker 2>Yeah, I downloaded that DNA from just hearing it all

0:35:20.756 --> 0:35:23.276
<v Speaker 2>the time. Like that was like massive on a commercial

0:35:23.356 --> 0:35:26.956
<v Speaker 2>level in underground like everybody rock with the Death Row

0:35:27.036 --> 0:35:30.636
<v Speaker 2>stuff like Snoop Pop all that, and doing that song,

0:35:30.716 --> 0:35:32.516
<v Speaker 2>I just was like, man, I need to like tap

0:35:32.596 --> 0:35:35.596
<v Speaker 2>into as much as I can as far as like

0:35:35.716 --> 0:35:38.756
<v Speaker 2>pot producers go. And then I just like already watched

0:35:38.756 --> 0:35:41.116
<v Speaker 2>like documentaries and stuff on Johnny J. And I was like,

0:35:41.196 --> 0:35:43.676
<v Speaker 2>that's the producer I need to channel the most on

0:35:43.676 --> 0:35:44.116
<v Speaker 2>this song.

0:35:44.396 --> 0:35:45.236
<v Speaker 1>What made you feel that?

0:35:45.436 --> 0:35:47.716
<v Speaker 2>Because it just reminded me of a Tupac beat like

0:35:47.836 --> 0:35:50.236
<v Speaker 2>death Row type of vibe, like that melodic kind of

0:35:50.276 --> 0:35:53.596
<v Speaker 2>guitar stuff with the groove over it. It just yeah,

0:35:53.676 --> 0:35:54.636
<v Speaker 2>it had that energy.

0:35:55.356 --> 0:35:58.796
<v Speaker 1>It's an incredible beat. Man. Appreciate the locking in with

0:35:58.876 --> 0:36:01.436
<v Speaker 1>NAS for those records you locked in with Soul Child.

0:36:02.316 --> 0:36:04.116
<v Speaker 1>It's really rare these days, and it's funny, like I

0:36:04.156 --> 0:36:06.156
<v Speaker 1>guess it maybe it goes back to even el Maati

0:36:06.276 --> 0:36:09.556
<v Speaker 1>when like Not's having all those incredible producers. This first

0:36:09.596 --> 0:36:12.916
<v Speaker 1>record really kind of seemed to popularize like having a

0:36:12.916 --> 0:36:17.036
<v Speaker 1>bunch of different producers on your record, but yeah, what

0:36:17.076 --> 0:36:18.076
<v Speaker 1>you're doing now is rare.

0:36:18.236 --> 0:36:21.116
<v Speaker 2>Man appreciate that, yeah, I mean yeah, it just that's

0:36:21.116 --> 0:36:24.076
<v Speaker 2>the flip side of that. Now it's like he started

0:36:24.076 --> 0:36:27.356
<v Speaker 2>off working with just all different bunch of different producers.

0:36:27.356 --> 0:36:30.196
<v Speaker 2>Now you've been locked in with me for three years,

0:36:30.236 --> 0:36:33.756
<v Speaker 2>and it's like, don't seem like we stopping no time soon?

0:36:34.276 --> 0:36:36.916
<v Speaker 2>Like we really having fun with it.

0:36:36.956 --> 0:36:39.636
<v Speaker 1>So where are you finding the time? Then? So you know,

0:36:39.796 --> 0:36:44.516
<v Speaker 1>within thirteen months, it's Katie two, it's Magic, It's Kati three,

0:36:44.956 --> 0:36:47.956
<v Speaker 1>and now you're out with your own record right surf

0:36:48.036 --> 0:36:51.396
<v Speaker 1>for Drunks and the soul child record music, so Child record, Like,

0:36:51.436 --> 0:36:53.076
<v Speaker 1>how like where are you finding the time?

0:36:53.116 --> 0:36:56.436
<v Speaker 2>Man? I just got to just go just like don't

0:36:56.836 --> 0:36:59.356
<v Speaker 2>don't don't not to say don't think, but just like

0:36:59.476 --> 0:37:03.636
<v Speaker 2>really any type of energy that I can put into

0:37:03.836 --> 0:37:07.316
<v Speaker 2>being in the studio and just progressing with my sound

0:37:07.476 --> 0:37:10.116
<v Speaker 2>and just helping other artists. I'm on that. You know,

0:37:10.556 --> 0:37:13.476
<v Speaker 2>this is what I worked for to have artists trusted

0:37:13.516 --> 0:37:15.876
<v Speaker 2>me on this level. Now that I got that, it's

0:37:15.916 --> 0:37:19.196
<v Speaker 2>like I gotta like really hold that up high and

0:37:19.396 --> 0:37:23.556
<v Speaker 2>take advantage of this, like these opportunities.

0:37:23.316 --> 0:37:27.036
<v Speaker 1>How natural does rhyming still come to? Does writing and performing?

0:37:27.756 --> 0:37:31.956
<v Speaker 2>Man, this is like getting so much easier, I would say,

0:37:32.076 --> 0:37:34.756
<v Speaker 2>just because I've been in the studio with people like

0:37:34.836 --> 0:37:36.996
<v Speaker 2>Big Sean, like with you know what I'm saying. I

0:37:37.236 --> 0:37:41.196
<v Speaker 2>executive produced Detroit two for Big Sean, did a project

0:37:41.276 --> 0:37:45.076
<v Speaker 2>called what You Expect a ep whim. I mean being

0:37:45.116 --> 0:37:47.476
<v Speaker 2>around Benny the Butcher, I produced you know, his album

0:37:47.516 --> 0:37:50.596
<v Speaker 2>Burdening Proof in twenty twenty that was like, you know,

0:37:50.836 --> 0:37:54.356
<v Speaker 2>just kind of heavy on the underground and working with

0:37:54.476 --> 0:37:57.716
<v Speaker 2>nas Man, I'm working with some top tiered artists.

0:37:57.956 --> 0:37:58.876
<v Speaker 1>Some of the most premier.

0:38:00.596 --> 0:38:04.716
<v Speaker 2>I'm like, you know, they watching and being fans and studying,

0:38:04.836 --> 0:38:06.316
<v Speaker 2>you know, just as far as what I'm doing on

0:38:06.356 --> 0:38:08.916
<v Speaker 2>the production, and I'm doing the same on the artist,

0:38:09.316 --> 0:38:13.076
<v Speaker 2>And so that's just helping me cultivate a whole just

0:38:13.356 --> 0:38:14.636
<v Speaker 2>next level with myself.

0:38:15.076 --> 0:38:17.156
<v Speaker 1>Have you always been writing on the side.

0:38:17.196 --> 0:38:20.516
<v Speaker 2>Yeah, for sure. I always been dropping projects, dropping singles,

0:38:20.676 --> 0:38:23.236
<v Speaker 2>just like you know, That's always been my passion. But

0:38:23.756 --> 0:38:26.996
<v Speaker 2>it's like the beat making aspect of it is so

0:38:27.076 --> 0:38:30.436
<v Speaker 2>much fun to me that I just took a liking

0:38:30.476 --> 0:38:31.556
<v Speaker 2>to it. You know what I mean. I feel like

0:38:31.596 --> 0:38:33.076
<v Speaker 2>if I would have been chasing trying to be an

0:38:33.116 --> 0:38:35.156
<v Speaker 2>artist all these years, who knows, you know, it could

0:38:35.196 --> 0:38:37.556
<v Speaker 2>have worked out, couldn't have. But now it's like I

0:38:37.596 --> 0:38:39.876
<v Speaker 2>have an ultimate cheat code, Like I could see the

0:38:39.876 --> 0:38:42.716
<v Speaker 2>studentmate and make songs all day. As soon as one

0:38:42.756 --> 0:38:45.796
<v Speaker 2>of the greatest artists living, you know, lead a studio,

0:38:45.876 --> 0:38:47.676
<v Speaker 2>whoever that may be. You know what I mean, I'm

0:38:47.756 --> 0:38:50.116
<v Speaker 2>able to start recording my own stuff. They didn't left

0:38:50.116 --> 0:38:53.116
<v Speaker 2>that energy in the studio. I watched them put bars

0:38:53.196 --> 0:38:55.356
<v Speaker 2>and lines together, and you know, it's just like it's

0:38:55.356 --> 0:38:57.076
<v Speaker 2>just helping me with my own structure.

0:38:57.236 --> 0:39:00.236
<v Speaker 1>That's incredible, man, that you that you're able to sit

0:39:00.316 --> 0:39:03.196
<v Speaker 1>there and watch the people at the best of the best.

0:39:03.796 --> 0:39:06.076
<v Speaker 2>Yeah, and having just like the mind to want to,

0:39:06.356 --> 0:39:08.236
<v Speaker 2>you know, look at it a different way, like I'm

0:39:08.276 --> 0:39:10.116
<v Speaker 2>in there really trying to learn. I'm trying to get

0:39:10.156 --> 0:39:13.516
<v Speaker 2>better every day, like I ain't wasting no time.

0:39:14.876 --> 0:39:17.076
<v Speaker 1>We're gonna take one last quick break and then come

0:39:17.116 --> 0:39:19.956
<v Speaker 1>back with the rest of my conversation with hit Boy.

0:39:24.236 --> 0:39:27.556
<v Speaker 1>We're back with hit Boy. How is it being around

0:39:27.716 --> 0:39:31.476
<v Speaker 1>as a producer MC? How is it being around yay

0:39:31.796 --> 0:39:34.036
<v Speaker 1>in the in your good music years.

0:39:34.596 --> 0:39:36.436
<v Speaker 2>When I first moved to Atlanta after that sign I

0:39:36.436 --> 0:39:39.516
<v Speaker 2>did with Polo that was like my college years, and

0:39:39.596 --> 0:39:42.836
<v Speaker 2>like the years with Kanye was like the Oh, I

0:39:42.876 --> 0:39:45.636
<v Speaker 2>got a job that's at a high level, but I

0:39:45.676 --> 0:39:47.716
<v Speaker 2>gotta still learn, you know what I mean. I still

0:39:47.756 --> 0:39:50.156
<v Speaker 2>got a lot of learning to do, like understanding like

0:39:50.796 --> 0:39:53.356
<v Speaker 2>this thing moves quick, and you have to move fast.

0:39:53.396 --> 0:39:55.916
<v Speaker 2>You gotta be efficient. You gotta be on top of

0:39:55.956 --> 0:39:59.596
<v Speaker 2>it at all times. And that's really what that taught me,

0:39:59.636 --> 0:40:02.236
<v Speaker 2>Like you gotta be putting like he was sleeping in

0:40:02.316 --> 0:40:06.636
<v Speaker 2>the stool, like wake up, saying close, start recording, start whatever,

0:40:06.716 --> 0:40:09.876
<v Speaker 2>like chopping up samples. I'm just like that's the level.

0:40:10.236 --> 0:40:14.116
<v Speaker 1>Yeah, It's almost like yeah, seen, I haven't watched that

0:40:14.196 --> 0:40:16.236
<v Speaker 1>Genius documentary and just seeing some footage or yeah in

0:40:16.276 --> 0:40:17.916
<v Speaker 1>the studio almost reminds you, like when you see those

0:40:17.956 --> 0:40:20.876
<v Speaker 1>little clips of like Poc in the studio, like it's

0:40:20.876 --> 0:40:24.316
<v Speaker 1>just the energies on on a hundred, like there's there's

0:40:24.356 --> 0:40:25.916
<v Speaker 1>work to do, Like let's do the world.

0:40:25.996 --> 0:40:28.076
<v Speaker 2>Like he ain't he's not in there playing and he

0:40:28.116 --> 0:40:29.916
<v Speaker 2>ain't gonna be nice about it. He's not gonna be

0:40:29.956 --> 0:40:33.236
<v Speaker 2>polite talking softly. He's gonna let you know, like you

0:40:33.436 --> 0:40:35.916
<v Speaker 2>fucking up, like like do this shit the right way

0:40:35.956 --> 0:40:36.836
<v Speaker 2>type shit? You know what I mean?

0:40:36.836 --> 0:40:37.956
<v Speaker 1>Did you ever catch that wrath?

0:40:38.636 --> 0:40:40.836
<v Speaker 2>The first time I sat down to make a beat

0:40:40.876 --> 0:40:43.716
<v Speaker 2>with him was the song lift Off. I watched the Throne.

0:40:43.756 --> 0:40:47.236
<v Speaker 2>He had me trying some drums and some other instrumentations.

0:40:47.396 --> 0:40:49.596
<v Speaker 2>This is when I don't think I had ever really

0:40:49.636 --> 0:40:52.796
<v Speaker 2>got a session from nobody, and they told me to

0:40:53.276 --> 0:40:55.996
<v Speaker 2>basically rework it and strip things away. Like he kept

0:40:55.996 --> 0:40:58.796
<v Speaker 2>telling me to strip these these drums away, but I

0:40:58.836 --> 0:41:01.756
<v Speaker 2>couldn't really understand exactly how he was saying it. So

0:41:01.796 --> 0:41:04.756
<v Speaker 2>he started kind of firing up on me to where

0:41:04.756 --> 0:41:06.156
<v Speaker 2>I had to really look at them. I'm like, we

0:41:06.356 --> 0:41:08.836
<v Speaker 2>just met, homie, you know what I mean. Like so

0:41:08.876 --> 0:41:12.676
<v Speaker 2>it's like yeah, but that just like taught me, like nah, Broy,

0:41:12.836 --> 0:41:16.556
<v Speaker 2>I remember his exact words. I just kept forgetting to

0:41:16.636 --> 0:41:18.636
<v Speaker 2>mute the drums or something was going on, and he

0:41:18.716 --> 0:41:20.956
<v Speaker 2>was like, these drums are gonna be the death of me.

0:41:21.276 --> 0:41:24.476
<v Speaker 2>Like I just remember. I'm like, it's that series broke.

0:41:26.276 --> 0:41:28.716
<v Speaker 2>I'm like that's crazy, you know what I mean? But

0:41:29.116 --> 0:41:32.436
<v Speaker 2>you know that's his passion. That's why he got twenty

0:41:32.476 --> 0:41:35.996
<v Speaker 2>something Grammys or however many and his respected on that

0:41:36.116 --> 0:41:39.076
<v Speaker 2>level is because he don't he not playing.

0:41:39.356 --> 0:41:41.116
<v Speaker 1>You don't seem like the kind of person that ever

0:41:41.316 --> 0:41:43.756
<v Speaker 1>like be like that. But have you moved from that time?

0:41:43.836 --> 0:41:46.156
<v Speaker 1>Have you moved closer on the spectrum of like just

0:41:46.196 --> 0:41:47.436
<v Speaker 1>sort of more relaxed to like.

0:41:47.396 --> 0:41:49.876
<v Speaker 2>Oh, yeah, for sure we didn't have our We've been

0:41:49.996 --> 0:41:52.356
<v Speaker 2>super cool. I mean we ain't in contact like that

0:41:52.436 --> 0:41:53.116
<v Speaker 2>right now, but I.

0:41:53.316 --> 0:41:55.676
<v Speaker 1>Mean, like creatively for you, like, have you moved closer

0:41:55.876 --> 0:41:59.116
<v Speaker 1>towards that like kind of almost perfectionist kind of vibe

0:41:59.116 --> 0:42:00.196
<v Speaker 1>in his studio way?

0:42:00.356 --> 0:42:02.876
<v Speaker 2>In all way, I'm just like a much more chill

0:42:03.356 --> 0:42:06.916
<v Speaker 2>personality than he is. Yeah, even though we both geminis,

0:42:06.996 --> 0:42:09.716
<v Speaker 2>he a June Jemina may be and Biggie got the

0:42:09.716 --> 0:42:13.476
<v Speaker 2>same birthday. Wow, And yeah, but I definitely like, you know,

0:42:14.516 --> 0:42:15.516
<v Speaker 2>shit gotta get done.

0:42:15.716 --> 0:42:19.556
<v Speaker 1>Yeah, when Niggas and Paris became what it became, Yeah,

0:42:19.756 --> 0:42:21.116
<v Speaker 1>what was that feeling like for you?

0:42:21.956 --> 0:42:24.436
<v Speaker 2>It was ill because Kanye had been telling me like

0:42:24.596 --> 0:42:27.076
<v Speaker 2>through emails because I was the one song I didn't

0:42:27.076 --> 0:42:29.516
<v Speaker 2>hear off the album. I had heard most of them songs,

0:42:29.556 --> 0:42:31.716
<v Speaker 2>and I had heard like the song I had did

0:42:31.796 --> 0:42:34.116
<v Speaker 2>other songs that I was excited about that I'm thinking

0:42:34.236 --> 0:42:36.436
<v Speaker 2>gonna be on Watch the Throne. None of them may

0:42:36.596 --> 0:42:39.396
<v Speaker 2>made it anywhere, and Niggas in Paris was the one

0:42:39.796 --> 0:42:43.196
<v Speaker 2>random beat out of maybe sixty seventy beats I had

0:42:43.236 --> 0:42:46.836
<v Speaker 2>sent Kanye through email and he somehow pulled it up

0:42:46.836 --> 0:42:48.836
<v Speaker 2>when it was in Paris and they must have been

0:42:48.916 --> 0:42:51.836
<v Speaker 2>lit vibing and played it and it just turned them up.

0:42:51.876 --> 0:42:55.796
<v Speaker 2>So yeah, but he was I hadn't linked back with him,

0:42:56.036 --> 0:42:58.036
<v Speaker 2>like for like a month and a half, two months.

0:42:58.116 --> 0:43:00.596
<v Speaker 2>I was out in Cali, he was in Paris and wherever.

0:43:01.276 --> 0:43:04.836
<v Speaker 2>And when I went to they had the listening party

0:43:04.876 --> 0:43:08.516
<v Speaker 2>at the Observatory in New York, crazy like stars on

0:43:08.556 --> 0:43:11.276
<v Speaker 2>the ceiling and all that, playing the album super loud.

0:43:11.276 --> 0:43:14.916
<v Speaker 2>He brought in some crazy speakers and I just like

0:43:15.356 --> 0:43:18.316
<v Speaker 2>the first two songs played got to Niggas in Paris.

0:43:18.516 --> 0:43:21.956
<v Speaker 2>Everybody in observatory stood up. DJ Kyler was next to

0:43:21.996 --> 0:43:24.636
<v Speaker 2>me and just everybody was vibe and just like, oh,

0:43:24.676 --> 0:43:29.876
<v Speaker 2>this is the one right right. So I'm like, man, yeah,

0:43:29.956 --> 0:43:32.756
<v Speaker 2>it just worked out. Damn yeah.

0:43:32.996 --> 0:43:35.236
<v Speaker 1>As a young producer at the time, that really being

0:43:35.236 --> 0:43:37.356
<v Speaker 1>your first, like you called it, earlier, first real big hit.

0:43:37.836 --> 0:43:39.956
<v Speaker 1>Did that put pressure on you? On? Do pressure on you?

0:43:40.076 --> 0:43:41.956
<v Speaker 1>Or did it make you feel like now everything's going

0:43:41.996 --> 0:43:43.116
<v Speaker 1>to be hit? Or what? Did it?

0:43:43.556 --> 0:43:45.676
<v Speaker 2>Man? It's all that all the above, you know what

0:43:45.676 --> 0:43:47.396
<v Speaker 2>I mean, That's how I got to that point to

0:43:47.436 --> 0:43:50.716
<v Speaker 2>where you know, I had to had that surfer drown moment.

0:43:50.796 --> 0:43:53.156
<v Speaker 2>I was from niggas in pairis to that. I was

0:43:53.436 --> 0:43:57.916
<v Speaker 2>twenty eleven to twenty seventeen, just was like this all

0:43:57.956 --> 0:44:00.276
<v Speaker 2>the way until it got you know what I mean.

0:44:00.436 --> 0:44:01.436
<v Speaker 1>Really feel that way?

0:44:01.916 --> 0:44:04.516
<v Speaker 2>Yeah, I do personally just on just just for this.

0:44:04.716 --> 0:44:07.156
<v Speaker 1>You're still making good records and all that exactly.

0:44:06.836 --> 0:44:09.556
<v Speaker 2>Still making records like you know, Sorry even came out

0:44:09.556 --> 0:44:12.596
<v Speaker 2>twenty fifteen sixteen off Lemonade, and you know, I'm working

0:44:12.636 --> 0:44:14.596
<v Speaker 2>with these people, but I'm seeing the way I'm not

0:44:14.636 --> 0:44:17.076
<v Speaker 2>getting the respect I'm not getting I'm getting. You know,

0:44:17.076 --> 0:44:19.556
<v Speaker 2>I look on Twitter, I watched I pay attention to socials.

0:44:19.596 --> 0:44:21.436
<v Speaker 2>I pay attention. I'm looking at what people saying, like

0:44:21.436 --> 0:44:23.356
<v Speaker 2>where hit boy, Yeah, hey boy fell off? Here boy?

0:44:23.436 --> 0:44:26.076
<v Speaker 2>This hey boy? That mind you? It was like I

0:44:26.076 --> 0:44:29.436
<v Speaker 2>got records that's been recorded with you know, jay Z

0:44:29.596 --> 0:44:32.756
<v Speaker 2>and Beyonce on them and I've you know, got stuff

0:44:32.756 --> 0:44:35.316
<v Speaker 2>with Travis Scott and all that, but it's like the

0:44:35.396 --> 0:44:38.156
<v Speaker 2>niggas in pair of situation definitely, like just like was

0:44:38.196 --> 0:44:40.996
<v Speaker 2>a crazy ride because like I attracted you know, different

0:44:41.036 --> 0:44:43.716
<v Speaker 2>label deals and stuff like that that I was able

0:44:43.756 --> 0:44:45.276
<v Speaker 2>to get a lot of money from but didn't know

0:44:45.276 --> 0:44:46.916
<v Speaker 2>what to do with it, didn't know how to move,

0:44:46.996 --> 0:44:49.956
<v Speaker 2>didn't know I had to have the right infrastructure in

0:44:50.036 --> 0:44:51.996
<v Speaker 2>the right you know, just team around me and all that.

0:44:52.076 --> 0:44:54.036
<v Speaker 2>And that's what was the learning curve. That was the

0:44:54.956 --> 0:44:56.676
<v Speaker 2>you're gonna have to give this back to the game

0:44:56.876 --> 0:44:58.796
<v Speaker 2>to get it back triple, you know what I mean.

0:44:59.436 --> 0:45:03.236
<v Speaker 2>And UH just kind of programmed myself to you know,

0:45:03.276 --> 0:45:05.636
<v Speaker 2>cause it's like after that, you want to chase that,

0:45:05.716 --> 0:45:08.876
<v Speaker 2>and then you start to feel like, damn, this song

0:45:09.196 --> 0:45:11.756
<v Speaker 2>being performed ten times, this song ain't played all day

0:45:11.796 --> 0:45:15.276
<v Speaker 2>on the radio, so I fell off or whatever the

0:45:15.316 --> 0:45:17.476
<v Speaker 2>case is. You want to chase that feeling, but you

0:45:17.516 --> 0:45:19.716
<v Speaker 2>can't do that. You gotta understand that everything is gonna

0:45:19.716 --> 0:45:23.756
<v Speaker 2>have his space. Like me and NAS and granted we

0:45:23.836 --> 0:45:26.356
<v Speaker 2>haven't really pushed for this. We ain't had no giant

0:45:26.836 --> 0:45:29.316
<v Speaker 2>you know, radio record or nothing like that, but I

0:45:29.356 --> 0:45:31.676
<v Speaker 2>get way more respect off of anything I ever did

0:45:31.716 --> 0:45:33.636
<v Speaker 2>on radio, off this not all.

0:45:33.596 --> 0:45:37.756
<v Speaker 1>Those things feel so much bigger than any like radio play, crazy,

0:45:37.836 --> 0:45:41.796
<v Speaker 1>like bigger than any of that. It's insane. Yeah, or

0:45:41.996 --> 0:45:44.676
<v Speaker 1>other rappers from Naz's era, are they looking at you

0:45:45.396 --> 0:45:48.116
<v Speaker 1>in any way to thinking that they can replicate?

0:45:48.196 --> 0:45:51.636
<v Speaker 2>So, I mean, oh yeah, I had a few people

0:45:51.716 --> 0:45:54.116
<v Speaker 2>reach out, but it's like it gotta be right, you

0:45:54.156 --> 0:45:56.596
<v Speaker 2>know what I mean. Like I worked on I mean,

0:45:56.636 --> 0:45:59.996
<v Speaker 2>even Game is like after NAS obviously, but just like

0:46:00.076 --> 0:46:03.676
<v Speaker 2>from that era of like real super hardcore rap. I

0:46:03.716 --> 0:46:06.836
<v Speaker 2>did like six songs on Dramatic for Game. Yeah, just

0:46:06.876 --> 0:46:08.636
<v Speaker 2>like I feel like that was a I mean it's

0:46:08.716 --> 0:46:11.796
<v Speaker 2>like he based kind of Dramatic off Illmatic, So it's

0:46:11.836 --> 0:46:15.036
<v Speaker 2>like he definitely was inspired by Bro and I was

0:46:15.076 --> 0:46:16.876
<v Speaker 2>just able to, like, you know, have it all come

0:46:16.956 --> 0:46:18.756
<v Speaker 2>full circle because I had worked with him before in

0:46:18.836 --> 0:46:19.276
<v Speaker 2>the past.

0:46:19.716 --> 0:46:20.876
<v Speaker 1>Do you want to do more R and B?

0:46:21.756 --> 0:46:21.996
<v Speaker 2>Yeah?

0:46:22.036 --> 0:46:22.436
<v Speaker 1>For sure?

0:46:22.556 --> 0:46:26.276
<v Speaker 2>I mean Bro, I mean, I don't know what a

0:46:27.036 --> 0:46:29.316
<v Speaker 2>like playlist they'll be putting, like Don Tyler Wrenn, But

0:46:29.316 --> 0:46:30.876
<v Speaker 2>I gotta look at him as a singer, you know

0:46:30.876 --> 0:46:32.876
<v Speaker 2>what I mean. I did two songs on his album,

0:46:32.916 --> 0:46:35.156
<v Speaker 2>did a single on his last album as well. So

0:46:35.636 --> 0:46:37.876
<v Speaker 2>you know, I'm doing these projects, but I'm also still

0:46:37.916 --> 0:46:40.516
<v Speaker 2>getting my joints off and working with different artists. Did

0:46:40.596 --> 0:46:43.076
<v Speaker 2>something on the Beyonce album. Even though I was like electronics,

0:46:43.116 --> 0:46:45.916
<v Speaker 2>she still is like, you know on some Queen R

0:46:45.916 --> 0:46:46.196
<v Speaker 2>and B.

0:46:46.876 --> 0:46:48.796
<v Speaker 1>Hey, Danny, can you play play Thick.

0:46:57.636 --> 0:46:59.836
<v Speaker 2>In the car and take you back to them?

0:46:59.956 --> 0:47:01.836
<v Speaker 1>Are you in the studio Beyonce when she's recording this.

0:47:02.476 --> 0:47:04.556
<v Speaker 2>I was in the studio to play her to beat

0:47:04.996 --> 0:47:09.356
<v Speaker 2>and I heard some early ideas. But this song was

0:47:09.396 --> 0:47:11.676
<v Speaker 2>made and what the beat was made in twenty fourteen,

0:47:11.916 --> 0:47:15.116
<v Speaker 2>so it went through a whole transformations. I don't even

0:47:15.156 --> 0:47:17.476
<v Speaker 2>remember what the original concept. I don't even know if

0:47:17.476 --> 0:47:21.236
<v Speaker 2>it was the thick concept, but she flushed it out

0:47:21.276 --> 0:47:23.396
<v Speaker 2>and turned it into a joint. And I actually got

0:47:23.396 --> 0:47:25.796
<v Speaker 2>the link with her before the album came out, heard

0:47:25.836 --> 0:47:28.596
<v Speaker 2>some joints, heard she played me this final version, and

0:47:29.356 --> 0:47:31.676
<v Speaker 2>I was like, man, it's just like crazy that you

0:47:31.676 --> 0:47:34.156
<v Speaker 2>know it took eight years for this to become what

0:47:34.276 --> 0:47:34.916
<v Speaker 2>it is now?

0:47:35.156 --> 0:47:36.836
<v Speaker 1>All right, man, I was just gonna say because from

0:47:36.836 --> 0:47:39.716
<v Speaker 1>the time I've heard that, I was trying to imagine you.

0:47:41.276 --> 0:47:42.516
<v Speaker 2>Like watching her record.

0:47:43.916 --> 0:47:46.276
<v Speaker 1>Jay be in the room, Like, yeah, I didn't.

0:47:46.076 --> 0:47:48.716
<v Speaker 2>Watch I didn't watch her record that, but I have

0:47:48.836 --> 0:47:49.956
<v Speaker 2>seen her record.

0:47:49.636 --> 0:47:52.236
<v Speaker 1>Before I was watching Beyond record.

0:47:52.436 --> 0:47:53.876
<v Speaker 2>It is what you're think it is. This is you

0:47:53.876 --> 0:47:56.756
<v Speaker 2>know what I mean, like real genius level, real thought

0:47:56.796 --> 0:47:59.436
<v Speaker 2>out getting a song and just like doing it the

0:47:59.556 --> 0:48:02.316
<v Speaker 2>exact way that the person you know might have gave

0:48:02.356 --> 0:48:04.676
<v Speaker 2>it to her eyes like she gonna flip something and

0:48:05.356 --> 0:48:09.436
<v Speaker 2>move parts around and really like she gets like a producer, writer,

0:48:09.636 --> 0:48:10.356
<v Speaker 2>artists all that.

0:48:11.476 --> 0:48:14.796
<v Speaker 1>Yeah, so that was so you made that twenty fourteen.

0:48:14.876 --> 0:48:18.396
<v Speaker 2>Right, I made the beat twenty fourteen with the bridge

0:48:18.476 --> 0:48:21.116
<v Speaker 2>and all that, with the chord changes I played and yeah.

0:48:21.636 --> 0:48:23.196
<v Speaker 1>And back then, did you know it was going to

0:48:23.276 --> 0:48:26.236
<v Speaker 1>be more of like a dance oriented.

0:48:26.116 --> 0:48:30.676
<v Speaker 2>No, that was that was that was way back because

0:48:30.676 --> 0:48:33.116
<v Speaker 2>we had recorded a lot of songs back then. That

0:48:33.276 --> 0:48:35.116
<v Speaker 2>was the one that saw the light of day eight

0:48:35.196 --> 0:48:35.716
<v Speaker 2>years later.

0:48:36.076 --> 0:48:37.356
<v Speaker 1>Wow, that's that's wild.

0:48:37.516 --> 0:48:41.436
<v Speaker 2>Yeah, it wasn't like definitely not no electronic or like

0:48:41.516 --> 0:48:43.436
<v Speaker 2>you know that type of way back then.

0:48:43.756 --> 0:48:46.116
<v Speaker 1>But it's incredible that you also, like, I mean, you've

0:48:46.156 --> 0:48:48.116
<v Speaker 1>talked about it a couple of times here, and it's

0:48:48.396 --> 0:48:52.156
<v Speaker 1>it's something it's actually something I didn't think about too

0:48:52.236 --> 0:48:54.516
<v Speaker 1>much until I was listening to your new record and

0:48:54.556 --> 0:48:57.076
<v Speaker 1>I was listening to Slipping in the Darkness, which again

0:48:57.116 --> 0:49:00.196
<v Speaker 1>I thought was gonna be a sample Slipping in the Darkness, Right,

0:49:00.236 --> 0:49:02.876
<v Speaker 1>you don't go for the obvious, but remember I think,

0:49:02.876 --> 0:49:04.476
<v Speaker 1>all right, that's gonna be that sample. Put an on

0:49:04.556 --> 0:49:09.476
<v Speaker 1>belts not and then the beat flips. That's the different beat.

0:49:09.596 --> 0:49:13.316
<v Speaker 1>Later I realized it is Alchemist and you I don't

0:49:13.316 --> 0:49:16.156
<v Speaker 1>know if it's on some friendly shit or like what

0:49:16.276 --> 0:49:19.036
<v Speaker 1>you call out a couple of producers. Right, But in

0:49:19.076 --> 0:49:21.596
<v Speaker 1>a way, that to me was like interesting, like you're like, yeah,

0:49:21.596 --> 0:49:23.636
<v Speaker 1>you could, you could do this, but can you chop soul?

0:49:23.836 --> 0:49:26.236
<v Speaker 1>You could do? I heard you without eight away.

0:49:26.236 --> 0:49:30.796
<v Speaker 2>Just asked questions and said what I personally haven't heard,

0:49:30.836 --> 0:49:33.916
<v Speaker 2>Like these dudes could have one hundred boomback beats in

0:49:33.956 --> 0:49:35.876
<v Speaker 2>the stash that I just ain't heard. But I just

0:49:35.956 --> 0:49:39.236
<v Speaker 2>made a statement saying that, you know, that's the sound

0:49:39.316 --> 0:49:41.836
<v Speaker 2>I haven't heard from them. But look at Magic, look

0:49:41.876 --> 0:49:44.836
<v Speaker 2>at or go to Travis Scott, go to Kanye West.

0:49:44.836 --> 0:49:46.516
<v Speaker 2>You're gonna hear every sound for me. You know.

0:49:46.636 --> 0:49:48.596
<v Speaker 1>The questioning though, it was brilliant because it really made

0:49:48.636 --> 0:49:50.956
<v Speaker 1>me think about I was like that, like you really

0:49:50.956 --> 0:49:53.076
<v Speaker 1>can do so many different things, Like I guess I

0:49:53.156 --> 0:49:53.596
<v Speaker 1>knew it.

0:49:53.596 --> 0:49:55.276
<v Speaker 2>It was more so like kind of like that too,

0:49:55.436 --> 0:49:59.636
<v Speaker 2>like just promoting my versatility, promoting you know, and just

0:49:59.716 --> 0:50:03.116
<v Speaker 2>kind of like carving a laying out for myself, like

0:50:03.316 --> 0:50:06.436
<v Speaker 2>y'all gotta really pay attention. And that's what's been so

0:50:06.636 --> 0:50:09.076
<v Speaker 2>tough for me, is like making a song like Troe

0:50:09.476 --> 0:50:12.676
<v Speaker 2>for Drake and then making something for you know whoever.

0:50:12.876 --> 0:50:15.036
<v Speaker 1>It's just like it's one train for a sex.

0:50:15.396 --> 0:50:18.396
<v Speaker 2>It's hard for you to connect that just generally, you

0:50:18.436 --> 0:50:20.436
<v Speaker 2>know what I mean, Just and just on a human level,

0:50:20.436 --> 0:50:22.396
<v Speaker 2>it's just like not easy to keep up with a

0:50:22.396 --> 0:50:24.796
<v Speaker 2>lot of shit. So if I'm all over the place,

0:50:24.836 --> 0:50:28.156
<v Speaker 2>it's like, you know, hit Boy isn't the household name

0:50:28.876 --> 0:50:31.036
<v Speaker 2>because of that, And that's what I feel like, you

0:50:31.076 --> 0:50:32.556
<v Speaker 2>know what I mean. And now it's like getting more

0:50:32.596 --> 0:50:35.436
<v Speaker 2>to that point. But I had to create a linear thing,

0:50:35.516 --> 0:50:38.676
<v Speaker 2>which is now me just doing albums for people. None

0:50:38.676 --> 0:50:40.556
<v Speaker 2>of the beats sound the same on the albums, but

0:50:41.436 --> 0:50:43.436
<v Speaker 2>you know I did them, so it just connects with

0:50:43.476 --> 0:50:44.556
<v Speaker 2>the brain a lot more.

0:50:44.756 --> 0:50:46.716
<v Speaker 1>And that's one thing that also makes I think you

0:50:47.356 --> 0:50:51.156
<v Speaker 1>doing a full album work also is that it doesn't

0:50:51.196 --> 0:50:54.316
<v Speaker 1>necessarily sound like one producer like from Like it doesn't

0:50:54.356 --> 0:50:56.316
<v Speaker 1>sound like the same bag of tricks every song you

0:50:56.316 --> 0:50:59.116
<v Speaker 1>know or whatever. It's like, oh, every song sounds varied.

0:50:59.436 --> 0:51:03.436
<v Speaker 1>It sounds like there's a lot of movement musically throughout

0:51:03.476 --> 0:51:04.436
<v Speaker 1>the records.

0:51:04.916 --> 0:51:08.276
<v Speaker 2>Having fun, man taking advantage and just like I said,

0:51:08.316 --> 0:51:10.636
<v Speaker 2>like I always tapping my younger self, like, man, if

0:51:10.676 --> 0:51:14.716
<v Speaker 2>I had this opportunity, however long ago before I got on,

0:51:14.876 --> 0:51:17.116
<v Speaker 2>like I would have wanted to mash out. So I

0:51:17.116 --> 0:51:18.836
<v Speaker 2>need to keep that same energy.

0:51:18.676 --> 0:51:20.876
<v Speaker 1>That has got to be crazy for your younger self

0:51:20.876 --> 0:51:26.396
<v Speaker 1>to be for records and with NAS many collaborations with

0:51:27.716 --> 0:51:30.996
<v Speaker 1>Beyonce and Drake and.

0:51:30.156 --> 0:51:32.836
<v Speaker 2>Yeah, I was on beyonce last three albums. It's like, man,

0:51:32.876 --> 0:51:35.556
<v Speaker 2>whatever she's seeing me like, I appreciate it because it's

0:51:35.676 --> 0:51:38.836
<v Speaker 2>like she'd been she'd pulled me in, like Beyonce album,

0:51:38.916 --> 0:51:42.996
<v Speaker 2>the Lemonade album and then the Renaissance.

0:51:42.996 --> 0:51:45.636
<v Speaker 1>And these are records that people are gonna be not

0:51:45.716 --> 0:51:50.356
<v Speaker 1>just listening to, but like studying for decades. Yeah you

0:51:50.396 --> 0:51:54.116
<v Speaker 1>know what I mean. They're not like fly by Night records.

0:51:53.876 --> 0:51:56.796
<v Speaker 2>Right, Yeah, it's beautiful man for show. Shout out to her.

0:51:56.716 --> 0:51:58.476
<v Speaker 1>When people go back and look at Prince Records and

0:51:58.596 --> 0:52:01.516
<v Speaker 1>analyze every little thing, and Michael records.

0:52:01.156 --> 0:52:03.436
<v Speaker 2>My son three years old, Like I get in the card.

0:52:04.236 --> 0:52:07.116
<v Speaker 2>He like play kids songs. I'm like, what you want

0:52:07.116 --> 0:52:10.316
<v Speaker 2>to hear Michael Jackson like he thinks as kids music like,

0:52:10.356 --> 0:52:13.316
<v Speaker 2>but that's how good it is. It's resonating with like

0:52:13.356 --> 0:52:16.196
<v Speaker 2>a kid all the way to a gangster, to a politician,

0:52:16.236 --> 0:52:18.476
<v Speaker 2>to a lawyer, anybody. For the most part, you could

0:52:18.476 --> 0:52:20.996
<v Speaker 2>feel Michael Jackson music. So it's like I want to,

0:52:21.636 --> 0:52:24.396
<v Speaker 2>you know, be able to contribute something to the game

0:52:24.436 --> 0:52:26.916
<v Speaker 2>on that similar level. And I take a lot of

0:52:27.276 --> 0:52:29.116
<v Speaker 2>work that take a lot of locking in.

0:52:29.796 --> 0:52:33.916
<v Speaker 1>If you had like a vision for like what artistically

0:52:35.116 --> 0:52:37.156
<v Speaker 1>I mean maybe career wise too, but where you're at

0:52:37.196 --> 0:52:38.476
<v Speaker 1>five years from now.

0:52:38.716 --> 0:52:42.476
<v Speaker 2>Man man, just like really uh giving back, you know

0:52:42.516 --> 0:52:46.076
<v Speaker 2>what I mean, and create more opportunities for where music

0:52:46.156 --> 0:52:48.636
<v Speaker 2>is going. And for kids that's like trying to do

0:52:48.676 --> 0:52:50.356
<v Speaker 2>their thing, you know what I mean. I see my

0:52:50.436 --> 0:52:53.516
<v Speaker 2>homeboys James far Leroy and Lawrence with fifteen hundred, they

0:52:53.516 --> 0:52:55.596
<v Speaker 2>got a whole academy, they got to school. That's something

0:52:55.596 --> 0:52:58.076
<v Speaker 2>that I want to, you know, lock in and be

0:52:58.156 --> 0:53:01.636
<v Speaker 2>able to teach and just like really inspire the next generation.

0:53:02.196 --> 0:53:04.396
<v Speaker 2>It's like the game is getting crazy, Like I've been

0:53:04.436 --> 0:53:06.836
<v Speaker 2>seeing it. I've been saying it for years. That is

0:53:06.876 --> 0:53:09.556
<v Speaker 2>getting easier and easier to make beats. And now they

0:53:09.596 --> 0:53:13.116
<v Speaker 2>got the artificial intelligence. You could type in the sound

0:53:13.156 --> 0:53:15.036
<v Speaker 2>of vibe and it'll make the be for you. I

0:53:15.036 --> 0:53:17.516
<v Speaker 2>feel like it's only gonna get better. Anybody gonna be

0:53:17.556 --> 0:53:20.396
<v Speaker 2>able to just have music at the tip of their

0:53:20.476 --> 0:53:23.476
<v Speaker 2>fingers now and just like make it sound quality somehow.

0:53:23.516 --> 0:53:24.636
<v Speaker 1>So does that make you worry?

0:53:24.876 --> 0:53:27.036
<v Speaker 2>Nah? That just like I need to I need to

0:53:27.116 --> 0:53:29.156
<v Speaker 2>like link with some AI people and see how I

0:53:29.156 --> 0:53:31.596
<v Speaker 2>can incorporate that into what I'm doing. It's just like

0:53:31.636 --> 0:53:34.316
<v Speaker 2>that's where the world is going. It is what it is. Like.

0:53:34.356 --> 0:53:38.876
<v Speaker 2>I don't never like try to be anti what's going on.

0:53:39.036 --> 0:53:41.236
<v Speaker 2>It's like I want to implement it and see how

0:53:41.276 --> 0:53:45.276
<v Speaker 2>I can use my personal style along with some AI shit.

0:53:45.356 --> 0:53:47.876
<v Speaker 1>You know. Yeah, speaking of the way like things have

0:53:47.996 --> 0:53:51.236
<v Speaker 1>changed in production over the years, I mean you kind

0:53:51.236 --> 0:53:53.876
<v Speaker 1>of even say it too. So for Drown, it's like

0:53:54.356 --> 0:53:56.796
<v Speaker 1>I haven't really seen you without a bunch of like

0:53:56.836 --> 0:53:59.756
<v Speaker 1>co producers, Like the way that there's a bunch of

0:54:00.396 --> 0:54:02.436
<v Speaker 1>The generous way of saying it is it's more collaborative

0:54:02.476 --> 0:54:04.876
<v Speaker 1>process for you know. The other way of looking at

0:54:04.916 --> 0:54:08.076
<v Speaker 1>it is it's a lot of people getting points or whatever.

0:54:08.156 --> 0:54:08.436
<v Speaker 1>I mean.

0:54:09.276 --> 0:54:11.596
<v Speaker 2>I mean, yeah, like I said, it's like getting easier

0:54:11.596 --> 0:54:14.036
<v Speaker 2>and easier to like make music, and then like you know,

0:54:14.236 --> 0:54:18.076
<v Speaker 2>some people are finesse's that's that specific line though, was

0:54:18.236 --> 0:54:21.676
<v Speaker 2>for one person kind of attacked me out of nowhere,

0:54:22.156 --> 0:54:24.716
<v Speaker 2>and I'm just like, I never seen one credit from

0:54:24.756 --> 0:54:27.276
<v Speaker 2>you without a co producer, like go, look me up,

0:54:27.356 --> 0:54:28.996
<v Speaker 2>you know what I mean, Like you trying to downplay

0:54:29.036 --> 0:54:31.116
<v Speaker 2>what I do. And that's just all that was. But

0:54:31.196 --> 0:54:34.716
<v Speaker 2>I understand like Quincy might not even touch the drums

0:54:34.796 --> 0:54:37.556
<v Speaker 2>or keys on any thriller songs. Nah, you know what

0:54:37.556 --> 0:54:40.436
<v Speaker 2>I mean. But we still revere him and respect him,

0:54:40.476 --> 0:54:43.116
<v Speaker 2>and we know his genius. We know that he contributed

0:54:43.196 --> 0:54:46.156
<v Speaker 2>something that really mattered to that project to be the

0:54:46.156 --> 0:54:48.716
<v Speaker 2>producer on every song and to be the executive producer.

0:54:48.796 --> 0:54:51.516
<v Speaker 2>But you got Greg feeling games, you got the guy

0:54:51.556 --> 0:54:54.316
<v Speaker 2>who is programming the drums and all that, But that

0:54:54.796 --> 0:54:57.556
<v Speaker 2>don't make him anything less. So it's like I'm not

0:54:57.596 --> 0:55:01.036
<v Speaker 2>saying that it's not cool to work with other musicians.

0:55:01.116 --> 0:55:03.556
<v Speaker 2>I do that I got credits. You know, I'd be

0:55:03.676 --> 0:55:05.956
<v Speaker 2>generous with letting my homies come in. And if I

0:55:05.996 --> 0:55:07.796
<v Speaker 2>hear something, it's like, yo, add a part to this,

0:55:07.916 --> 0:55:09.956
<v Speaker 2>maybe try some drums here, Like you know, I'm still

0:55:10.356 --> 0:55:12.996
<v Speaker 2>I'm still there conducting it though, you know what I mean,

0:55:13.156 --> 0:55:15.716
<v Speaker 2>Like if you give me some pieces, I don't. I

0:55:15.716 --> 0:55:18.636
<v Speaker 2>don't really just let people just freely do their thing,

0:55:18.796 --> 0:55:20.796
<v Speaker 2>like I kind of just like kind of still got it.

0:55:20.836 --> 0:55:23.756
<v Speaker 2>And that's what the genius part is. So you know,

0:55:23.836 --> 0:55:25.236
<v Speaker 2>I understand that's part of the game.

0:55:25.596 --> 0:55:29.196
<v Speaker 1>Some of the younger, young young artists. Are you enticed

0:55:29.236 --> 0:55:32.116
<v Speaker 1>by working with them? Oh, for sure, I'll be down

0:55:32.196 --> 0:55:34.716
<v Speaker 1>to the like you know something, I'm like, man, I

0:55:34.716 --> 0:55:35.236
<v Speaker 1>can hear her.

0:55:35.996 --> 0:55:39.436
<v Speaker 2>That's funny. Now, it's crazy because before a month just

0:55:39.596 --> 0:55:43.276
<v Speaker 2>before like her like you know, following Drake and Drake,

0:55:43.316 --> 0:55:46.516
<v Speaker 2>following her all this, Like I literally DMed her and

0:55:46.916 --> 0:55:49.596
<v Speaker 2>she came to LA and when she hit me up,

0:55:49.676 --> 0:55:52.076
<v Speaker 2>like I just was kind of just moving around, probably

0:55:52.156 --> 0:55:54.796
<v Speaker 2>doing too much and wasn't able to link. And I

0:55:54.876 --> 0:55:57.516
<v Speaker 2>was about to link her before the fame, before like

0:55:57.556 --> 0:56:00.156
<v Speaker 2>the real pop off and ship, like I've seen the vision.

0:56:00.156 --> 0:56:00.876
<v Speaker 2>I knew it was coming.

0:56:00.916 --> 0:56:02.836
<v Speaker 1>Did you see it from off that off the Busted

0:56:02.876 --> 0:56:05.356
<v Speaker 1>Down Challenge or what would you see?

0:56:05.476 --> 0:56:07.876
<v Speaker 2>This is way back, bro. I just seen like the

0:56:07.916 --> 0:56:10.116
<v Speaker 2>way she looks. She had a look and like you know,

0:56:10.276 --> 0:56:12.836
<v Speaker 2>she like just had some tour the video for the

0:56:13.756 --> 0:56:16.956
<v Speaker 2>Red Fro. This is this is some time ago. Like

0:56:17.156 --> 0:56:19.596
<v Speaker 2>I mean, I just was like I hit her up

0:56:19.596 --> 0:56:22.836
<v Speaker 2>and gave her my number when she came in, when

0:56:22.836 --> 0:56:24.996
<v Speaker 2>she came out, we just never linked.

0:56:25.396 --> 0:56:28.396
<v Speaker 1>It's got to happen, man, crazy, that's got to happen,

0:56:28.396 --> 0:56:31.796
<v Speaker 1>because she was sounding real nice on your beats for sure. Man, Well,

0:56:31.836 --> 0:56:34.036
<v Speaker 1>thanks so much for being gracious with your time, man,

0:56:34.316 --> 0:56:35.876
<v Speaker 1>for sure for all the music.

0:56:35.956 --> 0:56:40.516
<v Speaker 2>Man, appreciate y'all having me. Man, it was set up.

0:56:40.476 --> 0:56:43.516
<v Speaker 1>Before you go. I got acol because it's important. Man.

0:56:43.996 --> 0:56:47.276
<v Speaker 1>How good NAS is sounding or on.

0:56:47.116 --> 0:56:50.076
<v Speaker 2>Your shout out to David kim our engineer. He mixed

0:56:50.116 --> 0:56:53.036
<v Speaker 2>all four projects, my home boy. He makes a lot

0:56:53.036 --> 0:56:55.796
<v Speaker 2>of other stuff, mixed most of my music. But it's

0:56:55.876 --> 0:56:58.236
<v Speaker 2>kind of like a perfect triangle offense, you know what

0:56:58.236 --> 0:57:00.116
<v Speaker 2>I mean, between me and him and Nas as far

0:57:00.156 --> 0:57:04.276
<v Speaker 2>as sonics and getting you know, everybody putting it all

0:57:04.316 --> 0:57:07.156
<v Speaker 2>into what's going on, like David is gonna go to

0:57:07.236 --> 0:57:10.036
<v Speaker 2>extra mile to just make sure the music is pumping

0:57:10.156 --> 0:57:12.916
<v Speaker 2>in the vocals, just like sitting in a proper place.

0:57:12.716 --> 0:57:16.036
<v Speaker 1>Sitting perfect. Man. Whatever people was hearing in the day

0:57:16.076 --> 0:57:18.076
<v Speaker 1>where they felt like they couldn't lay their voice into

0:57:18.116 --> 0:57:20.556
<v Speaker 1>your beats because it's too crowded, It's like, whatever's going

0:57:20.596 --> 0:57:22.956
<v Speaker 1>on now? Man, it's like sonically.

0:57:22.636 --> 0:57:25.556
<v Speaker 2>Perfect, yeah, not for show, And that's what I'm working on.

0:57:25.596 --> 0:57:27.716
<v Speaker 2>I just like want the music. I'm trying to get

0:57:27.716 --> 0:57:30.276
<v Speaker 2>to that thriller level where it's like just like going

0:57:30.316 --> 0:57:33.196
<v Speaker 2>into your ears perfectly and just hitting the veins and

0:57:33.196 --> 0:57:34.596
<v Speaker 2>the soul. You know what it does.

0:57:34.636 --> 0:57:37.156
<v Speaker 1>And I'm telling you like having nas At thirty years

0:57:37.196 --> 0:57:39.996
<v Speaker 1>later sounding better than his every time, that's like having

0:57:40.156 --> 0:57:43.956
<v Speaker 1>a Whitney ten years ago coming out with her best record.

0:57:44.036 --> 0:57:47.116
<v Speaker 1>You know, like you got someone with an iconic voice

0:57:47.116 --> 0:57:48.756
<v Speaker 1>sounding the best that they've ever sounded.

0:57:48.796 --> 0:57:50.636
<v Speaker 2>That's why I'll be telling you too. I'm like, Bro,

0:57:50.796 --> 0:57:53.596
<v Speaker 2>you could say ABC one two three on the beat

0:57:53.636 --> 0:57:56.876
<v Speaker 2>and your voice is so cold that it's gonna sound ill.

0:57:56.956 --> 0:57:59.476
<v Speaker 2>So I'm like the words and the way you putting

0:57:59.476 --> 0:58:02.596
<v Speaker 2>it together, that's just like the mind blowing shit.

0:58:02.756 --> 0:58:04.916
<v Speaker 1>Yeah, yeah, man, We must respect man.

0:58:04.956 --> 0:58:06.076
<v Speaker 2>Appreciate you, Yes, sir.

0:58:09.116 --> 0:58:11.836
<v Speaker 1>Thanks to hit Boys for breaking down his production process

0:58:11.916 --> 0:58:15.036
<v Speaker 1>and inspiration. You can hear all of our favorite hit

0:58:15.036 --> 0:58:18.276
<v Speaker 1>Boy produced tracks on a playlist at broken record podcast

0:58:18.436 --> 0:58:21.876
<v Speaker 1>dot com. You can subscribe to our YouTube channel at

0:58:21.916 --> 0:58:25.316
<v Speaker 1>YouTube dot com slash broken Record Podcast, where you can

0:58:25.356 --> 0:58:29.236
<v Speaker 1>find all of our new episodes. Broken Record is produced

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<v Speaker 1>with help from Leah Rose, Jason Gambrel, Ven Talliday, Nisha Venkat,

0:58:33.956 --> 0:58:38.636
<v Speaker 1>Jordan McMillan, and Eric Sandler. Our editor is Sophie Crane.

0:58:39.796 --> 0:58:42.996
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