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January 18, 2024 62 mins

The boys continue to take on the music world in their latest episode of ALL THE SMOKE, as they are joined by Grammy-award winning producer, Mike Will Made It. The trio discusses Mike's work with massive stars like Kayne and Jay-Z, his new partnership with ESPN & the NBA, his musical influences and current projects, and winning a Grammy with Kendrick Lamar.

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Speaker 1 (00:25):
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Speaker 1 (01:20):
Welcome back to all the smoke coming to you live
from Las Vegas. Jack, were running shit under our own.
We're working for ourselves these days.

Speaker 2 (01:27):
Yeah, a lot of tags we used to normally hear
on our show when we here, he ain't gonna hear.

Speaker 3 (01:30):
It's just us, just us.

Speaker 1 (01:32):
Today we got Man, one of Billboard's fifty Greatest Producers
of the twenty first century. Grammy Award winning producer created
music with the likes of jay Z, Beyonce, Rihanna, Miley Cyres,
just the name a few. Welcome to the show Man,
motherfucking Mike will Mighty.

Speaker 3 (01:48):
I appreciate that.

Speaker 2 (01:49):
Man.

Speaker 1 (01:51):
Alrighty man, So Mike, you got a lot of new
stuff going on right now. How's life day to day?
What's new?

Speaker 3 (01:58):
Talk to us minus the boys, Life's great. You already
know you know what I'm saying, but I ain't gonna lie.
It's like, now I'm thirty four, Now you know what
I'm saying. So like boom, It's like it's a lot
that to happen. And then at the same time it's
like I'm still learning, but like like I took like
a little break off from like dropping music like just

(02:18):
so consistently. It was really like a minute, you know
what I'm saying like probably like my last album was
like seven years ago. Okay, yeah, so took a little
break off for that, and then I was just like learning,
like being able to articulate myself, man, because I have
like a whole company. I have producers, I have a
production company, I have a record label, you know what

(02:39):
I'm saying. And then it's like I lost my heart drives.
And then when I lost my heart Drives, that made
me feel like that made me take a step away
from music. You know what I'm saying. I started buying
like real estate, start trying other like different different like
business ventures and stuff like that, you know what I'm saying,
and just not all the way just zero straight in
on music. It's not like I took a step away
from music and when it got burnt out, you know

(02:59):
what I'm saying, Like I want to sharpened up.

Speaker 1 (03:01):
Just recharge your batteries and diversified your portfolio.

Speaker 3 (03:06):
You know what I'm saying.

Speaker 1 (03:07):
Congratulations is in order ahead of the current season, you
parted with ESPN for Music Custom Strategies to be their
first ever lead producer in current music. What's the first
thing you did after getting that call? I mean partner
with the NBA. I mean, you worked with a lot
of greats, but you're partnering with the league.

Speaker 3 (03:26):
That mean to you, man, it was dope. Bro. It's
just dope to be able to like combine music and sports,
you know what I'm saying. I just feel like, man,
that's everybody either watching the game, listening to somebody's new album,
new song, or like you know what I'm saying, Like
that's just it. That's just a culture. So it's like
it's dope to make that collaboration. And I always been,
always been a fan of the NBA. I was letting

(03:48):
them hear a bunch of different music that I was
working on, and then like that Sway Lee and Lotto
record really stood out to them. So they were like, man,
you think they could do another edit for like the
commercial art and we want you to like give us
like a sound really, you know what I'm saying, Like
we usually go to like record labels and collaborate with
like record labels and tap in with their different artists

(04:09):
like that, but like we never really locked in with
a producer. So it was dope to like for them
for them to see that, And it was like I
came with a couple of different ideas, like I gave
him like our beat, you know what I'm saying, Like, y'all,
I feel like he's have dope energy. We write down
a couple of names of artists that we hear on
like these beats. So after this way and a lot

(04:29):
of record boom, we came with the money bag yo
and watch TV fat Like, I just liked what they
got going on. So they had knocked out one of
the beats, and then we got a couple more songs
on the way and stuff, so it was dope. It's
a dope collaborator.

Speaker 1 (04:41):
At the end of the season, you guys will pretty
much have a whole album then if I'm not mistaken
round so you have that. So you're doing all the
national games, the big games all season, that will be
something you produced.

Speaker 3 (04:51):
It's not like a lockdamn project. It's something that we
talked about though for show, like man put all the
songs together.

Speaker 1 (04:58):
Just so we talking it into existence.

Speaker 3 (05:00):
Then yeah, it really really just manifested it, you know
what I'm saying, Because like they had they had liked
the idea because I was like, man, I just made
music that people can bow to you know what I'm saying.
So it's like boom. I was like, man, I can
mess around to be an album.

Speaker 1 (05:14):
Man, So what exactly does like the job detail? Like
do you dictate? Do you have to check in with them?
You give them ideas, they give you feedback, Like how
exactly does the partnership work?

Speaker 3 (05:23):
It's really just like a collaboration. Man, I don't really
like the one that I don't want to go in there.
And just like man, I'm like put my mind around
like making an artist because ESPN is not an artist,
you know what I'm saying. So it's like really like
they let me know the body that they're looking for
and then boom, like and now it never came about
because with the tournament, it was just like okay, man,
it's like a tournament within the league, within the regular season.

(05:47):
So it was like man, boom, Like they're like, man,
we need some high energy something like you know what
I'm saying, Like just imagine like a little side side
like tournament going on within the season and like this
is something mess up people fighting for like how Lebrown
went off last night, Like it's like, man, what the
hell out? You know what I'm saying, and it's like

(06:07):
he taking his eies. Like it's like the playoffs, Like
you know what I'm saying, so boom with now or Never.
It was like they needed some high energy. So that's
how I mean, that's how we really chose that beat.
Gave it the bag, bag nail, the nail, the concept. Yeah.

Speaker 1 (06:21):
Yeah, So how do you get in your zone? Obviously
as athletes, we have our rituals and routines we do
to get focused for a game. When you feel like
you're at your best making beats, producing Like what does
that consist of? Smoke?

Speaker 3 (06:35):
Yeah? I smoked. You know what I'm saying. I smoked
some gas. I'm really like at my studio in Atlanta,
you know what I'm saying. I got a studio in Atlanta,
like like West Midtown area. And then it's like it's
not really like your typical studios, just like open and
then it's like a bunch of different creatives coming through,
like you know what I'm saying, but it's like my team.
So it's like I can go to them and it's

(06:57):
like a challenging thing because like they might be making
beats and I'm like, bro, you hearing this? You know
what I'm saying, Like what room with this living? Like
how you feel like this is going to stand up?
Cause you know what I'm saying right now, you just
starting off like and I can like challenge them in
these rooms and I can start seeing like their sounds
like form into something, form into something different, and like
them start putting their DNA on there. So it's like

(07:19):
I like producing like that, and then I like for
show cooking up, like I go to the studio, made
about three three to five beats to day easy, Like
that's just like the regimen, like I try to make
five different bangers. But then it's like working with the
different team and coming with the different sounds and then
bringing in songwriters and then putting those different songs together,
and then different artists coming through my studio and then

(07:41):
it's like I can challenge them and try to get
them a different sound and they doing They're coming in
there already looking like Yo, this studio is different, right,
Like man, I got to do something different in here,
like you know what I'm saying.

Speaker 1 (07:53):
And then so you're raising their game, You're challenging them competitive.

Speaker 3 (07:56):
That's the importance of like any producer, like when we're
coming up. I know when I was coming up, and
I'm just saying, like for real, you know what I'm saying,
like Kanye or you know what I'm saying, any of
our any of our favorite producers, many fresh you know
what I'm saying, juicyj DJ, probably like they pushing it,
but they leaving their DNA, you know what I'm saying.
So you know we already know, like all those producers

(08:18):
are just name, you already know they sound or it's
a song that pops in your head with that. So
it's like I always try to get my team to
understand like that part. So then they coming through leaving
that same DNA like dope right up.

Speaker 1 (08:30):
When you make a beat, is it with someone in
mind or once you create the beat, then you try
to put a name to it.

Speaker 3 (08:36):
Or don't even to both.

Speaker 1 (08:37):
I don't even think, Okay, you're just out there doing
what you do.

Speaker 3 (08:40):
Yeah, I don't even think. Like I literally had the
beat machine right here, I'll be like, yo, say a
number between one hundred and two hundred, you know what
I'm saying, and then boom, you could just say anything
one thirty eight. Well, you know what I'm saying, one
forty nine, one seventy six. I make a beat right there,
you know what I'm saying, that's the tempo. So so
whatever number you say, boom, got damn boom, put the

(09:01):
tempo right there, put the click track on there, and
just make something. I even think, just try to do
something out of pocket, as long as it's out of
pocket and it feel new and fresh. And they got
the room like this, and they got the people in
the room that don't rap acting like they wrap. You
know what I'm saying, That's when you got some shit,
yeah for real, because that's that's the vibe for real,
you know what I'm saying. And then it's always good

(09:21):
to have like a musician around as somebody who's like
good on the keys or like I like to collab
like that, so had them plug up too, I might
just I might just do that boom. Somebody might be
playing the guitar, playing the piano or playing playing on
the keyboards or something like that, and it's just adding
to it and just adding the layers, because that's essentially

(09:42):
when you're making the song, that's all you doing, you
know what I'm saying, Just stacking rhythm and melody.

Speaker 2 (09:46):
Your family has a deep musical background. Talk about your
upbringing and your musical background with your family.

Speaker 3 (09:52):
I definitely had like cousins I was looking up to
for show that was like you know what I'm saying,
rapping and trying to start their record was in there.
My mom she she's sung with the Dotty People's Choir.
But my mom never made like any money after the
music industry or anything like that. It was just like
it was almost like her going to church, Like you
know what I'm saying, She singing with dotted People's choir,
and they moved around to different churches and different stuff

(10:14):
like that. In my pots, he always had like he
always he was like a DJ. So he always had
hell of rap records and stuff in in the crib.
So like all the earth wind the fires, all the classics.
You know what I'm saying, Bobbie won't make like all
the classes. Yeah, he had all the vinyls. Somebody used
to see him like just put a vinyl on, play,
play the record, and then when he leave, I want

(10:35):
to do the same thing, but I want to hear something,
so I'll put it on there and think I know
what I'm doing. Break his needle, like damn, you know
what I'm saying, ruar it up. I got two older sisters.
So my sister that's closest in age to me, like
she always listening to like R and B pop that
kind of stuff, like some rap stuff, but like she
was like more that leaning. Then my older sister would

(10:57):
be more rap, you know what I'm saying. Like, but
she'll be like she was like out cast, you know
what I'm saying. Like her husband put me on like
jay Z, Like you know what I'm saying, Because at
first I was really like just down South hip hop,
like all the way. But then her husband put me
on like Blueprint, and that's when I really started rocking
with jay Z. I fucked with him on that Juvenile album.

(11:19):
But like when I heard that Blueprint, I was like,
oh no, he hard. Then I went back to reasonable
doubt and then I just started, you know what I'm saying,
tapping all the way in the right way. I was
always like a down South hip hop artist or like
a West Coast or like I like New York artists too,
like Nas and DMX, Jadykiss like off the rail, you
know what I'm saying. But yeah, so it was like that.

(11:40):
So it was always like that mix, that mix up
in the crib. I remember my pops had took me
to my first hip hop concert with Bone Thust and
Harmony Bone Thus in Harmony whoopd somebody's ass in the
crowd and everything like the whole concert ended, we had
to leave and all that. But my pops was like
in the car, he was tripping because he was like, yo,
music's about the end. I'm like what you mean. It

(12:01):
was like yo, there was no instruments on stage, and
I was like so what man? That shit was hard,
Like you know what I'm saying, This is like ninety
four ninety five. But he used to go on the
Earth Wind the Fire concerts and all this, so this
is his first hip hop concert too. But that just
stuck with me, like because I always was like listening
to music, but when I started making music, that stuck

(12:22):
with me, you know what I'm saying, Like and that
that really like that stuck with me because I realized, like, Okay,
things are like changing and evolution, like you know what
I'm saying, and like that's what I even had to
look back on, like over these last seven years, it's
like looking back and being like, Yo, we actually pioneered
some shit, like we actually like ye, like we weren't

(12:43):
a part of that movement, you know what I'm saying,
but like I was like the early stages of that,
but like being a student of that, seeing it and
not even understanding like there was anything else out there,
you know what I'm saying, and then being able to
come in and make our own imprint in that shit.

Speaker 2 (12:58):
Like what do you think when you have these lines?
Mike Will made it. Gucci Man slated start status, everybody upgraded.

Speaker 3 (13:07):
I think about Patchwork. First day I met Gucci man,
Gucci at what Not? Another first that I met Gucci
first time. This is the first day me and Gucci
ever recorded. He was working on the mixtape called No Paying,
No Pencil, And I remember he had called me from
Walker's phone because me and Walker used to hang with
each other all the time, so like he called me

(13:28):
from walker phone early in the morning. He was like, man,
wake up, Like I'm like, who this is? He was like, man,
they gooch be at Patchwork at two o'clock, pull up
with with some hard beats. But at this time I
had already knew Goots for a couple of years. I
already knew Walker for a couple of years, but he
never had got on my beats or anything like that.
Like you know what I'm saying. It was like feel

(13:48):
like getting that call?

Speaker 1 (13:49):
Is it goosebu?

Speaker 3 (13:50):
Damn?

Speaker 1 (13:51):
I got what?

Speaker 3 (13:52):
Man?

Speaker 2 (13:53):
Man?

Speaker 3 (13:53):
You want to know? You wont know how I met Gucci.
I was getting my CDs printed up at patchwork, so
I used to always go down there, pay a couple
hundred dollars for some blank CDs. Boom, give me a
beat CD, I'll passed him out. So one day I'm
getting pressed up. Gucci was upstairs and they were like, man,
you know, Gucci man upstairs. I'm like, for real, brother,
let me get one of them CDs. So I go upstairs.

(14:14):
He going from the studio to the lounge. So I'm like, hey, brother,
fuck with me. I got the beats. And I'm like fifteen.
You know what I'm saying. I'm like, fuck with me, man,
I got the beats. He's like, oh yeah, to the beats.
Went in the lounge, put a man, him and Fabo
in the lounge is freestyling on the beats, you know
what I'm saying. So then I'm outside the room and
I'm just listening to it. I'm like, that's hard, Like

(14:34):
I hope they record something. So next thing, you know,
Gucci come out there. He like, hey, man, you shot
it with the beats. Boy. He bring me up there.
He get my number. He tell me he needs the
session for the beats. He like, man, let me get
your number. Nah, I got his line. I got somebody
trying to buy some beats. Like he just noticed this
young dude calling his phone. But he fucked with me.
This one. He was doing features for like like twenty

(14:56):
five hundred, like five thousand, like you know what I'm saying.
This trapped out Gucci like this way back in the day,
so Boom, he had got locked up. When he got
locked up, me and Walker randomly meet each other. We
don't even know who each other is, you know what
I'm saying. So we're in the same club. He got
a cruel people. I got a cruel people. One of
his guys came in my face throwing up something. My

(15:18):
guy pushed him back. Boom, and I was about to
be on. Next thing, you know, my boy Obs and
Walker come out of nowhere. Walker jump in front of
his guys and now my boy Obs. He come, he
come up, he and he like dat Walker. They're standing
in front of us. They wap up. So I'm looking
at ours because my boy Obs had just moved down
from New York. So in this in this time of
of like Atlanta clubs, like we're fighting in the club,

(15:40):
like you know what I'm saying. So like when when
Oz like tapped up, I was like, hold on what
you know what I'm saying? And Walker was like, man,
aren't you from New York. I'm like, nah, he from
New York. You know what I'm saying. And he was like, man,
bro cool man. He had New York had them, and
he told his guys like, hey, man, y'all back up,
brou you know what I'm saying. Then they then they
all went the other way. Then me and Walker ended
up running into each other in the bathroom. He leaving out.

(16:03):
Then when I leave out, I see him right there
in the hallway and I'm like, all right, boy, was
just me and him in the club, you know what
I'm saying at this part of the club. So I'm like, man,
I might have to hit with this dude whatever. He
won't even know there. He just put his arm around me, like, hey, bro,
I'm just young and just defensive. I'm really too young
to even be in the club for real. He put
his arm around, like, hey, bro, some holes in here.
Bro like, man, bro, this y'all try to y'all stay

(16:25):
out here. I'm like, hey, yeah, I'm like, yeah, we
stay out here. He was like, man, I'm not really
off from He was like, man, we're from the South Side,
my word. And then I tell him, I'm like, man,
my bad about earlier. Bro. Man, we just been trying
to get to the money. He was like, yeah, my
boys was tripping.

Speaker 2 (16:38):
Bro.

Speaker 3 (16:38):
He's like what you do? He was like, you be hustling.
I'm like nah, I'm like I'm trying to fuck with
the music. And so walking I was like a word.
He was like, man, you know Gucci, that's my cousin.
I was like, man, shit, Gucci, my boy. So I
pulled my phone out showing the numbers I got on
Gucci and then he's like, man, damn, you know Gucci
for real. I'm like hey yeah. So he was like, man,
g you about to come home. Man, I'm gonna put

(16:58):
you with him. And then and so I gave him
my number. Then we connected. Then he ended up connecting
me and Gucci. You know what I'm saying. When me
and Gucci ended up connecting, like I used to come
to the studio, shot a red fat boy, all them
they might be in the studio. These all the producers
I'm looking up to. So next thing, you know, like
Gucci just put me on blast like it might put

(17:19):
the beats on. I'll be like, man, hey, no, you
know what I'm saying. So and he was like, man, yo,
don't do all the nervous stuff. Man, put the beats on.
You know what I'm saying. So I'm like, I put
the beats on. They started freestyling to the beats, but
he never got on them. So that day right there,
the Mike Will made it Gucci man slated part. It
was like that was the first day he called me
up to the studio boom and we did star Status.

(17:42):
I played the beat and he walked in. He was like,
he was like, man, yo, might will on that beat
right there, buddy, start status sayings Nigga straight celebrity baby.
I'm like, oh shit, And Nigga turned me up. You
know what I'm saying. Then in his verse, he said
that Mike Will made it, Gucci Man slated start sat
this nigga. Everybody upgraded from there right from that point
right right there, Like when that song came out, everybody

(18:03):
was like, Mike Will made it, that's your name, because
at first I was going by Mike Will. When they
heard that, I was just like, all right, Mike Will
made it. That's really where the name came from. We
ended up doing like twenty songs, Gucci not even listening
to the beats, Like he just pulled up the next
Mike Will go in the lounge to listen to the
last song he did, walked straight into booth, turning to
Mic on he don't even listen to the beat. Mike
Will just picked the beat, just going in a freestyle.

(18:25):
That's how we were doing No Pay, No Pencil. That's
how we did Guappaholics, And yeah, that's where it all started.

Speaker 1 (18:31):
At How old were you at that time?

Speaker 3 (18:32):
I was like sixteen seventeen. Yeah, I was sixteen seventeen
because I was still in high school, so that was
like senior year type stuff. So like, yeah, that came
out O seven, so I was like seventeen eighteen.

Speaker 2 (18:44):
Yeah, when he came home this last time. Were you
at his first video? Shoot?

Speaker 3 (18:49):
Man, we dropped the first as soon as he came on.

Speaker 2 (18:51):
We did a video, a basketball video in a basketball
court at some house.

Speaker 3 (18:56):
When Gucci first came home, we did first Day out
the Fairs him on the radio in Les's twenty four Hours, Man, Like,
he called me, Mike, send me that first day out
of fan send him to beat here, like, man, go
mix it. He couldn't even leave the crib, you know
what I'm saying, So boom, I wanted to mix it.
And the next thing I know, I was like, bro,
I'm gonna send to Charlemagne, and you know what I'm saying,
Like Charlamagne heard it. He fucked with it. He was

(19:17):
like he was like bet and they played on Breakfast Club.
It went up. Then they shot the video, So that
might be what you're talking about. First day out the
Fans when he was in the house, he couldn't even leave, yeah,
for real. And then we did Black Beatles. Now you
know me and Coots, man, we always rocking like for real, man,
we got to that's like one of them you know
y'all know them dynamic duos. Man, for real, that that

(19:40):
team work where he just ain't even really got to
say too much to a person. You know what I'm saying, y'all,
just give and go. He past.

Speaker 2 (19:48):
When he came home, he reached out to me. He
reached out to when he was shooting his first videos
like pull Up Jack when he first got home.

Speaker 3 (19:54):
That's hard.

Speaker 2 (19:55):
We knew each other, but we ain't really just rock
like that before he went to jail. Okay, and he
came home, I guess I saw somebody opposed to a
supporting them or something. When he came home, he reached out.

Speaker 3 (20:03):
So that was dope, and he was in a totally
different mind state. You know what I'm saying. Came home,
he was all the way focused, So you know what
I'm saying, worried up. That's hard that you were supporting video.
I'm in there.

Speaker 1 (20:15):
Is that before you got your nice teeth.

Speaker 2 (20:18):
I had nice teeth then, Okay? That just this this
is a new set. Yeah, you just steal pearly every
time I get my money, I'm gonna get some news.

Speaker 3 (20:25):
I ain't mad at you.

Speaker 1 (20:26):
You're about to get some new, newer, newer ones.

Speaker 3 (20:28):
Yep, about too much before I got my nice, my
nice teeth and ship. Yeah, we all my nice.

Speaker 1 (20:35):
Yeah influences. You spoke on Pharrell, You've also mentioned timbaland Drake.
You obviously took many fresh man Yeah, you took different
parts and difference and kind of made it your own.
Speak to that and how those legends influenced your sound.

Speaker 3 (20:59):
Yeah, because like early hip hop nineties, it was like
West Coast sound, West Coast and so East coast, you
know what I'm saying. Where Hypnotized Mind came through with
like that sound like you still had UGK, but it
was still kind of like West Coast sound like vibes,
you know what I'm saying.

Speaker 2 (21:16):
UGK was We had definitely a West Coast.

Speaker 3 (21:19):
Yeah, West coast yeah, abobam j G. Still it was
down south, but it was still kind of West Coast
by early on, but it was like man like for me,
it was like man, when Hypnotized Mind came through, that's
what really like started give them like the South like
that sound, and then it's like from there, you know
what I'm saying, You got a Little John take from
that sound and then he come with his own sound

(21:40):
with crump, you know what I'm saying, And then like
Little John was a heavy influence where It's like I
respect that how he had the city and the chokehold
on all spectrums. He had to turned up club records,
the Crump records for passing try and then he had
the bankers with us. Then he had the joints with Loutter.
Then he had the joints for you know what I'm saying.

Speaker 1 (21:57):
So versatility.

Speaker 3 (21:59):
Yeah, it was like the versatility and the wide range.
That's what I respected about like him and like phar
Real and like how they can spread they sound out,
you know what I'm saying. So that's something that I
always wanted to do. So like from like Lord John
and then shot it. Red brought like that sound. He
had his own sound, like that trap sound. He he
brought that bass sound to the A and he had

(22:20):
his own sound. And then Drummer Boy like he brought
that Memphis sound to the A and like I was
just seeing it and it was like all right, cool,
like now this is like the South sound like the
eight Awaits and you know what I'm saying, different stuff
like that. So then I started building my team the
ear Drummers, And when that happened, Yeah, Ear Drummers came

(22:41):
about in two thousand and seven, and it was just me,
you know what I'm saying. And then I was going
to high school my brother plus and then boom, he
was the first one with ear drummers. And then I
saw it like I always was trying to, like in
my mind, I always wanted to build this team where
it's like there's a bunch of producers that's thinking outside
of the box. It's like thinking on my level, you

(23:01):
know what I'm saying, where I look at them like, man, ship, Man,
you could do this on your own. But the way
I'm thinking, like, man, we do this shit like this,
like we could change your game. So it's like, man,
I felt like a team like that. Everybody on there
was like it was like the Gladiators, you know what
I'm saying, Like plus P Nasty Mars J Bow. So
we started coming with this sound where it's like, man, Okay,

(23:24):
we're gonna put the you know what I'm saying, like
the beats und there filter, you know what I'm saying,
We're gonna have to eight away its hitting in a
distorted way, and we're gonna take this the future and
we're gonna take this Gucci, We're gonna take this to
two chains like you know what I'm saying, We're gonna
take this to trouble. We're gonna take this to dump
like everybody who we were rocking with, like you know
what I'm saying, and and like boom, I was just

(23:45):
like the underground Atlanta sound. But it was like our
sound was known for, like Okay, the beat gonna sound
like it's going under the water. The base gonna sound
like it's distorting. It's gonna have this different kind of
sound that it's gonna break like this, and it's like, man,
we just kept coming consistently that on every track and
all our beats was always just different. Always a lot
of times the artists would be like, man, I don't
know how to get on this one, and I might

(24:06):
have to tell him like man, just do you like
the same flow, Like even when we did itching like
rock and with Pluto, Like you know what I'm saying,
I'm like when you heard the beat, he like to
beat hard. B If you get on this and just
do that, we win and flow bro, it's out of here,
like you know what I'm saying, because we win. In
one of my favorite Pluto songs, like my Nigga June

(24:27):
got life forlow ninety nine years, were popping about us
every day, you know what I'm saying, Like like just
that voice, that tone, like how he was just cutting
through on that song.

Speaker 1 (24:37):
It was just like so your beasts were almost intimidating
to something. Some of these people.

Speaker 3 (24:40):
I want to call it intimidating because the people I'm
naming it they are beat.

Speaker 1 (24:47):
But just to me, I think it speaks to like
your creativity. I mean like you guys are creating that
sound and like, shit, I feel it, But how do
I jump on it?

Speaker 3 (24:54):
How do I jump on this? You know what I'm saying,
Because it's like at that time the sound was a
little bit too different to me, that's innovation, you feel
me When somebody don't understand something, it's like, okay, man,
you're cooking with grease. Like you know what I'm saying,
Like didn't really rock, but like ain't nowhere around it.
For like the first five times, ten times I brought
it to the studio, but I only would bring that

(25:16):
beat to the studio. And I caught him on a
good night he had just did Tony Montana and then
he did Anyway Around It the same night. You know what,
I'm saying, but it was like he turned that beat
down so many times, but I could just hear him
on the beat. I knew he was on that beat,
and it just ended up being like a classic, you
know what I'm saying. At that time, it was like, man,
we were trying to make a name for ourselves. So

(25:38):
it's like just knowing, like now this beat is for
this person. No, lie, this is for two chains. We
ain't gonna get this nobody right now, Like I gave
it to a couple of people, you know what I'm saying.
But I knew that.

Speaker 1 (25:49):
That beat, that's what That's what I was asking earlier.
It's just like once you hear it, like you know
who's flow and and and it's gonna fit on it
in fact so fact, So you're known as someone who
is a monster with the drums. You're known as kind
of the drum king. And where did that kind of
come into your repertoire.

Speaker 3 (26:11):
I always wanted to break the rules, like whether it's
like this like the sound of the drum, like the Sonnets,
where it's like man, making that shit distort, or making
that shit like being a weird podcat, any sound that
we do like we all pushing each other like na, nah,
I sound too regularly, Like you know what I'm saying, like, nah,
we need to move to the left, we need to

(26:31):
move to the right. We need to slow it down,
we need to bring the volume up on the eight away.
I'm arguing with the mixing engineers like they're showing me
on the board where it's like, now we can't crank
that it away up anymore because of this, that and
the third, and it's like, but that don't matter. I'm
talking about how I feel like you know what I'm saying,
Like I'm trying to create the new rock and roll,
Like you know what I'm saying, hip hop to me,
it is the same thing as rock and roll. It's

(26:52):
just this is our rock and roll, like you feel me.
So it's like, now let's break the rules a little bit,
like let's make it distort, like you know what I'm saying.
Distortion always been art, you know what I'm saying, Like
people love distortion when they listen to rock and roll.
So it's like, man, like just always breaking those rules
and just being out of pocket. I feel like, you
know what I'm saying, and not just coming with that
same boom boom boom, like you know what I'm saying,

(27:14):
that the same you know what I'm saying, Like you
know how it's gonna drop, you know how the high
hat's gonna go, Like not not trying to do that.

Speaker 2 (27:22):
Rest in peace to my brother's school, but y'all had
created a sound that was crazy.

Speaker 3 (27:26):
Facts are you talking about school man? School legend? You
know what I'm saying, Like I ain't gonna lie school
like I've been doing school from like coming up in
Atlanta too, on the whole underground scene, like he was
always working, you know what I'm saying, coming out of
the East Side like duct tape like Alli, Like you
know what I'm saying. They had like a whole wave
like you know what I'm saying, And it was like

(27:47):
all of us were coming up, you know what I'm saying.
And in school, like we was always around the same ape.
But I always knew school corrap, like you know what
I'm saying, Like he was always hard. So then it
was like boom, we're moving around resting piece of bank
like I was moving around at this time. I would
be in La and then I'll come back to Atlanta
and then I'll be like, man, all right, boom, like

(28:09):
because I'm always thinking about like what I'm gonna do
for it, like we gotta do it for the city,
Like what's gonna be like another like city win. So
it was like bank Roll. I was like, man, I'm
locking with bank Roll, like and then we did a
couple of songs on my Ransom project and then like
we're we're working on some stuff and then boom, he
had passed. And then it was like School. I would

(28:29):
like keep in touch with School and he would like
send me songs here and there. School would either be
focused on music or he's not focused on music. So
I'm telling School like, bro, I'm here, Like you ain't
got to keep telling me send you beats. I'm here
like whenever you want to focus, Like you know what
I'm saying, Like I'm here. So then next thing you know,
School started dropping different mixtapes and I was hearing on it.
I'll be tapping in on his mixtapes and I call

(28:50):
him like, brouh, you went crazy on this on the
mixtape with you and told me you went crazy on
this mixtape that I had. Bro Boom, Man, my boy
Ducko gonna come to the studio. Man, y'all, y'all boys,
cook up something. I'm'na be back in town this week.
They did big God. I ended up using that on
Ransom too, and I was like my favorite song, Like,
like how he kept that motherfucker. So I was like, Man,

(29:11):
I told school. I was like, Bro, when I get
back to you, hey, bro, we just got to like
lock in, make a sound. You just put it out
and then Bro like, man, people gonna come to you,
people gonna gravitate to you. Bro, like cause you hard. Bro.
I don't know what you know what I'm saying. I
don't know what it's gonna take or what Like, you
know what I'm saying, Like, let's just whenever I get back, like,
let's just lock in. So he was like, all right,
Beck so boom. I was at Tree siund one night,

(29:33):
was like twelve or one in the morning. I thought
about it. I was like, damn wants to hit school.
I hit him. I'm like, Yo, School, what here you at.
I'm in the city. I'm I'm about to drop you
the address. Pull up to the studio, send him the address.
He came out to the Tree sound. We did bring
it back as soon as he walked in the room,
I was making to bring it back beat. As soon
as he walked in the room, he was like, I
said something, my Motherfuckingry Diamond's on a young nigga dancing.

(29:56):
You know what I'm saying, Like, hey, man, load to
beat up, hold to beat up. I'm like, bro, I
ain't even down to beat you know what I'm saying, Like, man,
load that ship up. Bro, that shit hard. I'm like, man,
record the beat man, let him get on it. So
he got on it. Did you do those thing which
one No, we ain't do, Dophin, Yeah, that's what that album,
the last album did. Yeah, they didn't do no thing,
but man, those were hard. No thing was hard.

Speaker 2 (30:19):
Man.

Speaker 3 (30:19):
He got man recipes. Cool man, he got so much music.
Like you know what I'm saying, word it up, like
for real. But that Edge Roll project, it was just
something special. That shit was major for the song, Like, yeah,
I ain't hurt that Edge well, man, you gotta go
tap in. I definitely heard it. That shit definitely classic.
You know what I'm saying. I got a classic for sure.
Word it up.

Speaker 2 (30:36):
Twenty thirteen, Miley c Ide was Beyonce Future to Chains
Kendrick all the who's who in music? How did that happen?
And you signed with in the school? But at the
same time, talk about all that happened at the one
time I dropped.

Speaker 3 (30:49):
Songs with all of them on it. You know what
I'm saying. Yeah, I started off in the underground in
Atlanta and then just staying down with like Pluto, two Chains,
Gucci and just looking at them like, man, these guys
gonna be the biggest. We're not think about no Grammys
when I think about but I'm not thinking about nothing else.
I'm just looking at like, man, these guys are gonna
be the biggest. And then like just locking in with them.
And then we're coming through the game and you know

(31:10):
what I'm saying, Like like we're saying anywhere around it
and and Dirty Sprite and itching. I was all twenty eleven,
so twenty twelve it was that's for a future, you
know what I'm saying. And then with two changes, it
was Got one and Lila twenty eleven, twenty twelve, it

(31:31):
was music as you made. I don't know how you
remember this, because this was a significant part in my career.
I was hungry. I was like starving like literally like
I ain't have no management at this time. I ain't
know nothing about the music business. I won't getting no music,
I won't getting no money out of music or nothing
like that, you know what I'm saying. So like Booing
twenty twelve, it was like no, lie U turn on

(31:54):
the lights and bands make a dance. I was like
the breakout year. I still didn't have no management. That's
when I met my management, you know what I'm saying.
And then Boom. After that it was like uh Rihanna
poured up, you know what I'm saying. That I met
with Miley's label Boom. Then we did We Can't Stop
twenty three. That was twenty thirteen, and you know what

(32:16):
I'm saying, Now we're cooking with now we now we're
cooking like our executive produced Miley album. I'm right here
moving while with Pluto we dropped Move that dope. I
ended up meeting with Jimmy Ivian like every day, like
from twenty twelve to twenty fourteen. When I signed my deal,
like I was, really I was. It really took me
like a year and a half, two years to even
sign my deal because I was just nervous about that shit.

(32:37):
I'm like, I'm winning. I'm winning when it comes to production.
I got thirteen songs on the radio. Do I want
to turn into an executive? You know what I'm saying.
I ain't want to do anything where I was gonna
lose that. So I was nervous at that shit. And
then that's when that's when Jimmy was just telling me, like, man, yo, man,
you can't lose. You're not a loser. You know what

(32:57):
I'm saying. You can either learn to earn. And that
shit stuck with me. You can either learn to earn.
And I just signed my deal. First artist, first artist
we signed was Ray Shrimmer. You know what I'm saying.
That's Ear Drummers backwards. Like you know what I'm saying,
Jimmy and Swae Lee, they were already stars. So I'm like, man, bro,
I never knew that it's still going on from Pepperhead
I was. I was ten years ago. So my record label,

(33:19):
Ear Drummers I started two thousand and seven, you know
what I'm saying. When I came with the record label,
I was like, man, I'm gonna have a rock and
roll side. You know what I'm saying, and I wrote down,
what's ear drummers backwards? So I wrote it down and
it was Ray Shrimmer. I was like, I'm gonna start
a rock band. You know what I'm saying. That's crazy.
And then when I met when I met Jimmy and Sway,
they were rock and roll artists to me when I

(33:41):
saw them, they straight from Tupelo, Misissippi. My boy P
Nasty had them at their cribs. Yeah, I already seen
him a couple of times. They came to the club
with us a couple of times. They were young, you
know what I'm saying. And I know they were songwriting.
But when I saw them, like in they artists mode
and like Sway Lee rapping and Jimmy but the streaming

(34:01):
ad libs or like rapping with him and then Jimmy
are jumping start rapping and Sway he got the same energy.
I'm like, bro, I don't know what I lean I
remember I leaned on the wall. I'm like, bro, he dudes,
they some real rock stars, like and I told him
this ship. I'm like, bro, y'all some real rock stars.
So boom. Next thing you know, their name was Sway,

(34:21):
so it was Jimmy Swaying and sway Lee. I was
just telling them like, man, my man is sway in
the morning. So if I go to stat like you
heard that new ship I got with Sway, You're gonna
think like you got something sway in the morning. Like damn,
that's crazy. I ain't no Swaying to morning to be rapping.
You know what I'm saying exactly. You know what I'm saying.
Like it might not register, but I'm like, man, what

(34:43):
y'all think about the name race Shremmer? So they were like,
what's that? I'm like, man, that's drummers backwards. They're like, oh, ship,
that's hard. And then they're like, man, yo, we'll fuck
with that. Hell yeah, man shrim Life. I'm like, that
could be the name of the album. See with them,
I already knew they gonna make anything cool. So it's like, man,
they could they could be that rock band. And it's like, man, Yo,
it's gonna take people a long time to even catch

(35:05):
up with it, and they ain't gonna know how to
say it. But it's like, man, we don't go to
these other countries and tell people like man, yo, we
only know how to speak English. You know what I'm saying, Like,
speak English, Like nah, you learn their language. You move
how they move, you eat how they eat. You know
what I'm saying. So it's like, man, boom, if they
like y'all records, y'all got all these hits, they gonna
learn how to say ray Shimmers. They'll learn that there's

(35:25):
Beckwards ten years later. You know what I'm saying.

Speaker 1 (35:29):
I want to mention a few names to you, Jared,
what it was like the working process with them in
what that track meant to you? Rihanna and poured.

Speaker 3 (35:37):
Up shout out to Taran and shout out to my
brother Jabo. You know what I'm saying, shout out to
old man man. He kept bugging me like cause that's
when bands that make a dance was hot. So he
kept saying like, Yo, Mike, if Rihanna just had the
female version of bands and make a dance, you know
what I'm saying, Like, should be out of here. And
I'm like bro Chris saying like I hate when people say, like, man,

(35:58):
you know, if I had Black Beatles, just give me
black Beatles, man, I hate Yeah, I just hate that.
So that but it was like it was like this
beat that my boy Jabo had made that was exactly
like bands make a dance. Like you know what I'm saying.
It was like another version. I was like, man, y'all
really want that? I bet bo when I played the beat, tryan.

(36:18):
He a hell of a rider, you know what I'm saying.
So he just goes straight in, start catching the vibe,
you know what I'm saying, and then boom, Chris Brown
come to the studio and you know what I'm saying.
Chris Brown come to the studio and he here. He like,
You're like, man, yo, shit reheard this. I was like, man,
she ain't heard it yet. He was like, man, I'm
gonna tell her about this one. And I was like
I'm like, man, that's hard. Man say let's you know

(36:40):
what I'm saying. Next thing, you know, Rihanna called the
next day called Obam, was like, Yo, what's the song
Chris talking about that? Mike Will got you know what
I'm saying. Next thing, you know, boom, she hears pour
it up. She cuts that shit last minute for the album.
I didn't even know if I was gonna make the album.
You know what I'm saying. Shout out to Karen Kuak
for flying us out there having us work on that,

(37:00):
and you know what I'm saying, that was like a
beautiful thing, like and it was crazy because Rihanna she
never had a record like that at the time, you
know what I'm saying, Like, she never had like a
strip club record, like a club record, So it was
like that was an all the way new sound. And
that's what I try to do, like when I'm producing
these records, like I always want to make that record

(37:21):
world person remembers where they were at when they heard
they ship or what they were like what year was.
That's why I can read off these years like that,
you know what I'm saying, because I want to you
want a person to feel like that, Like yeah, Like
I remember, Bro, I was.

Speaker 1 (37:36):
Like, there's a music you hear something like Man ninety seven,
I was in high school. This is when I heard
when you said j.

Speaker 3 (37:42):
Z exactly, I was in college. U c l a
fact with.

Speaker 1 (37:45):
The mother fucking Tower Records about that ship put in
my New Tahoe that someone paid for and got for me.
And that ship was you know what I mean? So
you always time and place with music.

Speaker 3 (37:54):
Right, And that's crazy, Bro, And that that's the good
ship or whither that shit can be like some potato chips,
you know what I'm saying, to eat the whole bag
and never get fulled, Like you know what I'm saying,
Like you could hear this shit a thousand times and
never real even remember that shit. You know what I'm saying.
But it's like those songs that really stick with you
are like those ones for real, Like that's what I

(38:16):
always try to aim for when I'm producing these records.

Speaker 1 (38:19):
Black Beatles, you spoke to it. It went viral with
Obama and the mannequin challenge.

Speaker 3 (38:24):
Black Beatles, right, Black Beatles. That was a crazy one
because it was like the dude who gave me my
first shot, Gucci, and then the artists that I'm my
first artist, and I'm giving them they real shot, you
know what I'm saying, and their first song together, and
then it's all of our first number ones at this point.
I didn't work with Rihanna, Beyonce, Miley, everybody. You know

(38:47):
what I'm saying, But like I got that number one,
but the person who gave me my first shot and
the artists my first artist, Yeah, you know what I'm saying.
First number one hot, one hundred. That was crazy in
the whole world. Bro, it was only that and the
pandemic made the old world freeze, you know what I'm saying.
And I was crazy and it was like that beat.
I felt like that beat wasn't ever. It wasn't even done,

(39:09):
and that just showed. That just speaks to like Sway
Lee how much he's like how much he's an instrument,
you know what I'm saying. I thought that beat one done,
but I ain't know what I needed, so I just
sent it to him like, man, man, this beat hard.
I'm gonna ask something else, but just get on there.
He was like, man, this shit hard. He did the
Black Beat, the hook, send it back. Gucci just came
home from jail. I'm like, bro, listen at this song.

(39:30):
Sway just sent me, like, bro, get on this joint.
Gucci got on that joint. Boom, Jimmy got on that joint.
You know what I'm saying. We had already turned in
the album. I was like a last minute joint right up.

Speaker 1 (39:42):
Kanye Mercy.

Speaker 3 (39:43):
He was the first artist of Flyers out of Town
to work like before then, I had never worked out
of time, so he flew me to New York and
my boy pen Ask and we were just up there
cooking up and like I wanted like one of my man,
my man j P.

Speaker 2 (39:57):
Man.

Speaker 3 (39:57):
He had told me, like, you know what I'm saying,
I don't know that people want me to say the
name or not. Man, that's my man. We're here. Tell me, like, bro,
do not just go up there to put your drums
on shit. You know what I'm saying. Make sure y'all
do a song together. I was like, man, ir Bet
so yay. First thing, first day I meet him, he
was like, man, I got this song, just needs you
to put your drums on that shit cause you know

(40:19):
what I'm saying, Like yeah, like I need to put
your drums on this ship here, like man, because I
fuck with your drums here. Like there's a time in music.
So I respected it because he came to me and said, like, Yo,
there's a time of music where, like you know what
I'm saying, a producer comes through with a certain sound
and a certain frequency and they just need the right
artists with the right tone to just cut through on

(40:39):
that ship. And right now, you that guy. And this
was my first day meeting him, So I'm thinking like
there's so many different producers around. I'm thinking, like, man,
one of his a and I probably just flew me
up here. He ain't gonna know who I am for real,
like you know what I'm saying. But when he said that,
I was like, damn, that's hard. So I'm like, all right, Bet,
you know what I'm saying. So I was really more
focused on, like I really wanted him to get on

(40:59):
like some these beats that we had. But then like
he played Mercy and he played it with no drums,
and I was like, Damn, this shit is hard. You
know what I'm saying, This shit is a hit. Bro, Like,
all right, Bet, he let me hear the one with drums.
He was like, I like this version, but I feel
like this version is kind of like doing the drums
that you do. Like, so I just want you to
go in and do you know what I'm saying, put
your touch on it. So I'm like, all right, Bet

(41:20):
did some drums on that. And the next thing, you know,
like he took it to the radio with another song
Boom went on the radio. That shit just went up.
I was like, damn. I was like, At the same time,
no life came out same time, turning on the lights,
got on the radio, same time. Juicy J just put
out bands make a dance. So it was like all
this shit just happening like quick. You know what I'm saying.

(41:40):
I'm like, man, you did this. It's twenty twelve. I
did the bare minimum with these drums. But it's like
that yeah effect, Like you know what I'm saying, like that,
Yeah heavy shook that ship.

Speaker 1 (41:51):
Up bands to make her dance. Juice and Jay Wayne Chains.

Speaker 3 (41:57):
Yeah, that shit was crazy. I had sent Juice. I
had just linked up with Juicy J, and I send
him a pack of beats and then it was just one.
It was that beat. I was like, Bro, this one
right here is a smash. You know what I'm saying, Like, Bro,
please get on this wool. So he had hit me
back here like yo. I was at my homegirl house
last night and man I did a set up in

(42:17):
her kitchen and man, bro went in on that beat.
I was like, you know what I'm saying. At this time,
I'm like, what the hell he talking about? He did
a set up in the kitchen, Like I'm like, send
it to me, un so boom he sent me. He
sent me the song man. I heard that ship, I
was like, all I saw was Magic City d o
A Onnest. I'm like, bro, I already know what to

(42:37):
do with I was out of town. I was in LA.
I was like, I know what to do with this.
I called him. I'm like, hey, we got hit. I'm like,
as soon as I get back to Atlanta, it's gonna
be the biggest song in the strip club. Like, bro,
I promise, you know what I'm saying, Boom, next thing,
you know, go back to Atlanta playing the joint strip clubs,
shit go up and it was just juicy on there.
You know what I'm saying. And then I played it
for a couple more people. We were trying to figure

(42:58):
out who we wanted to get on there. He had
set Wayne. Wayne got on there, Two changs got on there.
The rest was history. RE released it on my mixtape
and then boom.

Speaker 1 (43:14):
Jay Z Beach is Better?

Speaker 3 (43:15):
All right? So Beach Is Better started off like Big
Sean had ten to ten. He had that so on
ten and teen, so he wanted to beat around ten
to ten. So like we had did a couple beats
around like the a cappella voice. Note that he had
and Beach is Better was one of them, you know
what I'm saying. So my boy Mars had sent me
a couple of options, and I was like, yo, man,

(43:36):
this beat hard, like hey, do this and that on
the I'm on the phone with him telling them different
edits to make d and then next thing you know,
Mars sent me over to beat. I'm in the studio
with Miley. There's two people from Coldplay right here. They
had pulled up just to like hear different beats, you
know what I'm saying. And then I heard Miley said
ad lib so that and that Beach is Better as

(43:57):
an ad lib that I took from like Miley session
and put like an effect on it and put it
on this beat that Mars has sent. Then I sent
it the Big Sean like, bro, this this gotta be
the one, Like you know what I'm saying. We put
the extra juice on this one, like this gotta be
the one. So I never heard from Big Sean. Then
the next week I had the session with Hole, so
I was locked in with whole the whole week and

(44:19):
then boom, so I'm playing on different beats and my
man Ryan Press was like he bro playing that Big Sean.
I'm like, man, I can't do that the Big Seane
bro like, yeah, he's gonna fuck with that. He was like, Bro,
he was like, man, just playing for him, like you
know what I'm saying, Like at the end of the day,
you don't ever know, like playing for him. I was like, man, y'all,
I got this beat, that idea for Big Sean, but

(44:39):
I'm waiting to hear back from him, you know what
I'm saying. He was like, oh, yeah, let me hear.
So I played the beat. He heard that shit. He
was like, yo, yo, so what Big Sean say. I
was like, man, I ain't heard nothing, you know what
I'm saying. He was like, Yo, We're gonna get Big
Sean seven business days, you know what I'm saying. I
was like, I'm like, all right, say last you know
what I'm saying. And so I have reached out to Sean.
I was like, man, bro, what we're gonna do with

(45:01):
with the tender team? He was like, no, I had
I had this other version that I like. I was like, oh,
for Rel was all right, bet. I was like, that's
all my brother, that's my areas brother. You know what
I'm saying. Too. Yeah sure, so yeah, for sure, you
know what I'm saying. So next thing, you know, like
hope I got on that beach is better. I remember

(45:22):
Cala had called me like yo yo, Hove did a
record on that one beat you left him. He was like, man,
I'm trying to get him to put a second verse
on him, like this ship is going to be a problem.
And then everybody kept I will hear about it. It
was like, you know what I'm saying, I would hear
about this record. They finally said it's going on the album.
So then boom whole It's crazy because Whole rock with

(45:44):
his engineer like the long way, like Guru, you know
what I'm saying, Guru a goat. But at this time
I'm trying to like really stamp that sound. Like so
I don't want anybody to like mix any any records
of mine because you know what I'm saying, I had
this injury there that I worked with Jason Joshua, and
you know what I'm saying, Like with him, it was

(46:04):
like we already went through a thousand songs already and
we didn't already he like we got this sound, now,
we got our product supply chain going. So now it's like, yo,
Big John, man, I need I need my man to
mix the record. Big John like, look, Mike, this ain't
the time to be difficult. Man, like this whole man
like just send the files, like, don't don't try to

(46:25):
be difficult. I was like, broh, listen, I'm not trying
to be difficult, you know what I'm saying at all,
Like if hole fuck with guru like Google mixed the
vocals that my man mixed the beat. I just need
to beat the sound how it's supposed to sound like,
you know what I'm saying. So he like, man, I'll
high light him. I see what's up. So boom. Finally
they say like okay, cool, go ahead and do it. Boom.

(46:48):
We mixed the beat, you know what I'm saying. They
send the vocals over that's mixed, We put it with it,
they send it back. They're like, yo, man, this shit
is crazy. You know what I'm saying. So next thing,
you know, they ended up reaching out to my man, Jason.
Jason ended up mixing a couple more songs on the album.
That shit ended up playing out. You know what I'm
saying right up, which is better.

Speaker 2 (47:08):
Do a lot of do. A lot of rappers send
you their vocals without the beat and you bill beats around.

Speaker 3 (47:14):
They do that a lot. It's different every time, you
know what I'm saying. But I like doing that.

Speaker 2 (47:18):
Though that's that's a hard process or it's easier for you.

Speaker 3 (47:22):
I love that it's easier for me, you know what
I'm saying, because we could just I got the tempo,
I got the temple that rap too, you know what
I'm saying. We got you know what I'm saying, we
got the click track. We could just make a beat,
like you know what I'm saying. I feel like every
song is always different because sometimes like like with a
super producer, right to me, like a super producer is
like somebody who could be like hands on or hands

(47:43):
off with the record, you know what I'm saying, and
go through the whole process. Like you can make the beat,
you can write the lyrics, you can engineer, you know
what I'm saying. You can mix the song, or you
can be hands off and get the right engineer to
mix it, or get the right person to make the beat,
or get the right person to do the melodies, and
get the right person to do the drums. Or get
and be able to communicate with the engineer and see

(48:05):
it all the way through. You can't even communicate with
the engineer if you don't understand what revert delay. You
know what I'm saying. All that kind of stuff is,
you know what I'm saying, like verify or you know
what I'm saying, the tempo or speeding it up a
couple of bpms. All that kind of language is like
you can't even communicate or even know what you're looking
for right there if you don't even if you're not
if you're not that you know what I'm saying. But

(48:26):
like I feel like with a super producer is automatic,
you know what I'm saying. You can communicate with anybody
from like I said, the musician in the room to
the drummer, to the person that's on the beat machine,
to the songwriters to the artists and knowing like put
this artist with this artist because this is rare, and
like you know what I'm saying, this is going like
Midas Cyrus whiskyly from Juicy Jay is like they don't

(48:48):
see Midy Syris rapping, you know what I'm saying, Like
they don't even know who to go to get to
write a rap for Miley Cyrus's song or you know
what I'm saying, who to get to get that beat
and make it super futurist, you know what I'm saying.
So it's like being hands on her, hands off of
that shit, like cause like black Beaters, Like I made
that beat quick, you know what I'm saying, Send it
right this way, booms, you know what I'm saying. So

(49:10):
it's like it's different processes on producing every song, like
and you got different ways, Like the new joint I
just did with Sexy Red, perfect match. That was a
song that she already had in her head, so she
just went in. She she wrapped it a cappella and
now I made a beat around it right there. You
know what I'm saying. At the studio, just doing your

(49:31):
process and just knowing, like I'm big on a product
supply chain. Now that's what I picked up over these years.
It's like just looking at everything like the product supply chain,
raw material supplier, manufacturer, distributor, retail consumer. You know what
I'm saying, and knowing that I need to live I
like perfect it and I live over here in the

(49:53):
left space, like in the raw material supplier manufacturer. So
sometimes I'm the raw material where I might make the
beat and then it might go to the studio and
be the supplier and bring that beat, or sometime the
artist might be the raw material and like Sexy Red,
like have this song that she wraps a capella and
then she supplies that and then I make the beat

(50:14):
around it and then add different features on it. She
added two more features on there, and you know what
I'm saying. So, and then you have certain processes where
it's like I got a whole production team, you know
what I'm saying, where it's like I pull up on
P Nasty or I pull up on Mars. I'm like, bro,
I hear this person on this beat, and then I'm
the supplier. I'm taking this raw material. I'm the supplier

(50:36):
and I'm bringing it to this and we're manufacturing something
right here. And like like move that dope was like
a sound like that. It was just like like different pieces,
like you know what I'm saying, Like it was like
Future laid the hook and then I had an old
Future verse, you know what I'm saying, And it was
like we were trying to wrap up, honest, so I
had this Future hook on this one beat, and then

(50:57):
p Nasty had a hook on the same beat that
he was that he was writing for Shrimp. That's not
popping bottles? Don't it make you feel good? Like him?
And Shrim wrote that. So like Boom I was like, man,
this is sound hard under this one hook that Future
did on the same beat. Pee, you know what I'm saying.
So Boom took that made that the ad libs took
this old Future verse, put it right here. Let Pharrell here.

(51:20):
Pharrell like, oh shit, bro, I gotta get on this.
I'm like, all right, bet Boom ad Forrell on here.
I'm not even telling Future the whole time, Like you
know what I'm saying, Like add Forrel on this joint
the next thing. I'm not next thing I know. I'm like, yo, bro,
man see it. Push your ad verse on here. You
know what I'm saying. Push your get on their body Forrell,
send another verse back, like y'all man, how to go harder?

(51:42):
You know what I'm saying, Push you on two phrases.
But I like parts of Pharrell's first verse. So Boom
I took parts of pharrell first verse in the second
verse and piece that shit together and send it and
I sent it to Forrell and I'm thinking he heard it.
I'm thinking like, cause he gave me the thumbs up,
so I thought he heard it. Man, he ain't even
hear it. So when the song came out, he was

(52:03):
like like, what the hell? Like what is this?

Speaker 2 (52:06):
Bro?

Speaker 3 (52:07):
Like, this is not what I sent you? Like, I'm like, Bro,
I sent it to you. I got the green light like.
He was like, man, I thought you just mixed what
I sent you, bro, Like you know what I'm saying.
So he was thrown off at first, but everybody loved
it and the Future loved it, and we was at
the video the Future told him we loved it, so
he felt cool when it was shot the video and
the world ended up like loving that joint.

Speaker 1 (52:25):
So it's like, yeah, Humble, I want to Grammy in
twenty eighteen with Kendrick speak to that process.

Speaker 3 (52:33):
Man, it was crazy, men, Kendrick, we were rocking, you
know what I'm saying. Before we even did a song,
we was already rocking for seven years. So I started
out rocking with Schoolboy q Q linked me and Dot.
I turned to Hello Beach for Good Kid, Mad City,
Hello Beach for to Pimple Butterfly, and then like he
dropped those projects and then like right after that, he
was just like, man, bro, I'm gonna pull up on you.
I about to start this home. I want to just

(52:53):
pull up on you early and start the album early.
So boy, we pulled up at the crib. Man listen
to a bunch of beats, grabbed a bunch of beats.
I'm like, man, damn, I hope I miss his next
album with whatever he talking about. And then he just
had this one week where he just locked in and
then he did Humble, he did DNA, and he did XXX,

(53:15):
and he sent me the He sent me like videos
on his phone. I'm like, damn, man, it ain't going crazy.
I can't wait to get to LA. Went to LA.
I couldn't even wrap my mind around like XXX. Humble
was like an automatic banger like XXX. I couldn't wrap
my mind around in a good way. I was fucked up.
It was like that innovational process or stage, like you
know what I'm saying. DNA. I was like, Yo, this

(53:37):
is a single right here, like this, how you come
back and just go crazy? Like and me and him
were like Dad sat on that and he was telling
me like Humble. He was like, man, Bro, I'm I'm
gonna let you get Humble for Ransom too. I'm like,
hell no, like Humble like him, Humble was a banger too.
He was like, yeah, but it just don't fit my album.
I'm like, Bro, you tripping, bro, like but I take it,
but like you tripping, like you know what I'm saying.

(53:58):
And then he was like, man, I think that's the one.
I'm gonna let you know, but I think that's the
one gonna let you get for your album. I was like,
all right, bet so. Then I left the city. I
was like, bron, I was telling my boys. I was like, man,
Kendrick got this hard ass song.

Speaker 2 (54:11):
Bro.

Speaker 3 (54:11):
He talking about let me use it for the album.
It'll be big for the album, but it's gonna be
bigger if he put it out, like you know what
I'm saying. So he hit me. He was like, man, yo,
top saying the same ship, Bro, He's saying Humble the one.
I was like, Bro, I'm telling you, bro, that's the one.
He was like, Man, all right, which one you think
I should go with first? I was like, Man, if
you go on radio, man just going Humble. That ship

(54:32):
already hit. DNA just shows like, man, you you the
hell of a rapper. They already know that, but they
gonna get that regardless. Yeah yeah, and like he dropped
that Humble, That shit just exploded. He dropped. He shot
that crazy video. She just went crazy.

Speaker 1 (54:47):
Man shout out Last but not least Queen Bee Lemonade.

Speaker 3 (54:53):
Formation was crazy. Swaylee and Jimmy they hell of the songwriters, right,
but like if you tell them like yo, I need
you to write this song for Beyonce might throw them off.
So it's like I snuck it in. We're riding in
the car and we're going to Coachella, and then I
had this beat like Beyonce was already hitting for like records,
but I was like, man, we doing something with Beyones. Bro,

(55:14):
Like this gotta be like a woman empowerment. This gotta
be like single ladies level. This gotta be like you
know what I'm saying, It's gotta be like up there.
So I was in the car with them and I
was like, man, bro, I was just playing beats. I'm like, man,
we need to make the next man female anthem. Bro, Like, man,
we gotta make we gotta go single ladies level. Yeah,

(55:36):
I was like, man, we gotta just turn like we
gotta turn the females up, like bro Like, Man, we
gotta do. I was just throwing that out there, and
then swe was just like nahn for real, y'all can
write a female joint. Y'all ain't even got to think
about who is Forger's, but like what'll be like a
chant like they just looking for, like that that sweat
that y'all coming with, cause it's like y'all different, like

(55:57):
you know what I'm saying, y'all coming in a different pockets.
So Man Sway started freestyling to the beat and then
next thing you know, I heard him say, okay, lady,
and now let me get the information. I'm like what
you just said. And he was like he was like okay, lady,
you know, let's get it in for I'm like bruh.
I turned out, pulled out the voice notes. He rapping
that shit. And then next thing you know, and Jimmy

(56:19):
came to the studio. He heard him. Jimmy went in
the booth, laid some shit down, and I was like,
that's all y'all got to do. Don't even worry about
making it the song or nothing like boom, So I
took that that reference vocal. We started working on some
other shit, and I sent like four records of Beyonce
and then I had went to I had went to

(56:40):
a Laker game and like Brian was playing. You know
what I'm saying. This before he was on the Lakers.
You know what I'm saying, he was playing with Cleveland.
But I saw Brian playing out running the Rich and
Rich had already put together the commercial that I did
for Brian in twenty thirteen with the Nike commercial, so
boring saw Rich. We staying at the same hotel. He
was like, man, come get some dinner. You know what

(57:01):
I'm saying. After the game, I'm all right, bet So
he had called me later and then I was down
there eating with them, him, Brian, everybody, the team, and
then next thing you know, hoven Be just pulled up,
you know what I'm saying out of nowhere. Then everybody
down there were just passing the os, just listening to Ship.
And then next thing you know, b was like, yo,
I like one of those ideas you sent me. I

(57:22):
was like, for real, And then I was like which one.
She was like, man, that formation. I was like, man,
I was hoping that, you know what I'm saying. She
was like yeah, yeah, Like I fuck with that, Like
I'm gonna write some stuff too. I'm gonna go in
do some verses and this and that this, And now
I was like, oh yeah, like that's hard. So next thing,
you know, I go to New York licking with her
for like a week, and then we just putting the

(57:43):
final touches on that. But now she has like a
real record, like she just took the okay, ladies, now
let's get information. She took like certain like like a
little line or two that she that she got inspired
by and then wrote her verses and now it was
like a whole record about like not only female ampowerment,
but like black empowerment, her people empowerment, her family empowerment.

(58:05):
Like you know what I'm saying. She just yeah, it's
just like some boss up female viobes. And then so
we just stayed up there in New York and meet
her plus her engineer, you know what I'm saying, and
we just put like the final touches on the record
or whatnot. And next thing, you know, like bro, we
get formation. That's crazy.

Speaker 1 (58:23):
Came together all right, man, last part quick hitters. First
thing to come to mind. Let us know top five
music producers of all time in your opinion.

Speaker 3 (58:33):
We gotta say Quincy Man, Quincy, Many Fresh, Juicy J,
Kanye West. You know what I'm saying. You know what
I'm saying, Like yeah, wor like all of them right there?
Any any producer that came through and disrupted the game
like my bad for real, you know what I'm saying,
for real for show Timbo. You know what I'm saying.
But like any any any producer that just came through

(58:54):
and like disrupted that game, like I feel like and
and showed that range. Quincy like this man, he had
such a vision I feel like as a producer, as
a as a as like a dope producer, like you
you got the vision, You're able to see the unseen.
So like Quincy was like real dope at that from
from my understanding, I don't really know him like that,

(59:17):
but I ain't never really worked with him or met him,
but just like like studying his projects, like and he
knew how to be real strict and he knew how
to make that ship cut through, like you know what
I'm saying any producer that does that, like for real,
Like you know what I'm saying, Timbo, Kanye, you know
what I'm saying, Like like then you got other producers too,

(59:38):
like like Mark Ronson and yeah, you are all kind
of different people, quick man. It's yeah, I don't even
know why you ask that. Shout out to all of them.
Shout out to all the producers that's changing the game.
That's original, and that's you know what I'm saying, doing
their own thing, that's out of pocket. Childhood crush, childhood crush.
I had a lot of them, you know what I'm saying.

Speaker 1 (01:00:00):
Me a top two or three.

Speaker 3 (01:00:01):
Who was you crushing on Leah for shows? Yeah? Hopefully
I was crying when she died and I had plans
like she was a queen.

Speaker 2 (01:00:12):
Actually touched the childhood crush though she was the one
man to say that they touched the child one repeat,
no skips.

Speaker 3 (01:00:20):
Michael Jackson, Thriller, Oh nobody said that. Michael Michael Jackson, Thriller,
and Prince Purple Rain for show All Lives on Me
fifty Get Richard. I trying them for it right there.
I'm my holy grail when I if I'm producing any album.
I'm I'm gonna tap in. I'm gonna tap into the
nine songs on on on Thriller, nine songs on on

(01:00:42):
Purple Rain. It's very focused for all eves on me.
It's like Longest Hell. But there's so many bangers. Get
rich of I trying. It's like bangers after.

Speaker 1 (01:00:50):
Bangers classically still sleep on it.

Speaker 2 (01:00:53):
Don't give.

Speaker 1 (01:00:55):
Five dinners that are alive.

Speaker 3 (01:00:56):
You can't ask for these, you know what I'm saying?
Name five people, bro, Yes, you have dinner with you?

Speaker 2 (01:01:05):
You tell me, Bro, I asked this question every damn
there on my show.

Speaker 3 (01:01:09):
Get your answer. No, No, we never answered it exactly.
You want to ask me against that alive?

Speaker 2 (01:01:16):
I would do uh dead alive, Michael Jordan's, Malcolm x
hueyt P Newton, Uh Mega Evers and probably Gina Hall
your crush.

Speaker 3 (01:01:30):
Don't ask me.

Speaker 2 (01:01:31):
I can name another five right now.

Speaker 1 (01:01:32):
That's your first.

Speaker 2 (01:01:35):
I want sabilitate some funny something, you know, I want
to learn something. I want to look at something too,
maybe touch something that's gonna happen. You see any guests
on All the Smoke, who would it be? But you
have to help us get your answer on our show
sightly that that's a good Yeah.

Speaker 1 (01:01:55):
Easy, he's in l A too.

Speaker 3 (01:01:57):
Any Yeah yeah Miami, Miam. We need to make that
happen while man, you know you're swizzy.

Speaker 1 (01:02:03):
Yeah, Mike Man, We appreciate your time, continued success. Congratulations
on all the new projects with the n b A
and and the new stuff you have coming. And keep
us in mind for our new all smoke jingle.

Speaker 3 (01:02:14):
We would love a jingle, man, for sure. I got
a couple of bars for it.

Speaker 1 (01:02:18):
Jack is out in Atlanta. You might use those bars,
you might throw them away, but.

Speaker 3 (01:02:21):
We still write a distract about this.

Speaker 2 (01:02:29):
Yeah.

Speaker 1 (01:02:29):
Man, we appreciate you.

Speaker 2 (01:02:30):
Man.

Speaker 1 (01:02:31):
You can catch this on YouTube. You know where we're
at a ship now. Smoke production, big Boy, we just started.
You're the second show under the new umbrella. Baby, appreciate you.

Speaker 3 (01:02:43):
Inspired by Big Big On Productions. You would be like
all the Smoke productions. That could be your little tag.
You know what I'm saying, little kid.

Speaker 1 (01:02:52):
We'll see y'all next week. Man, appreciate
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