September 18, 2025 • 40 mins
Rory and Mal check in with Hit-Boy to congratulate him on becoming completely independent, ask him how he really felt about his Verzuz against Boi-1da, and play "this or that" with the best hits of his catalog #volume
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Episode Transcript
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Speaker 1 (00:01):
The volume.
Speaker 2 (00:07):
All right, Rory, we are back today. We are joined
by a friend of the show family.
Speaker 3 (00:12):
Uh.
Speaker 2 (00:12):
It was actually one of our first guests, man ever. Yeah,
we sat down with him in l A a few years
ago and since then he.
Speaker 1 (00:18):
Is Live show too, Live Show.
Speaker 2 (00:21):
The Live Show shouts the big hit performed at the
live show in l A. Obviously, somebody we're very familiar
with has been doing legendary ship for years. It's continuing
on that pace, not slowing up. One of the hardest
working guys in the industry, one of my favorite people
in the industry.
Speaker 1 (00:37):
Hit Boy, my God, and most back for another one exactly,
most importantly the independent hit Boyd's a big hit.
Speaker 3 (00:52):
You know what I'm saying, Well, you know what I mean.
It's the real hit free.
Speaker 2 (00:56):
Are you feeling, man, great brow that is completely in
the clear, Yeah, new man bro.
Speaker 3 (01:01):
I just like you know, had a lot of dark
times during them days.
Speaker 4 (01:04):
But you know now I got shit in retrospect and
I could just see like everything was needed, it had
to happen. It had to happen just to get me
to this place. And I'm moving like with it just
way more sharp vision now.
Speaker 2 (01:16):
Now for the people that don't know, you're completely out
of your original deal if you was stuck in for
for eighteen years.
Speaker 1 (01:23):
Eighteen years.
Speaker 3 (01:24):
I was one year out of high school. I was signed.
That was when I was nineteen.
Speaker 4 (01:28):
How did you get that deal? I got that deal
on my space. Yeah, going to my space. Mat Paulo
to down on my space and he was like, you know,
I just was a fan of his music. He was like, man,
you know, I'm more than.
Speaker 3 (01:39):
Just a producer.
Speaker 2 (01:40):
I could really like help guide you through your career
and you know, put some place together for you.
Speaker 3 (01:44):
So when we linked to you end up giving me
the publishing deal.
Speaker 1 (01:48):
Yeah, can you explain what a pub deal is? Just
to the you know, average average.
Speaker 4 (01:52):
It's like, you know, it's a company that collects money
on your behalf, you know, and they take a percentage
for that. And my particular situation was like there was
no end date because of you know, terminology in the
contract and whatever you want to call it. Oh, ancient
terminology stuff that just got outdated that was still being
upheld in my contract. So I just got stuck in it,
(02:13):
you know. But at the end of the day, bro,
like it went down how it went down, I'm happy
now for sure.
Speaker 1 (02:18):
Because I as soon as you were cooped with that,
gave you come on within a year maybe quick. Because
I mean I feel like especially producers like you, because
there's the a list legendary producers that produced like once
a year maybe, and that that's where pub can be
like all right, whatever, it's not a huge deal, but
you work actively with a list artists or people we've
(02:40):
never even heard of.
Speaker 2 (02:41):
And that was the part that was part of it too,
Like me, just like doubling down and doing so much work,
Like man, some gonna get me out too.
Speaker 4 (02:47):
I give you six Come on, bro. I was like, man, Bro,
like what's gonna take? You know, what is it gonna take?
And it's just like you know, I guess it.
Speaker 2 (02:54):
Just whatever desirain Hold said to them, it just it works,
you know what I mean. And they gave me an
ind date and I just you know, knocked it out,
just got out in July.
Speaker 1 (03:03):
How did that conversation start with Dez and.
Speaker 4 (03:06):
Me complaining and fucking being pissed off, mad, sad, all
that shit, just like Bro, like you know, hoole telling
me like man, I looked at the contract like these
papers ain't good.
Speaker 3 (03:15):
That's literally what he said. You know what I mean.
Speaker 4 (03:17):
I'm like, you know, You're like, we're gonna try to,
you know, figure it out. Then they ended up figuring
it out.
Speaker 3 (03:22):
And gave me.
Speaker 4 (03:22):
You know, that was twenty twenty one when I'll still
being managed by Rock and he was like, man, the
best we could do is they'll give you an end date,
but it's four years from now, so I had to
wait till July twenty twenty five to get out.
Speaker 1 (03:34):
Okay, did that defer you from maybe wanting to put
out music or work with anyone just because you had
stuff that you wanted to keep for yourself on the
independent side.
Speaker 4 (03:43):
Nah, I don't even I don't even work like that, man.
It just I was in the middle of the NAS
albums doing that whole thing, so it was like, you know,
just pushing regardless.
Speaker 2 (03:52):
This is why I just love to do this shit,
regardless like money or not. I mean, we want the
money for show, but I just love to do this shit.
Speaker 1 (04:00):
Is there advice you would give to like a new
producer that maybe just call one because that happens now,
whether it be TikTok Ig whatever, The TikTok sounds are
going platinum. Yeah, you're getting brand new, big producers every
day at a rate you weren't before. It's easier to
discover them. But it's like a bit of advice you
would give a younger producer going in.
Speaker 4 (04:20):
I mean number one is, if you are going to
sign a deal, make sure you got an end date.
Make sure you know that, Like this contract is not
going to go on for like eighteen years or like
twenty years, whatever the case may be. Just make sure
it's an end date, you know what I mean, Like
if you got to hit then you know it's not
just one company that's going to want to do business.
Somebody out there going want to do business in the
(04:40):
way you see it being done. You know, you just
got to be patient and wait and find that right fit.
Speaker 2 (04:45):
But that's very different because for somebody to be in
a deal that they absolutely hate, and obviously to have
the success that you've had as a producer as an artist,
it's hard for somebody to continue wanting to create being
in a contract.
Speaker 3 (05:00):
It was depressing, bro.
Speaker 4 (05:01):
It was plenty of times where I definitely like had
a little just couldn't think of nothing, just like I
felt like I exhausted myself, felt like I was just like,
man making no real progress, you know what I mean?
Speaker 3 (05:12):
And uh, that shit definitely was it was.
Speaker 2 (05:14):
It was.
Speaker 3 (05:14):
It was fucked up like mentally for sure at the
end of the day.
Speaker 2 (05:18):
Just my love for this ship, bro, just like you know,
it's fun to me, Like just thought it should always
been just fun, especially to beat making aspect, Like it's
like it's like a video game.
Speaker 3 (05:27):
Yeah, you know what I mean, So I do that
for entertainment.
Speaker 1 (05:30):
Yeah, So what's the difference then, Because I think it's
easier to understand when a rapper is independent or on
a major label. But as far as a producer being
free of a pub contract, what does that look like? Independent?
Are you collecting on your own? Like how does that?
Speaker 2 (05:43):
I mean, well, basically, you know the percentages that I owned,
the songs that I did, you know, I can move
that around and do what I want to do with it.
Speaker 3 (05:50):
And uh, basically from here out, you.
Speaker 2 (05:53):
Know, the plays is serious, Like you know what I mean,
It's gonna have to be some real some real dollar
signs and some real like business being done. But it's
smart that you continue to keep that work ethic though,
because I mean, you've produced some of the biggest records
last since you've been in that country eighteen years or
(06:16):
Nah's particular the sixth album. Thing, are there any records
left over that never saw the light of day that
y'arell playing on doing something with Nah? I mean, we
probably do got little hooks and verses just scattered around,
but we ain't got like full full songs like that.
We you know, we emptied the clip, probably put eighty
songs out of three, like us crashed, Like we basically
(06:36):
drop damn near everything we made because who was just
in a groove and literally having fun, Like you know,
this is like he don't got to be doing this shit,
you know what I mean? And it's like that was
just the opportunity for me to grow be around an
elite MC like for three years in a row watching
this nigga right versus and freestyle hooks and whatever you're
gonna do, Like I got to grow through that whole process.
(06:57):
Is that is that something that you look back on
that helped you as a as a as a as
a writer yourself, because a lot of people, you know,
no hit for his production, but I speak to people
about your ability to also rap better than a lot
of producers that rap and produce, like being around nods for.
Speaker 1 (07:16):
Those years, did you did you shopping your pen? Just
like listening to it.
Speaker 4 (07:20):
And that's that's why I'm excited about what I'm doing
right now, because I feel like it's gonna be a
good showcase of that. Like the new projects I'm doing,
got like four new projects I'm finna drop, just back
to back, like joint with Alchemys, some with my homeboys,
Spank Nitty, We got a crazy tape. Let's just we
went to Starless and fucked that shut up last night
with them joints like we got straight just tell you
over when.
Speaker 1 (07:39):
You walked down being back, really dozed off for two seconds.
Speaker 2 (07:45):
But now I'm just you know, I'm feel finel empty
the clip again, bro, like on my own ship and
just like just show people where I'm going.
Speaker 3 (07:52):
You know, it's just stepping stones.
Speaker 2 (07:54):
One of my personal favorites. Is there another half of
mil joint coming man?
Speaker 4 (07:58):
Me and Don we do got we got albums worth
the ship, bro. We for sure we got joints. We
got yeah, we got joints singing. But you know Dom
is plus Like Dom's son is super good at baseball,
so he really locked in with like a crazy high school,
like you know, top ranked and so he locked in
for real on that. Yeah, gotta respect that.
Speaker 1 (08:18):
What you which artist would you say is the weirdest
recording process that you've worked with?
Speaker 4 (08:24):
Jay Electronica, he might FaceTime you had three in the
morning from the jungle and with that they're not from
my daughter, They're from him. Yeah yeah, Alred, you just serious? Yeah,
that nigga right there, crazy And he changed his number
like every week.
Speaker 1 (08:42):
It didn't hit you like you're supposed to know. He
changed his.
Speaker 2 (08:44):
Numbers like this, I know he'll send me a random
like YouTube video or something.
Speaker 1 (08:51):
I knew exactly what type of YouTube video.
Speaker 2 (08:53):
We ain't gonna say, well outside of jail, because just
the mystique of him, I feel like the whole world
knows that he's a unicorn over there with processes.
Speaker 1 (09:03):
But like some of the artists that are on earth,
like who has it doesn't even have to be weird,
but just.
Speaker 4 (09:10):
I mean, everybody got their own process, you know what
I mean? Like when I worked with Tzo touchdown, like
instead of like recording on the super high quality eight
hundred mike on you know, that's like you know, there
for the quality. He wanted to do a handheld and
he like literally late the whole song just on the handheld,
Like you know, he an interesting artist period, but yeah,
that was probably like damn he like, that's that's the quality,
(09:33):
you you know what I mean?
Speaker 2 (09:34):
Yeah, now coming out of the year that, you know,
because I don't think we spoke since the whole Kendrick Yeah,
would turn out to be West Coast versus I don't
even know what the East Coast or Toronto, I don't
even know.
Speaker 1 (09:48):
It just got weird.
Speaker 2 (09:49):
How has that affected just the energy amongst the MC's
and in Cali especially, you know, you know a lot
of guys that's coming up that you work with a close,
close basis, Like, how has.
Speaker 1 (10:02):
That changed the energy of guys wanting to rap?
Speaker 4 (10:05):
I mean, you know, the nigga gave a lot of
people opportunities, you know, through that whole to pop out
and putting niggas on his album and all that. I
feel like, you know, you see like a z Hike
taking advantage of that, like left me doing his thing.
It's a lot of people that's like, you know, like
I gotta take my shit more serious, you know what
I mean?
Speaker 3 (10:23):
For sure.
Speaker 1 (10:24):
He definitely he chose the side we'll start this. Once
I saw the video, I was like, all right, now
I know where hit chose side.
Speaker 2 (10:29):
I mean uns on West Coast nigga choosing the side.
But I think I got a love for Kendrick, you
know what I mean?
Speaker 3 (10:35):
For sure?
Speaker 1 (10:36):
Yeah, is this next project going to be more in
that vein the joint with Spak, Yeah, it's called he's
talking like.
Speaker 4 (10:44):
We got you know, we got Az Hike Baby trying
on there. We got Big Sad nineteen hundred, we got
the ship we did with don Q last night.
Speaker 3 (10:51):
That's going on there. We just got to rio to
Young o G like you.
Speaker 4 (10:55):
That's the type of shit I'll be listening to just
like really on a daily just hood shit, pasy them
type of niggas. And but then Alchemist's album is just
straight fucking soulful like hip hop, like Tires and niggas
just talking ship.
Speaker 3 (11:09):
Through the whole album like it's just I'm coming with
different vibes.
Speaker 1 (11:12):
Bro. Speaking of Az, we were out at the BT
Awards and did like the media room ship where you
did interview a bunch of people, and we sat down
with Bird, our guy hit Maker and we discussed. Uh,
how I guess I instigated the entire beef between between y'all.
Have y'all, have y'all pieced it up?
Speaker 4 (11:30):
Yet I ain't ran into you, nah, But I mean,
you know that's you know that was That was just
a little moment man. Yeah, it was just a little splash,
like I ain't tripping off that ship.
Speaker 1 (11:38):
Yeah. And when he sat with he wasn't. He wasn't
on any type of time like it was an issue.
But I'm just not sure if y'all had ever spoken
sex do what I do?
Speaker 3 (11:45):
You know, everybody in their own pocket.
Speaker 2 (11:47):
Yeah, so in the in the vein of producers, Uh,
who do you think one of the verses with you
in wonder like person?
Speaker 1 (11:56):
Damn.
Speaker 2 (11:56):
Like looking back as I was, he was killing me
with all the Drake records.
Speaker 4 (12:00):
Like for a minute, I was like I was feeding
into it. That's why I fucked up. But I feel
like once I started coming with the new Nip and
new nas and all that shit, it was like, you know,
it started to even out. But yeah, I see why
niggas was like, oh man, you gotta play more hits.
This nigga was just staying me with Drake.
Speaker 1 (12:16):
Yeah. God, he played trophies. And then it was an
hour after of just classic boy wanted Drake records. I
spoke to him.
Speaker 2 (12:22):
He was like, yo, man, He's like, yeah, ask him
who he think of the verse, But he said he
got nicely that's my.
Speaker 3 (12:26):
Guy for sure. I got respecting love for one.
Speaker 2 (12:29):
Yeah. Yeah, that was That's one of those verses that
I wish we got in a different setting because that's
when it was like, really just that was the wrong
That was the first one after on the.
Speaker 1 (12:39):
Ground I really cracked it off.
Speaker 2 (12:40):
Yeah, but that's why we needed that with those type
of records that y'all have, respectively, we need that like
on the stage, we need I set up like a
nigga on the video game. After that ship I started
turning up.
Speaker 1 (12:52):
Yeah yeah, I mean yeah, it would have been better too,
because I mean, obviously both y'all are real producers, so
like playing that ship live would have just made it
a way of cool thing experience in there. But I mean,
speaking of you know, Drake Kendrick, not on the B side,
but I feel like you you started with the quote
unquote Big Three around the same time Cole Kendrick Drake,
who do you think is the next Superstars or do
(13:12):
we have Superstars?
Speaker 4 (13:14):
I can't call it, bro, I don't think this game
is what it used to be. The world ain't what
it used to be, like how we consume, you know,
the respect on the music, that's just none of the
shit is the same, bro.
Speaker 2 (13:25):
So I can't really call it. But you know, it's
like it's it's space for it to open up.
Speaker 4 (13:30):
It's space for undeniable motherfucker to come through and be like, Yo,
this is it type shit. So you know I'm excited
about that. Yeah, I just don't.
Speaker 3 (13:37):
I don't know what this shit is no more.
Speaker 1 (13:39):
Bro.
Speaker 4 (13:39):
That's like I look at I'm not even looking at
myself as like in the music industry. I'm just like
making art whatever, whether it's more music. I mean, I've
got a film that we're working on, high level shit.
We really invested time and money and put real effort
and got high level actors in this shit. Like, like,
you know, I just feel like that's about to make
people look at us in a whole different light. And
it's like I'm just on some straight art shit at
(14:00):
this point.
Speaker 1 (14:00):
Yeah, yeah, I mean do you feel like because you
do it consistently as far as working again with big
artists or just artists you like, I feel like Pharrell, Swizz,
well maybe not so much for real, but like Swizz, Timberland,
even Kanye after you got h of the Izzo, he
wouldn't go back to Chicago to mess with some local
man's all A list artists would only work with A
(14:22):
list producers And now that there isn't really like the
A list artists coming up. Do you think producers get
left behind with that mind state, like you should work
with everybody, it doesn't matter with their status, or if
you just did a record with Gunna, like don't think
now you just the Gunner status is what?
Speaker 4 (14:40):
When you should be nobody could do what they want
to do. I just like working with shit i'm inspired by.
Speaker 2 (14:44):
Like when I heard Spink like this niggas bars literally
didn't have me in the crib and tears laughing, like
and that's the type of rappers I fuck with niggas
that make you laugh like but it's be like smartest intelligent,
but it's the way it type.
Speaker 1 (14:57):
Yeah, like you know what I mean. It's just like
I'm like, let's do a whole album for me. Yeah,
So a couple months. I think it was a couple
months ago, but Tom is Flying. You put a Frank
Ocean snippet on Instagram that was fucking crazy. You were
in your studio and it was like a minute, man,
I think that was I think that was his demo
that he did with the homegirl Stacey Barth back in
(15:20):
the day, Love Sticks.
Speaker 4 (15:21):
That's before he was even Frank Ocean though. Actually my
boy uh Ba cared like from our click Surf club,
he actually produced that shit. I was just playing that
because that's a vibe. Yeah, yeah, but that you could
find that song on SoundCloud.
Speaker 1 (15:35):
When was the last time you saw Frank.
Speaker 3 (15:37):
Some years ago? Probably about twenty nineteen, Okay, yeah, what
was his vibe?
Speaker 1 (15:42):
Did it look like?
Speaker 4 (15:45):
I know, he went through some personal shit, so it
was before, like you know, he was dealing with that,
so it was cool like Nigga was he was locked in.
Speaker 1 (15:53):
Yeah, Because when I saw that snipping and I didn't
recognize the song, I was like, oh shit, is this
the rollout? We're about to get a hit boy Frank
Ocean EP and No, that would be ridiculous Now.
Speaker 2 (16:01):
I think type of that type of shit need to
be happening, but didn't make it exciting, Like why he
wouldn't he just come fuck with me do a whole project.
But guys like artists like Frank though, like you know,
he's in his own world.
Speaker 1 (16:15):
Yeah, Like, and.
Speaker 2 (16:15):
It's like, you know, I got some New Orleans clearly,
well it's something that's something out there, but it's it's
it makes sense for a Frank. Like just if somebody say, yo,
Frank Ocean got an album coming out and hit Boy
is producing.
Speaker 3 (16:29):
The hoo us, it sounds fly already.
Speaker 1 (16:30):
You see what I'm saying.
Speaker 2 (16:31):
It's like, wait, why why haven't we gotten that already? Yeah,
everybody in their own world. Everybody got their process. You
know what they vibing is. I think it's what you
said though people are I think it's creatives and artists
are just in the space of you don't we don't
You don't really know what's going on. Like if you
take all this time to put out an amazing project,
(16:53):
and once you put it out in two hours, people
are either killing it online or they love to take
two hours, it's five minutes.
Speaker 1 (17:00):
It's like comment five minutes.
Speaker 2 (17:03):
Into it garbage. Just like why would the artists like
people everybody say, Yo, we want a new J album.
Speaker 1 (17:09):
Jay's in the studio.
Speaker 2 (17:10):
I'm like, I don't think an artist like Jay wants
to put out music right now, Like what's inspiring him
to do it right? What's like, what would be the
point of him doing it? He's only gonna go on,
you know, take a project or album and go on
tour if his wife is with him, Like they're obviously
only torn together at this point, if they're torn at all.
So I just don't understand, you know, where the artists
(17:34):
are as far as like, you know, things that are
going on in the industry, how people consume music, how
long they live with the music, what it means to them.
Cause right now, if I put out a great project,
people might not go back to it in three weeks,
Like it might not be I don't even listen to
that no more. Like so much shit is out and
available whenever we want to hear the news circuit is
ship coming up, just happening out of the blue type
(17:55):
shit you just don't know, Like it's shit moving fast man.
Speaker 3 (17:59):
Yeah.
Speaker 1 (17:59):
And I think artists get in the patterns, especially from
the era Frank is in and behind Frank where you
can put out a project that's deemed a classic and
disappear for three four years, whereas now you kind of
have to, you know, play the consistency game. But to me,
that's even better. Like, for example, Nas, you could say
what you want about Streets Disciple, Maybe Nostra damis cool.
(18:20):
He's had things that maybe have not met the standard
of it was written, but he's so consistent that you
forget about quote unquote a dud. But when you only
have two albums now, the anticipation to put out another
one is like, now, I'm gonna wait ten years because
its gonna take me ten years to make that type
of project. But if you're consistent, and you could be like, yo, Frank,
(18:43):
you just want to do a three pack real quick,
that's fine because it's like I'm consistent, I know we're
we're gonna get more.
Speaker 4 (18:49):
I think that's like I've seen an interview that Virgil
did and he was talking about how just in general
with art, you.
Speaker 1 (18:55):
Put out a gang of shit. You like the stuff
you put out that's bad.
Speaker 2 (18:58):
Nobody gonna remember that shit is anyway, you just keep
shooting and keep making shit, and the good stuff is
gonna stand out and the stuff you're not proud of.
Speaker 4 (19:05):
It's like they like, we don't. We don't even think
about the bad nikes that Nike have.
Speaker 1 (19:10):
Meant that, yeah, forces all our fly ship, but made
some nikes that ain't, so that has been trash whatever,
but we just don't give a fuck ship even with chance.
For example, like the Internet killed the Big Day. Obviously
he took some time because he was going through some
personal stuff and COVID and everything, but now the entire
timeline has shifted to this may be one of the
(19:31):
best rap albums up here. People say, you can also
put out a dud. If you're consistently putting out music,
you can change people's mind. To Virgil's point in that regardless,
people gonna forget if you keep putting out quality ship.
And at that time, that's why I just wish Frank
would get because obviously he's a writer first and works quickly.
Like you could just be putting out a bunch of
(19:52):
fucking records. I'm sure, I'm sure they're great.
Speaker 2 (19:53):
Yeah, absolutely, but again, you know what I mean, we
don't know what's going on in this personally, how you're feeling,
what's going on, so it should be real out here.
I just had this motherfucking do court this morning when
they got like, you know, I got a bunch of
amazing ship happened, and then I got some low level,
low vibration ship happened at the same time. It's like,
you gotta balance this ship.
Speaker 1 (20:11):
Out and leads in at the creativity, sometimes in a
bad way in that regard. That's why I went to Startless.
It was crazy the last night because was therapy to
that's the high vibration.
Speaker 3 (20:22):
Definitely.
Speaker 1 (20:23):
Uh, strip club wise, what do you feel about New
York and.
Speaker 4 (20:27):
Strip club I mean I only really went to Starless
and maybe one or two other ones.
Speaker 3 (20:31):
But it's amazing. Bro, it's lovely.
Speaker 1 (20:33):
I just know what it is. Only somebody from l A.
I feel like we say that about New York strip
clubs because I don't think that even even in l A.
I like, I like Crazy Girls and Sam's and all
the hoods. That's what I with fun, But I fuck
with the hoodship New York and l A. Just once
you start driving you realize we don't do strip clubs.
Like I lived in Atlanta when I was nineteen with
(20:54):
Paul don't supposed.
Speaker 4 (20:58):
To be here, and they had me going crazy. I'm
seeing the thickest joints saying in my life like what.
Speaker 3 (21:05):
You know what I mean.
Speaker 4 (21:06):
So it's like I got programmed on that ship early. Man,
it will just be a good time, a good little
quick you know what I mean.
Speaker 1 (21:12):
So what so what's up man? When you when you moving?
When you move to New York?
Speaker 3 (21:15):
Man, Man, I'm to look at some real estates.
Speaker 1 (21:18):
I see it.
Speaker 2 (21:19):
It's sold on your face like you trying to spend
some real time. But I think it makes sense for
for for you to be in New York because you know,
everybody has to come through you know, La New York
as far as artists and things like that. So I
think hit boy just being there, like you said last night,
you just stumbled.
Speaker 1 (21:35):
Into you know what I mean, Like don Q at
a restaurant and.
Speaker 3 (21:38):
Just like gott this this Quad ship.
Speaker 1 (21:42):
Yeah, I think it just happened.
Speaker 2 (21:43):
My West Coast homies was like, man, y'all sure, y'all
want to go.
Speaker 1 (21:45):
To Quad and you already know what they think about it,
But that's come over in the middle of Times Square
and like it'll be great because you'll get to listen
to ten thousand bust to rhymes songs because he lives there. Yeah,
he's a man.
Speaker 2 (22:00):
He has a residency as a residency called Yeah.
Speaker 1 (22:04):
Absolutely, But that's funny that it wasn't wasn't New York
culture the food history was like, Nah, I just want
to startless. I want to move starlets and I'm looking
at no no. I love the whole shit.
Speaker 4 (22:15):
I got a sprinter out here, like just you know,
driving down the street motherfuckers getting dressed.
Speaker 1 (22:19):
Do you do that? Do you just go out of
the city just to get the energy? And nah?
Speaker 4 (22:22):
Really, I just be on the way to places this city,
like when I'm on the WAT somewhere, just looking at
how motherfucker's moving around.
Speaker 3 (22:27):
The energy, the tempo is just us up out here.
I fuck with it.
Speaker 2 (22:31):
What do you What do you think is like, what
would you say is the difference? Because I felt the
difference in the energy in the l a post pandemic,
Like I think a lot changed in California, like just
the energy as far as the night life.
Speaker 1 (22:44):
Things like that.
Speaker 2 (22:45):
What do you feel is the differences right now between
the energy here in New York and in.
Speaker 4 (22:50):
LA I just like went to say lest the other night, bro,
I never see that bitty superstars in what building, which
like All Star Game. It's like I haven't been a
towb and it catches. You see some joints, you see
it going crazy vies. But that was something different. I mean,
you know what I mean. It's like New York and
(23:10):
may be just super fly, like I did really take
pride in how they present themselves, like getting dressed up
flies one ahead to toe, I'm like, and then Dominican
joints is serious, man.
Speaker 1 (23:22):
I knew that was. We all go for the chicken skewers.
Then that's why we go. I just didn't watch the game.
That's a photo in front. That's why I might say,
let's put no shout to say less. That place is good.
Speaker 3 (23:36):
Yeah for sure.
Speaker 1 (23:40):
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Speaker 1 (24:06):
Five dollars you could pay for all the wings, all
the food on Sunday when you're watching them, probably just
covery Saturday everything. Yeah, So we have the Bills against
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home games against the Dolphins. But as much as I
like the Bills, the Bills always find a way in
ancient history to screw things up. So I don't know
(24:27):
if I'm just gonna go with what this nine straight
home games the tenth one. I don't know if the
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(25:18):
and Virginia.
Speaker 1 (25:24):
We were talking. We had jd on I forgot a
couple months ago maybe yeah, and we did like this,
this is that segment with him with some of his
records on what he had to choose out of the two.
So I want to do with you start out the
gate Paris. Well, if you want to say the full
title or click, I might have.
Speaker 3 (25:44):
To go with Paris Man.
Speaker 1 (25:46):
Yeah.
Speaker 2 (25:46):
I think that's just seeing him just recently performing a
few weeks ago in felt like, I mean at the
Vegas show The Lives, Oh yeah, Okay, went to that motherfucker.
Speaker 3 (25:55):
The whole stadium was just like rumbling.
Speaker 1 (25:57):
Bro.
Speaker 3 (25:58):
I'm like it sounds like that motherfuckers just dropped the
night before. Yeah, it just came out. I'm like, you
can't beat that, bro?
Speaker 1 (26:04):
Yeah, what was that click session? Like though?
Speaker 3 (26:07):
Man?
Speaker 4 (26:07):
That was I think we was in London when we
started that and that original beat. It's this song if
you look it up, called CDC by Don Kennedy, Casey
Veggie's and this other nigga named Carter and they had
did a song on that same beat, and then Yay
ended up picking that beat out of you know, a
bunch of beats I had. Once they did the hook,
I had to tell Yay like, look, Homie dom already
used his beat. So then we ended up just muting
(26:29):
some of the sounds. I had added more shit acting
choirs and snares and turned it up into you know
what it became. But yeah, that was the first time
I heard it. I was in the Hampton's working on
the Beyonce album Like the Ship that came out in
twenty thirteen, and Yay came in and was playing that
joint over and over.
Speaker 3 (26:47):
Everybody was going crazy. Was it the first time I
heard a whole verse on it?
Speaker 1 (26:51):
Okay? So yeah, yeah was on the first and Sean.
Speaker 3 (26:53):
Last yeaar Sean.
Speaker 4 (26:54):
Sean did the yeah his part and then yay, and
then the last verse I heard was.
Speaker 3 (26:58):
A whole shit.
Speaker 1 (26:59):
I would love to ask picture on what that was
like Old and Kanye like we got this record together,
we want you to close the shit like that must
have been a feeling, all right asap Rocky Goldie or
Drake Trophies.
Speaker 2 (27:13):
I'm going with Damn, they both ill fuck with Goldie though,
you know what I mean that that was a.
Speaker 4 (27:18):
Rocky like first single on a major label, I believe,
you know what I mean? So like that helped one
of my favorite video and crack his ship off, you know.
Speaker 3 (27:24):
What I mean? It just helps, you know, solidify what
I was doing a little bit more.
Speaker 1 (27:28):
Okay, actually freestyle or Racks in the Middle.
Speaker 3 (27:31):
Damn, that's fucked up. Damn.
Speaker 1 (27:35):
Yeah, I don't know if I could pick out of
those two either.
Speaker 3 (27:39):
Damn.
Speaker 4 (27:39):
I mean, I feel like I'm closer to Racks in
the Middle because I was there for the whole process.
Speaker 3 (27:46):
That was originally my song, you know what I mean.
Speaker 4 (27:48):
Had gay that to Nip because he asked for it,
and he felt like the you know the fact that
we wanted Grammy and shut off that ship. He felt
like that was a Grammy level song. So it was
like a proud moment when we actually wanted Grammy like
we He felt like this was high quality, like the
new wave of the West. How Roddy get involved with
that man? He was across the hall from my old
(28:08):
studio and I used to work at Challenge Bro. He
was working with Future and my home boy that was
A and R in Atlantic. I don't know if he
still is my nigga Knowledge. He was like, Bro, I
got righty over there because I told Knowledge like Bro
fuck with RITI Like, I used to like that Die
Young song like super Heavy, So I was playing that shit,
showing it to people every day, like this shit hard.
And he was like, I got righty coming over there.
(28:30):
Gonna be a future. So they recording songs all day
doing their thing. It's probably like it's time to leave.
It's twelve is one. We didn't been there all day whatever.
He just come over to say what up. He got
his backpack on and all that, and I knew he
was over there, so I'm like, I made a beat.
I made that beat that same day, and I was like,
if this nigga come in here, I'm playing this shit.
Speaker 3 (28:49):
And he was just no cam coming to say what up,
I'm like check this out. Boom played the beat.
Speaker 4 (28:53):
He was like, fucking let me try something loaded up,
and then he did that hook and.
Speaker 1 (28:57):
He actually did a verse.
Speaker 3 (28:59):
He did a verse two too, when I.
Speaker 4 (29:01):
Was supposed to be supposed to be hit Boy featuring Roddy,
and that's when Nip hearted.
Speaker 1 (29:05):
It was like I need that to get this, Yeah,
I need that.
Speaker 4 (29:07):
It just like it was like, this could be the
perfect record to like segue from Victory Lap, like to
be my you know, to start the next you know,
I mean energy, the next rollout.
Speaker 2 (29:17):
Do you have any uh, because you're obviously One of
the biggest moments on the verses was when you played
the Nip verse that we had never heard before. Do
you have any music with Nip in the hard Drop Stones.
Speaker 4 (29:28):
Like, maybe a couple of things, nothing crazy, but yeah,
I got some stuff that's sitting. But I know they
working on some stuff like internally, family putting some shit together,
so they ain't really trying to let nothing out like that.
Speaker 3 (29:39):
But yeah, yeah, And.
Speaker 1 (29:40):
I mean the way Nip worked out, I'm sure that
was the verse instead that Sam probably has over it
so well. Should Backsea Freestyle even come about that?
Speaker 3 (29:51):
Was hard.
Speaker 4 (29:52):
We would TD and Kendrick in the Gang of Homies
and ship to Vegas and like twenty eleven to have
been twenty eleven because it was before the album dropped
and were just out there working. We was like he
had recorded on a couple of other beats I did,
and just like started little ideas and ship and then
he was whatever. He came back to La he was like, man, like,
(30:13):
I fuck with them ideas, but you got any more
beats than me.
Speaker 3 (30:15):
And some beats, So him and day.
Speaker 4 (30:17):
Free came to this old studio crib I had and
I played the Ship and they was like, Yo, we're
gonna take this go crazy on it.
Speaker 3 (30:23):
And then he texted me and he was like, bro,
we got one.
Speaker 4 (30:26):
He's like, I guess he was in Dallas or something
like that on tour doing shows and shit, He's like,
we got want send me the song.
Speaker 3 (30:32):
I'm like, damn.
Speaker 4 (30:33):
That shit was tough. Like he just really gave you
that feeling like he was really free styling.
Speaker 1 (30:37):
Yeah, you know that that record is a classic Travis Scott,
Sicko Mold or Rihanna Wo.
Speaker 2 (30:45):
Man, just listen to the songs. The songs you're throwing
out is crazy, not real. I mean, shit, bro, I
can't say wool because I'm gonna tell you why I
fucking that album. I did polls and I did WOO
on the anti album, and I was I used to
trade samples with a lot of people, you know what
(31:06):
I mean. I traded some samples with Don Cannon, who
gave me a pack that said royalty free on it
literally said royalty free.
Speaker 4 (31:13):
So like I took it wasn't even a loop. It
was just a bunch of guitar stabs if you hear it,
Like you know, I made that arrangement and like chose
the stabs and then built on that and basically, once
like the pre sale thing came out, the dude that
gave him the sample pack went like the lawyer route
and was like, oh, hit boy.
Speaker 3 (31:31):
Stole my sounds and da da daa.
Speaker 2 (31:32):
So I had got paid forty five k per track
for pos, I got forty five K for posing, forty
five K for WOO. I had to get this dude
with the whole forty five bands for the beat, you
know what I mean, Like, it's just crazy. I sat there,
I chopped that beat in front of the Weekend Travis
was there, Todd Dollars sign was there.
Speaker 4 (31:49):
It was a gang of motherfuckers in there. I was
chopping making a beat right there on the spot. Bro
and Dale Travis was like, damn, Bro, like that shit weird.
I watched you make the beat type shit, you.
Speaker 3 (31:57):
Know what I mean?
Speaker 4 (31:58):
And uh yeah, I just was like, nah, like you
stole my sounds. And I'm like, bro, I'm even can it?
Speaker 1 (32:04):
Like what's up?
Speaker 4 (32:05):
And it's like I don't know if that nigga reached
out or not, but it just was.
Speaker 3 (32:09):
It was ugly. I had to give him the money
back and it was fucked up.
Speaker 1 (32:11):
But yeah, but I mean I understand given some money,
but the whole if you arranging the whole ship.
Speaker 2 (32:17):
And I was like, bro, like let's work, my nigga,
send me some more loops. Yeah I'm good, Like all right,
for sure, gave the bread and so yeah, sigam more. Yeah.
Speaker 1 (32:29):
I say all that. I say all that to say,
I mean, I don't know who do this and what
a situation. And I don't want to speak on him
like that, but I feel like, has he done anything?
Speaker 4 (32:39):
Do I think he did the melodies on cal that
I got the keys? But that's the last thing I
think I heard from him, Like, I'm sure he probably
has done other ship, but.
Speaker 1 (32:47):
I just feel like an offer from you of like, hey,
how about we just worked together. It's worth to make
way more than forty five.
Speaker 2 (32:53):
In the same name or nothing. It's just like Royalty
free sample pack. I'm like, oh, for sure, you know
that is crazy? Yeah, bro, that Yeah, that's definitely wild.
Speaker 1 (33:01):
What I have three more year Beyonce sorry or Beyonce flawless.
Speaker 4 (33:07):
Mm hmm flawless flawless because like they did the remix
to that ship, Nikki Feeling myself came out of that.
Speaker 3 (33:14):
So yeah, I had like the triple I had a
triple double with.
Speaker 5 (33:17):
That one, you know, thesiography, Yeah, Kanye West, Cold or
Asad Rocky one Train featuring the world Damn Man, Damn.
Speaker 1 (33:30):
Cold. It was yeah, yeah, yeah, that's one of one
of the coldest beats. That ship was crazy.
Speaker 3 (33:40):
Recently we did that at Jungle City. That was tough.
Speaker 1 (33:44):
Man One Train, that was crazy. Man One Train was hard.
That represented like a whole era that was like coming
out the blog era. Everybody won.
Speaker 4 (33:53):
Everybody was really getting seen on Two Dope Boys, and
it's like shining on that Mother that is raised.
Speaker 1 (34:00):
I did not know he did that record.
Speaker 3 (34:02):
Damn. See what I'm saying, I got family members.
Speaker 2 (34:05):
I don't know how my crazy I definitely did not
know that. So you're going one drain, I'm going with
one chain.
Speaker 1 (34:11):
Okay. Yeah, Now this one I was very curious about.
I would have asked you this off Mike, the Magic
series or the King's Disease series.
Speaker 2 (34:19):
Damn, Damn, seems like it's like the Magic Ship felt
like more like mixtape. Just having on King's Disease was
trying to laser in on a good concept and all that.
So they both mean a lot. But I just I
can't choose bro like. I just I just love I
(34:40):
love all that.
Speaker 1 (34:42):
I was on the King's Eat side until Magic three
was like kind of made it difficult for me to period.
Speaker 2 (34:48):
That's that was a ball. Katie three some ship. Kat
three was hard too. Yeah, I think Magic.
Speaker 1 (34:55):
Magic three is my favorite on the Magic side of
the I think KT two is my favorite.
Speaker 3 (34:58):
Most people say Magic one.
Speaker 1 (34:59):
Really yeah, three is three? Is that ship?
Speaker 3 (35:02):
To me? On there?
Speaker 1 (35:04):
I know we're getting the wrap up thing, but we
we did do this with JD briefly of the rather
produce on an album that you didn't produce on reasonable
doubt or amatic.
Speaker 2 (35:15):
That's reasonable doubt Why I said ship Man, It was
just on that bragg of just dope boy talk. That
shit was would have made some ship and.
Speaker 1 (35:29):
I feel like Dead Presidents kind of sound like a hit.
Speaker 3 (35:31):
Boy, that's funny.
Speaker 2 (35:32):
That sound is very boy. Yeah.
Speaker 1 (35:36):
The infamous are Low and.
Speaker 2 (35:37):
Theory, the infamous dark gangster gutta grime.
Speaker 3 (35:41):
Yeah.
Speaker 1 (35:42):
I only put those two together because you do have
that sound, but you do do like more R and
B slows. Not to say tribe is that, but this stuff. Yeah,
I was curious which which you would prefer that entire thing. Chronicle,
Doggie Style.
Speaker 2 (35:57):
The first chronic, Yeah, Doggy Style, Yes, it was. They
elevated on that one. You know what I mean, They
took the sound up. They like lazier, They ain't even
more on that ship.
Speaker 1 (36:09):
Don't Style made niggas from New York feel like we
was in l A.
Speaker 2 (36:12):
Yeah, like that kind of how that music was so
like detailed in LA and California culture that everybody on
the East coast, definitely New York listening to it.
Speaker 1 (36:24):
We definitely felt like we knew what it makes said
about like we've been there before. It's crazy Ready to
Die or all Eyes on Me, take your West Coast
by way, even though ready to Die is production wise
the West Coast out. Damn.
Speaker 3 (36:36):
I want to say all Eyes on Me.
Speaker 2 (36:38):
I'm there, got to say that, but then produce it
for Big would have been probably we got the same
birthday me and Big first, so I'm like we would
have made some crazy shit.
Speaker 1 (36:48):
Mis education or Aliah one of a million, Oh ship
mis Education. I ain't gonna lie.
Speaker 3 (36:56):
You answered that too fast.
Speaker 1 (36:58):
You got rapping and singing on that feel like it
gives you more space to try.
Speaker 4 (37:03):
But I mean, but yeah, come on, I ain't no
disrespect to none of this that you named it. I'm
trying to choose, you know.
Speaker 1 (37:08):
The last one, Dangelo Brown Sugar or Shoty Love Deluxe.
Speaker 3 (37:13):
Oh damn, I would.
Speaker 2 (37:18):
Have I feel like hit Boy's only producer we could
even ask these type of questions to.
Speaker 4 (37:22):
I would have wanted to produce on Uh. I know
you didn't say Lovers Rock, but that album is one
of my favorite albums. Like that that joint got flaps
after get flaps, like you know what I mean? That
album particular, I would have I would have loved to
produce on.
Speaker 1 (37:35):
That is there is there any album that you you
thought you had a record on and it ended up
not making it?
Speaker 4 (37:41):
Man, what motherfucking everything is love? That was the jay
Z and we had so much shit in the tuck.
Speaker 1 (37:47):
I was like, what this nigga literally said, that's the
hard drive. Sail Me was like, you got too on here,
send me some mob so you get some mo.
Speaker 3 (37:54):
Then the album come out and had nothing. I was like, God, damn,
I was distract with.
Speaker 1 (38:00):
It, you know, making play just be like that.
Speaker 3 (38:03):
I was at the park with my family when I
found out how to.
Speaker 1 (38:06):
Go to the car, like, yeah, call this like maybe
they changed the title of the song, it's something else.
I was like, oh, but I mean a lot of
times with albums like those where jay Z and Beonce
were on tour and they just dropped it. Not not
for sure, I get I give this a process at all.
I'm saying, what's that feeling like on both sides of
like finding out you on some ship with the rest
(38:27):
of the world and then finding out you not on
some ship after Maybe he was at the family picnic
and was like exciting I got three joints on the
Talking Ship.
Speaker 2 (38:35):
I'm like they just dropped, like, oh ship, yeah you
old TV shows, basketball my name on that.
Speaker 1 (38:48):
I you got to work card in this time. Man,
they give you that speech, but wars like that, what
do you what could you even do with those joints?
Like can you repurpose those beats?
Speaker 3 (38:59):
Like?
Speaker 1 (39:00):
Can we re purpose the.
Speaker 2 (39:00):
Beatsh But you know, hopefully don't be to see the
light of day. The day timeless artists. So you know,
I ain't heard them songs in a minute, but I
know they hard as funk.
Speaker 1 (39:08):
I think you should just chop Beyonce's voice sample chops.
That'd be crazy purple sitting. And now you throw Homie
sent that you needed that forty five k. Yeah, you
don't want the problems. He's gonna need to deed your house,
all right? So start this in yes, out now. When
can we expect the album?
Speaker 3 (39:26):
Man?
Speaker 4 (39:26):
Me and Spank dropping October third, and then ship later
that month. Me and alchim is coming with some ship
in November. I'm coming with a solo.
Speaker 3 (39:33):
Bro. We just we fire enough.
Speaker 1 (39:35):
Damn I love it. You think you do it tour?
Speaker 3 (39:38):
Oh yeah for sure?
Speaker 4 (39:39):
Like I feel like me and I could have a
crazy just experience, like playing his we made that happen,
whatever the fuck, just like it just be a whole situation.
Speaker 1 (39:49):
Even how Al does his DJ sets. So yeah, that
would be fire if you guys did that, even like
that first video you guys put out of the side
by side ship, like seeing that live crazy off.
Speaker 2 (39:59):
It's coming, bro, I'm gonna keep it rashing you about
the half a mill joint. Yeah, I understand it. You know,
everyone getting older, you know, high school playing baseball.
Speaker 1 (40:07):
You get that old tiny type check man like you
look like they coming forward for sure. You know he
locked Listen.
Speaker 2 (40:14):
If I'm dumb, I ain't mad. I wouldn't put out
another half a mill. Half a mill, my son might
be worth half a bill, like I respect it. I
respected well here, we appreciate you. You know you always got
a home. Whenever you want to come by.
Speaker 3 (40:26):
I'll be back in.
Speaker 1 (40:28):
Let's go to dream instead, Let's run it, let's do
something that's it. Boy, I'm not He's just gent.
Speaker 3 (40:33):
Yeah,
The volume.
Speaker 2 (00:07):
All right, Rory, we are back today. We are joined
by a friend of the show family.
Speaker 3 (00:12):
Uh.
Speaker 2 (00:12):
It was actually one of our first guests, man ever. Yeah,
we sat down with him in l A a few years
ago and since then he.
Speaker 1 (00:18):
Is Live show too, Live Show.
Speaker 2 (00:21):
The Live Show shouts the big hit performed at the
live show in l A. Obviously, somebody we're very familiar
with has been doing legendary ship for years. It's continuing
on that pace, not slowing up. One of the hardest
working guys in the industry, one of my favorite people
in the industry.
Speaker 1 (00:37):
Hit Boy, my God, and most back for another one exactly,
most importantly the independent hit Boyd's a big hit.
Speaker 3 (00:52):
You know what I'm saying, Well, you know what I mean.
It's the real hit free.
Speaker 2 (00:56):
Are you feeling, man, great brow that is completely in
the clear, Yeah, new man bro.
Speaker 3 (01:01):
I just like you know, had a lot of dark
times during them days.
Speaker 4 (01:04):
But you know now I got shit in retrospect and
I could just see like everything was needed, it had
to happen. It had to happen just to get me
to this place. And I'm moving like with it just
way more sharp vision now.
Speaker 2 (01:16):
Now for the people that don't know, you're completely out
of your original deal if you was stuck in for
for eighteen years.
Speaker 1 (01:23):
Eighteen years.
Speaker 3 (01:24):
I was one year out of high school. I was signed.
That was when I was nineteen.
Speaker 4 (01:28):
How did you get that deal? I got that deal
on my space. Yeah, going to my space. Mat Paulo
to down on my space and he was like, you know,
I just was a fan of his music. He was like, man,
you know, I'm more than.
Speaker 3 (01:39):
Just a producer.
Speaker 2 (01:40):
I could really like help guide you through your career
and you know, put some place together for you.
Speaker 3 (01:44):
So when we linked to you end up giving me
the publishing deal.
Speaker 1 (01:48):
Yeah, can you explain what a pub deal is? Just
to the you know, average average.
Speaker 4 (01:52):
It's like, you know, it's a company that collects money
on your behalf, you know, and they take a percentage
for that. And my particular situation was like there was
no end date because of you know, terminology in the
contract and whatever you want to call it. Oh, ancient
terminology stuff that just got outdated that was still being
upheld in my contract. So I just got stuck in it,
(02:13):
you know. But at the end of the day, bro,
like it went down how it went down, I'm happy
now for sure.
Speaker 1 (02:18):
Because I as soon as you were cooped with that,
gave you come on within a year maybe quick. Because
I mean I feel like especially producers like you, because
there's the a list legendary producers that produced like once
a year maybe, and that that's where pub can be
like all right, whatever, it's not a huge deal, but
you work actively with a list artists or people we've
(02:40):
never even heard of.
Speaker 2 (02:41):
And that was the part that was part of it too,
Like me, just like doubling down and doing so much work,
Like man, some gonna get me out too.
Speaker 4 (02:47):
I give you six Come on, bro. I was like, man, Bro,
like what's gonna take? You know, what is it gonna take?
And it's just like you know, I guess it.
Speaker 2 (02:54):
Just whatever desirain Hold said to them, it just it works,
you know what I mean. And they gave me an
ind date and I just you know, knocked it out,
just got out in July.
Speaker 1 (03:03):
How did that conversation start with Dez and.
Speaker 4 (03:06):
Me complaining and fucking being pissed off, mad, sad, all
that shit, just like Bro, like you know, hoole telling
me like man, I looked at the contract like these
papers ain't good.
Speaker 3 (03:15):
That's literally what he said. You know what I mean.
Speaker 4 (03:17):
I'm like, you know, You're like, we're gonna try to,
you know, figure it out. Then they ended up figuring
it out.
Speaker 3 (03:22):
And gave me.
Speaker 4 (03:22):
You know, that was twenty twenty one when I'll still
being managed by Rock and he was like, man, the
best we could do is they'll give you an end date,
but it's four years from now, so I had to
wait till July twenty twenty five to get out.
Speaker 1 (03:34):
Okay, did that defer you from maybe wanting to put
out music or work with anyone just because you had
stuff that you wanted to keep for yourself on the
independent side.
Speaker 4 (03:43):
Nah, I don't even I don't even work like that, man.
It just I was in the middle of the NAS
albums doing that whole thing, so it was like, you know,
just pushing regardless.
Speaker 2 (03:52):
This is why I just love to do this shit,
regardless like money or not. I mean, we want the
money for show, but I just love to do this shit.
Speaker 1 (04:00):
Is there advice you would give to like a new
producer that maybe just call one because that happens now,
whether it be TikTok Ig whatever, The TikTok sounds are
going platinum. Yeah, you're getting brand new, big producers every
day at a rate you weren't before. It's easier to
discover them. But it's like a bit of advice you
would give a younger producer going in.
Speaker 4 (04:20):
I mean number one is, if you are going to
sign a deal, make sure you got an end date.
Make sure you know that, Like this contract is not
going to go on for like eighteen years or like
twenty years, whatever the case may be. Just make sure
it's an end date, you know what I mean, Like
if you got to hit then you know it's not
just one company that's going to want to do business.
Somebody out there going want to do business in the
(04:40):
way you see it being done. You know, you just
got to be patient and wait and find that right fit.
Speaker 2 (04:45):
But that's very different because for somebody to be in
a deal that they absolutely hate, and obviously to have
the success that you've had as a producer as an artist,
it's hard for somebody to continue wanting to create being
in a contract.
Speaker 3 (05:00):
It was depressing, bro.
Speaker 4 (05:01):
It was plenty of times where I definitely like had
a little just couldn't think of nothing, just like I
felt like I exhausted myself, felt like I was just like,
man making no real progress, you know what I mean?
Speaker 3 (05:12):
And uh, that shit definitely was it was.
Speaker 2 (05:14):
It was.
Speaker 3 (05:14):
It was fucked up like mentally for sure at the
end of the day.
Speaker 2 (05:18):
Just my love for this ship, bro, just like you know,
it's fun to me, Like just thought it should always
been just fun, especially to beat making aspect, Like it's
like it's like a video game.
Speaker 3 (05:27):
Yeah, you know what I mean, So I do that
for entertainment.
Speaker 1 (05:30):
Yeah, So what's the difference then, Because I think it's
easier to understand when a rapper is independent or on
a major label. But as far as a producer being
free of a pub contract, what does that look like? Independent?
Are you collecting on your own? Like how does that?
Speaker 2 (05:43):
I mean, well, basically, you know the percentages that I owned,
the songs that I did, you know, I can move
that around and do what I want to do with it.
Speaker 3 (05:50):
And uh, basically from here out, you.
Speaker 2 (05:53):
Know, the plays is serious, Like you know what I mean,
It's gonna have to be some real some real dollar
signs and some real like business being done. But it's
smart that you continue to keep that work ethic though,
because I mean, you've produced some of the biggest records
last since you've been in that country eighteen years or
(06:16):
Nah's particular the sixth album. Thing, are there any records
left over that never saw the light of day that
y'arell playing on doing something with Nah? I mean, we
probably do got little hooks and verses just scattered around,
but we ain't got like full full songs like that.
We you know, we emptied the clip, probably put eighty
songs out of three, like us crashed, Like we basically
(06:36):
drop damn near everything we made because who was just
in a groove and literally having fun, Like you know,
this is like he don't got to be doing this shit,
you know what I mean? And it's like that was
just the opportunity for me to grow be around an
elite MC like for three years in a row watching
this nigga right versus and freestyle hooks and whatever you're
gonna do, Like I got to grow through that whole process.
(06:57):
Is that is that something that you look back on
that helped you as a as a as a as
a writer yourself, because a lot of people, you know,
no hit for his production, but I speak to people
about your ability to also rap better than a lot
of producers that rap and produce, like being around nods for.
Speaker 1 (07:16):
Those years, did you did you shopping your pen? Just
like listening to it.
Speaker 4 (07:20):
And that's that's why I'm excited about what I'm doing
right now, because I feel like it's gonna be a
good showcase of that. Like the new projects I'm doing,
got like four new projects I'm finna drop, just back
to back, like joint with Alchemys, some with my homeboys,
Spank Nitty, We got a crazy tape. Let's just we
went to Starless and fucked that shut up last night
with them joints like we got straight just tell you
over when.
Speaker 1 (07:39):
You walked down being back, really dozed off for two seconds.
Speaker 2 (07:45):
But now I'm just you know, I'm feel finel empty
the clip again, bro, like on my own ship and
just like just show people where I'm going.
Speaker 3 (07:52):
You know, it's just stepping stones.
Speaker 2 (07:54):
One of my personal favorites. Is there another half of
mil joint coming man?
Speaker 4 (07:58):
Me and Don we do got we got albums worth
the ship, bro. We for sure we got joints. We
got yeah, we got joints singing. But you know Dom
is plus Like Dom's son is super good at baseball,
so he really locked in with like a crazy high school,
like you know, top ranked and so he locked in
for real on that. Yeah, gotta respect that.
Speaker 1 (08:18):
What you which artist would you say is the weirdest
recording process that you've worked with?
Speaker 4 (08:24):
Jay Electronica, he might FaceTime you had three in the
morning from the jungle and with that they're not from
my daughter, They're from him. Yeah yeah, Alred, you just serious? Yeah,
that nigga right there, crazy And he changed his number
like every week.
Speaker 1 (08:42):
It didn't hit you like you're supposed to know. He
changed his.
Speaker 2 (08:44):
Numbers like this, I know he'll send me a random
like YouTube video or something.
Speaker 1 (08:51):
I knew exactly what type of YouTube video.
Speaker 2 (08:53):
We ain't gonna say, well outside of jail, because just
the mystique of him, I feel like the whole world
knows that he's a unicorn over there with processes.
Speaker 1 (09:03):
But like some of the artists that are on earth,
like who has it doesn't even have to be weird,
but just.
Speaker 4 (09:10):
I mean, everybody got their own process, you know what
I mean? Like when I worked with Tzo touchdown, like
instead of like recording on the super high quality eight
hundred mike on you know, that's like you know, there
for the quality. He wanted to do a handheld and
he like literally late the whole song just on the handheld,
Like you know, he an interesting artist period, but yeah,
that was probably like damn he like, that's that's the quality,
(09:33):
you you know what I mean?
Speaker 2 (09:34):
Yeah, now coming out of the year that, you know,
because I don't think we spoke since the whole Kendrick Yeah,
would turn out to be West Coast versus I don't
even know what the East Coast or Toronto, I don't
even know.
Speaker 1 (09:48):
It just got weird.
Speaker 2 (09:49):
How has that affected just the energy amongst the MC's
and in Cali especially, you know, you know a lot
of guys that's coming up that you work with a close,
close basis, Like, how has.
Speaker 1 (10:02):
That changed the energy of guys wanting to rap?
Speaker 4 (10:05):
I mean, you know, the nigga gave a lot of
people opportunities, you know, through that whole to pop out
and putting niggas on his album and all that. I
feel like, you know, you see like a z Hike
taking advantage of that, like left me doing his thing.
It's a lot of people that's like, you know, like
I gotta take my shit more serious, you know what
I mean?
Speaker 3 (10:23):
For sure.
Speaker 1 (10:24):
He definitely he chose the side we'll start this. Once
I saw the video, I was like, all right, now
I know where hit chose side.
Speaker 2 (10:29):
I mean uns on West Coast nigga choosing the side.
But I think I got a love for Kendrick, you
know what I mean?
Speaker 3 (10:35):
For sure?
Speaker 1 (10:36):
Yeah, is this next project going to be more in
that vein the joint with Spak, Yeah, it's called he's
talking like.
Speaker 4 (10:44):
We got you know, we got Az Hike Baby trying
on there. We got Big Sad nineteen hundred, we got
the ship we did with don Q last night.
Speaker 3 (10:51):
That's going on there. We just got to rio to
Young o G like you.
Speaker 4 (10:55):
That's the type of shit I'll be listening to just
like really on a daily just hood shit, pasy them
type of niggas. And but then Alchemist's album is just
straight fucking soulful like hip hop, like Tires and niggas
just talking ship.
Speaker 3 (11:09):
Through the whole album like it's just I'm coming with
different vibes.
Speaker 1 (11:12):
Bro. Speaking of Az, we were out at the BT
Awards and did like the media room ship where you
did interview a bunch of people, and we sat down
with Bird, our guy hit Maker and we discussed. Uh,
how I guess I instigated the entire beef between between y'all.
Have y'all, have y'all pieced it up?
Speaker 4 (11:30):
Yet I ain't ran into you, nah, But I mean,
you know that's you know that was That was just
a little moment man. Yeah, it was just a little splash,
like I ain't tripping off that ship.
Speaker 1 (11:38):
Yeah. And when he sat with he wasn't. He wasn't
on any type of time like it was an issue.
But I'm just not sure if y'all had ever spoken
sex do what I do?
Speaker 3 (11:45):
You know, everybody in their own pocket.
Speaker 2 (11:47):
Yeah, so in the in the vein of producers, Uh,
who do you think one of the verses with you
in wonder like person?
Speaker 1 (11:56):
Damn.
Speaker 2 (11:56):
Like looking back as I was, he was killing me
with all the Drake records.
Speaker 4 (12:00):
Like for a minute, I was like I was feeding
into it. That's why I fucked up. But I feel
like once I started coming with the new Nip and
new nas and all that shit, it was like, you know,
it started to even out. But yeah, I see why
niggas was like, oh man, you gotta play more hits.
This nigga was just staying me with Drake.
Speaker 1 (12:16):
Yeah. God, he played trophies. And then it was an
hour after of just classic boy wanted Drake records. I
spoke to him.
Speaker 2 (12:22):
He was like, yo, man, He's like, yeah, ask him
who he think of the verse, But he said he
got nicely that's my.
Speaker 3 (12:26):
Guy for sure. I got respecting love for one.
Speaker 2 (12:29):
Yeah. Yeah, that was That's one of those verses that
I wish we got in a different setting because that's
when it was like, really just that was the wrong
That was the first one after on the.
Speaker 1 (12:39):
Ground I really cracked it off.
Speaker 2 (12:40):
Yeah, but that's why we needed that with those type
of records that y'all have, respectively, we need that like
on the stage, we need I set up like a
nigga on the video game. After that ship I started
turning up.
Speaker 1 (12:52):
Yeah yeah, I mean yeah, it would have been better too,
because I mean, obviously both y'all are real producers, so
like playing that ship live would have just made it
a way of cool thing experience in there. But I mean,
speaking of you know, Drake Kendrick, not on the B side,
but I feel like you you started with the quote
unquote Big Three around the same time Cole Kendrick Drake,
who do you think is the next Superstars or do
(13:12):
we have Superstars?
Speaker 4 (13:14):
I can't call it, bro, I don't think this game
is what it used to be. The world ain't what
it used to be, like how we consume, you know,
the respect on the music, that's just none of the
shit is the same, bro.
Speaker 2 (13:25):
So I can't really call it. But you know, it's
like it's it's space for it to open up.
Speaker 4 (13:30):
It's space for undeniable motherfucker to come through and be like, Yo,
this is it type shit. So you know I'm excited
about that. Yeah, I just don't.
Speaker 3 (13:37):
I don't know what this shit is no more.
Speaker 1 (13:39):
Bro.
Speaker 4 (13:39):
That's like I look at I'm not even looking at
myself as like in the music industry. I'm just like
making art whatever, whether it's more music. I mean, I've
got a film that we're working on, high level shit.
We really invested time and money and put real effort
and got high level actors in this shit. Like, like,
you know, I just feel like that's about to make
people look at us in a whole different light. And
it's like I'm just on some straight art shit at
(14:00):
this point.
Speaker 1 (14:00):
Yeah, yeah, I mean do you feel like because you
do it consistently as far as working again with big
artists or just artists you like, I feel like Pharrell, Swizz,
well maybe not so much for real, but like Swizz, Timberland,
even Kanye after you got h of the Izzo, he
wouldn't go back to Chicago to mess with some local
man's all A list artists would only work with A
(14:22):
list producers And now that there isn't really like the
A list artists coming up. Do you think producers get
left behind with that mind state, like you should work
with everybody, it doesn't matter with their status, or if
you just did a record with Gunna, like don't think
now you just the Gunner status is what?
Speaker 4 (14:40):
When you should be nobody could do what they want
to do. I just like working with shit i'm inspired by.
Speaker 2 (14:44):
Like when I heard Spink like this niggas bars literally
didn't have me in the crib and tears laughing, like
and that's the type of rappers I fuck with niggas
that make you laugh like but it's be like smartest intelligent,
but it's the way it type.
Speaker 1 (14:57):
Yeah, like you know what I mean. It's just like
I'm like, let's do a whole album for me. Yeah,
So a couple months. I think it was a couple
months ago, but Tom is Flying. You put a Frank
Ocean snippet on Instagram that was fucking crazy. You were
in your studio and it was like a minute, man,
I think that was I think that was his demo
that he did with the homegirl Stacey Barth back in
(15:20):
the day, Love Sticks.
Speaker 4 (15:21):
That's before he was even Frank Ocean though. Actually my
boy uh Ba cared like from our click Surf club,
he actually produced that shit. I was just playing that
because that's a vibe. Yeah, yeah, but that you could
find that song on SoundCloud.
Speaker 1 (15:35):
When was the last time you saw Frank.
Speaker 3 (15:37):
Some years ago? Probably about twenty nineteen, Okay, yeah, what
was his vibe?
Speaker 1 (15:42):
Did it look like?
Speaker 4 (15:45):
I know, he went through some personal shit, so it
was before, like you know, he was dealing with that,
so it was cool like Nigga was he was locked in.
Speaker 1 (15:53):
Yeah, Because when I saw that snipping and I didn't
recognize the song, I was like, oh shit, is this
the rollout? We're about to get a hit boy Frank
Ocean EP and No, that would be ridiculous Now.
Speaker 2 (16:01):
I think type of that type of shit need to
be happening, but didn't make it exciting, Like why he
wouldn't he just come fuck with me do a whole project.
But guys like artists like Frank though, like you know,
he's in his own world.
Speaker 1 (16:15):
Yeah, Like, and.
Speaker 2 (16:15):
It's like, you know, I got some New Orleans clearly,
well it's something that's something out there, but it's it's
it makes sense for a Frank. Like just if somebody say, yo,
Frank Ocean got an album coming out and hit Boy
is producing.
Speaker 3 (16:29):
The hoo us, it sounds fly already.
Speaker 1 (16:30):
You see what I'm saying.
Speaker 2 (16:31):
It's like, wait, why why haven't we gotten that already? Yeah,
everybody in their own world. Everybody got their process. You
know what they vibing is. I think it's what you
said though people are I think it's creatives and artists
are just in the space of you don't we don't
You don't really know what's going on. Like if you
take all this time to put out an amazing project,
(16:53):
and once you put it out in two hours, people
are either killing it online or they love to take
two hours, it's five minutes.
Speaker 1 (17:00):
It's like comment five minutes.
Speaker 2 (17:03):
Into it garbage. Just like why would the artists like
people everybody say, Yo, we want a new J album.
Speaker 1 (17:09):
Jay's in the studio.
Speaker 2 (17:10):
I'm like, I don't think an artist like Jay wants
to put out music right now, Like what's inspiring him
to do it right? What's like, what would be the
point of him doing it? He's only gonna go on,
you know, take a project or album and go on
tour if his wife is with him, Like they're obviously
only torn together at this point, if they're torn at all.
So I just don't understand, you know, where the artists
(17:34):
are as far as like, you know, things that are
going on in the industry, how people consume music, how
long they live with the music, what it means to them.
Cause right now, if I put out a great project,
people might not go back to it in three weeks,
Like it might not be I don't even listen to
that no more. Like so much shit is out and
available whenever we want to hear the news circuit is
ship coming up, just happening out of the blue type
(17:55):
shit you just don't know, Like it's shit moving fast man.
Speaker 3 (17:59):
Yeah.
Speaker 1 (17:59):
And I think artists get in the patterns, especially from
the era Frank is in and behind Frank where you
can put out a project that's deemed a classic and
disappear for three four years, whereas now you kind of
have to, you know, play the consistency game. But to me,
that's even better. Like, for example, Nas, you could say
what you want about Streets Disciple, Maybe Nostra damis cool.
(18:20):
He's had things that maybe have not met the standard
of it was written, but he's so consistent that you
forget about quote unquote a dud. But when you only
have two albums now, the anticipation to put out another
one is like, now, I'm gonna wait ten years because
its gonna take me ten years to make that type
of project. But if you're consistent, and you could be like, yo, Frank,
(18:43):
you just want to do a three pack real quick,
that's fine because it's like I'm consistent, I know we're
we're gonna get more.
Speaker 4 (18:49):
I think that's like I've seen an interview that Virgil
did and he was talking about how just in general
with art, you.
Speaker 1 (18:55):
Put out a gang of shit. You like the stuff
you put out that's bad.
Speaker 2 (18:58):
Nobody gonna remember that shit is anyway, you just keep
shooting and keep making shit, and the good stuff is
gonna stand out and the stuff you're not proud of.
Speaker 4 (19:05):
It's like they like, we don't. We don't even think
about the bad nikes that Nike have.
Speaker 1 (19:10):
Meant that, yeah, forces all our fly ship, but made
some nikes that ain't, so that has been trash whatever,
but we just don't give a fuck ship even with chance.
For example, like the Internet killed the Big Day. Obviously
he took some time because he was going through some
personal stuff and COVID and everything, but now the entire
timeline has shifted to this may be one of the
(19:31):
best rap albums up here. People say, you can also
put out a dud. If you're consistently putting out music,
you can change people's mind. To Virgil's point in that regardless,
people gonna forget if you keep putting out quality ship.
And at that time, that's why I just wish Frank
would get because obviously he's a writer first and works quickly.
Like you could just be putting out a bunch of
(19:52):
fucking records. I'm sure, I'm sure they're great.
Speaker 2 (19:53):
Yeah, absolutely, but again, you know what I mean, we
don't know what's going on in this personally, how you're feeling,
what's going on, so it should be real out here.
I just had this motherfucking do court this morning when
they got like, you know, I got a bunch of
amazing ship happened, and then I got some low level,
low vibration ship happened at the same time. It's like,
you gotta balance this ship.
Speaker 1 (20:11):
Out and leads in at the creativity, sometimes in a
bad way in that regard. That's why I went to Startless.
It was crazy the last night because was therapy to
that's the high vibration.
Speaker 3 (20:22):
Definitely.
Speaker 1 (20:23):
Uh, strip club wise, what do you feel about New
York and.
Speaker 4 (20:27):
Strip club I mean I only really went to Starless
and maybe one or two other ones.
Speaker 3 (20:31):
But it's amazing. Bro, it's lovely.
Speaker 1 (20:33):
I just know what it is. Only somebody from l A.
I feel like we say that about New York strip
clubs because I don't think that even even in l A.
I like, I like Crazy Girls and Sam's and all
the hoods. That's what I with fun, But I fuck
with the hoodship New York and l A. Just once
you start driving you realize we don't do strip clubs.
Like I lived in Atlanta when I was nineteen with
(20:54):
Paul don't supposed.
Speaker 4 (20:58):
To be here, and they had me going crazy. I'm
seeing the thickest joints saying in my life like what.
Speaker 3 (21:05):
You know what I mean.
Speaker 4 (21:06):
So it's like I got programmed on that ship early. Man,
it will just be a good time, a good little
quick you know what I mean.
Speaker 1 (21:12):
So what so what's up man? When you when you moving?
When you move to New York?
Speaker 3 (21:15):
Man, Man, I'm to look at some real estates.
Speaker 1 (21:18):
I see it.
Speaker 2 (21:19):
It's sold on your face like you trying to spend
some real time. But I think it makes sense for
for for you to be in New York because you know,
everybody has to come through you know, La New York
as far as artists and things like that. So I
think hit boy just being there, like you said last night,
you just stumbled.
Speaker 1 (21:35):
Into you know what I mean, Like don Q at
a restaurant and.
Speaker 3 (21:38):
Just like gott this this Quad ship.
Speaker 1 (21:42):
Yeah, I think it just happened.
Speaker 2 (21:43):
My West Coast homies was like, man, y'all sure, y'all
want to go.
Speaker 1 (21:45):
To Quad and you already know what they think about it,
But that's come over in the middle of Times Square
and like it'll be great because you'll get to listen
to ten thousand bust to rhymes songs because he lives there. Yeah,
he's a man.
Speaker 2 (22:00):
He has a residency as a residency called Yeah.
Speaker 1 (22:04):
Absolutely, But that's funny that it wasn't wasn't New York
culture the food history was like, Nah, I just want
to startless. I want to move starlets and I'm looking
at no no. I love the whole shit.
Speaker 4 (22:15):
I got a sprinter out here, like just you know,
driving down the street motherfuckers getting dressed.
Speaker 1 (22:19):
Do you do that? Do you just go out of
the city just to get the energy? And nah?
Speaker 4 (22:22):
Really, I just be on the way to places this city,
like when I'm on the WAT somewhere, just looking at
how motherfucker's moving around.
Speaker 3 (22:27):
The energy, the tempo is just us up out here.
I fuck with it.
Speaker 2 (22:31):
What do you What do you think is like, what
would you say is the difference? Because I felt the
difference in the energy in the l a post pandemic,
Like I think a lot changed in California, like just
the energy as far as the night life.
Speaker 1 (22:44):
Things like that.
Speaker 2 (22:45):
What do you feel is the differences right now between
the energy here in New York and in.
Speaker 4 (22:50):
LA I just like went to say lest the other night, bro,
I never see that bitty superstars in what building, which
like All Star Game. It's like I haven't been a
towb and it catches. You see some joints, you see
it going crazy vies. But that was something different. I mean,
you know what I mean. It's like New York and
(23:10):
may be just super fly, like I did really take
pride in how they present themselves, like getting dressed up
flies one ahead to toe, I'm like, and then Dominican
joints is serious, man.
Speaker 1 (23:22):
I knew that was. We all go for the chicken skewers.
Then that's why we go. I just didn't watch the game.
That's a photo in front. That's why I might say,
let's put no shout to say less. That place is good.
Speaker 3 (23:36):
Yeah for sure.
Speaker 1 (23:40):
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Speaker 1 (24:06):
Five dollars you could pay for all the wings, all
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covery Saturday everything. Yeah, So we have the Bills against
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like the Bills, the Bills always find a way in
ancient history to screw things up. So I don't know
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if I'm just gonna go with what this nine straight
home games the tenth one. I don't know if the
Bills are getting that done.
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(25:18):
and Virginia.
Speaker 1 (25:24):
We were talking. We had jd on I forgot a
couple months ago maybe yeah, and we did like this,
this is that segment with him with some of his
records on what he had to choose out of the two.
So I want to do with you start out the
gate Paris. Well, if you want to say the full
title or click, I might have.
Speaker 3 (25:44):
To go with Paris Man.
Speaker 1 (25:46):
Yeah.
Speaker 2 (25:46):
I think that's just seeing him just recently performing a
few weeks ago in felt like, I mean at the
Vegas show The Lives, Oh yeah, Okay, went to that motherfucker.
Speaker 3 (25:55):
The whole stadium was just like rumbling.
Speaker 1 (25:57):
Bro.
Speaker 3 (25:58):
I'm like it sounds like that motherfuckers just dropped the
night before. Yeah, it just came out. I'm like, you
can't beat that, bro?
Speaker 1 (26:04):
Yeah, what was that click session? Like though?
Speaker 3 (26:07):
Man?
Speaker 4 (26:07):
That was I think we was in London when we
started that and that original beat. It's this song if
you look it up, called CDC by Don Kennedy, Casey
Veggie's and this other nigga named Carter and they had
did a song on that same beat, and then Yay
ended up picking that beat out of you know, a
bunch of beats I had. Once they did the hook,
I had to tell Yay like, look, Homie dom already
used his beat. So then we ended up just muting
(26:29):
some of the sounds. I had added more shit acting
choirs and snares and turned it up into you know
what it became. But yeah, that was the first time
I heard it. I was in the Hampton's working on
the Beyonce album Like the Ship that came out in
twenty thirteen, and Yay came in and was playing that
joint over and over.
Speaker 3 (26:47):
Everybody was going crazy. Was it the first time I
heard a whole verse on it?
Speaker 1 (26:51):
Okay? So yeah, yeah was on the first and Sean.
Speaker 3 (26:53):
Last yeaar Sean.
Speaker 4 (26:54):
Sean did the yeah his part and then yay, and
then the last verse I heard was.
Speaker 3 (26:58):
A whole shit.
Speaker 1 (26:59):
I would love to ask picture on what that was
like Old and Kanye like we got this record together,
we want you to close the shit like that must
have been a feeling, all right asap Rocky Goldie or
Drake Trophies.
Speaker 2 (27:13):
I'm going with Damn, they both ill fuck with Goldie though,
you know what I mean that that was a.
Speaker 4 (27:18):
Rocky like first single on a major label, I believe,
you know what I mean? So like that helped one
of my favorite video and crack his ship off, you know.
Speaker 3 (27:24):
What I mean? It just helps, you know, solidify what
I was doing a little bit more.
Speaker 1 (27:28):
Okay, actually freestyle or Racks in the Middle.
Speaker 3 (27:31):
Damn, that's fucked up. Damn.
Speaker 1 (27:35):
Yeah, I don't know if I could pick out of
those two either.
Speaker 3 (27:39):
Damn.
Speaker 4 (27:39):
I mean, I feel like I'm closer to Racks in
the Middle because I was there for the whole process.
Speaker 3 (27:46):
That was originally my song, you know what I mean.
Speaker 4 (27:48):
Had gay that to Nip because he asked for it,
and he felt like the you know the fact that
we wanted Grammy and shut off that ship. He felt
like that was a Grammy level song. So it was
like a proud moment when we actually wanted Grammy like
we He felt like this was high quality, like the
new wave of the West. How Roddy get involved with
that man? He was across the hall from my old
(28:08):
studio and I used to work at Challenge Bro. He
was working with Future and my home boy that was
A and R in Atlantic. I don't know if he
still is my nigga Knowledge. He was like, Bro, I
got righty over there because I told Knowledge like Bro
fuck with RITI Like, I used to like that Die
Young song like super Heavy, So I was playing that shit,
showing it to people every day, like this shit hard.
And he was like, I got righty coming over there.
(28:30):
Gonna be a future. So they recording songs all day
doing their thing. It's probably like it's time to leave.
It's twelve is one. We didn't been there all day whatever.
He just come over to say what up. He got
his backpack on and all that, and I knew he
was over there, so I'm like, I made a beat.
I made that beat that same day, and I was like,
if this nigga come in here, I'm playing this shit.
Speaker 3 (28:49):
And he was just no cam coming to say what up,
I'm like check this out. Boom played the beat.
Speaker 4 (28:53):
He was like, fucking let me try something loaded up,
and then he did that hook and.
Speaker 1 (28:57):
He actually did a verse.
Speaker 3 (28:59):
He did a verse two too, when I.
Speaker 4 (29:01):
Was supposed to be supposed to be hit Boy featuring Roddy,
and that's when Nip hearted.
Speaker 1 (29:05):
It was like I need that to get this, Yeah,
I need that.
Speaker 4 (29:07):
It just like it was like, this could be the
perfect record to like segue from Victory Lap, like to
be my you know, to start the next you know,
I mean energy, the next rollout.
Speaker 2 (29:17):
Do you have any uh, because you're obviously One of
the biggest moments on the verses was when you played
the Nip verse that we had never heard before. Do
you have any music with Nip in the hard Drop Stones.
Speaker 4 (29:28):
Like, maybe a couple of things, nothing crazy, but yeah,
I got some stuff that's sitting. But I know they
working on some stuff like internally, family putting some shit together,
so they ain't really trying to let nothing out like that.
Speaker 3 (29:39):
But yeah, yeah, And.
Speaker 1 (29:40):
I mean the way Nip worked out, I'm sure that
was the verse instead that Sam probably has over it
so well. Should Backsea Freestyle even come about that?
Speaker 3 (29:51):
Was hard.
Speaker 4 (29:52):
We would TD and Kendrick in the Gang of Homies
and ship to Vegas and like twenty eleven to have
been twenty eleven because it was before the album dropped
and were just out there working. We was like he
had recorded on a couple of other beats I did,
and just like started little ideas and ship and then
he was whatever. He came back to La he was like, man, like,
(30:13):
I fuck with them ideas, but you got any more
beats than me.
Speaker 3 (30:15):
And some beats, So him and day.
Speaker 4 (30:17):
Free came to this old studio crib I had and
I played the Ship and they was like, Yo, we're
gonna take this go crazy on it.
Speaker 3 (30:23):
And then he texted me and he was like, bro,
we got one.
Speaker 4 (30:26):
He's like, I guess he was in Dallas or something
like that on tour doing shows and shit, He's like,
we got want send me the song.
Speaker 3 (30:32):
I'm like, damn.
Speaker 4 (30:33):
That shit was tough. Like he just really gave you
that feeling like he was really free styling.
Speaker 1 (30:37):
Yeah, you know that that record is a classic Travis Scott,
Sicko Mold or Rihanna Wo.
Speaker 2 (30:45):
Man, just listen to the songs. The songs you're throwing
out is crazy, not real. I mean, shit, bro, I
can't say wool because I'm gonna tell you why I
fucking that album. I did polls and I did WOO
on the anti album, and I was I used to
trade samples with a lot of people, you know what
(31:06):
I mean. I traded some samples with Don Cannon, who
gave me a pack that said royalty free on it
literally said royalty free.
Speaker 4 (31:13):
So like I took it wasn't even a loop. It
was just a bunch of guitar stabs if you hear it,
Like you know, I made that arrangement and like chose
the stabs and then built on that and basically, once
like the pre sale thing came out, the dude that
gave him the sample pack went like the lawyer route
and was like, oh, hit boy.
Speaker 3 (31:31):
Stole my sounds and da da daa.
Speaker 2 (31:32):
So I had got paid forty five k per track
for pos, I got forty five K for posing, forty
five K for WOO. I had to get this dude
with the whole forty five bands for the beat, you
know what I mean, Like, it's just crazy. I sat there,
I chopped that beat in front of the Weekend Travis
was there, Todd Dollars sign was there.
Speaker 4 (31:49):
It was a gang of motherfuckers in there. I was
chopping making a beat right there on the spot. Bro
and Dale Travis was like, damn, Bro, like that shit weird.
I watched you make the beat type shit, you.
Speaker 3 (31:57):
Know what I mean?
Speaker 4 (31:58):
And uh yeah, I just was like, nah, like you
stole my sounds. And I'm like, bro, I'm even can it?
Speaker 1 (32:04):
Like what's up?
Speaker 4 (32:05):
And it's like I don't know if that nigga reached
out or not, but it just was.
Speaker 3 (32:09):
It was ugly. I had to give him the money
back and it was fucked up.
Speaker 1 (32:11):
But yeah, but I mean I understand given some money,
but the whole if you arranging the whole ship.
Speaker 2 (32:17):
And I was like, bro, like let's work, my nigga,
send me some more loops. Yeah I'm good, Like all right,
for sure, gave the bread and so yeah, sigam more. Yeah.
Speaker 1 (32:29):
I say all that. I say all that to say,
I mean, I don't know who do this and what
a situation. And I don't want to speak on him
like that, but I feel like, has he done anything?
Speaker 4 (32:39):
Do I think he did the melodies on cal that
I got the keys? But that's the last thing I
think I heard from him, Like, I'm sure he probably
has done other ship, but.
Speaker 1 (32:47):
I just feel like an offer from you of like, hey,
how about we just worked together. It's worth to make
way more than forty five.
Speaker 2 (32:53):
In the same name or nothing. It's just like Royalty
free sample pack. I'm like, oh, for sure, you know
that is crazy? Yeah, bro, that Yeah, that's definitely wild.
Speaker 1 (33:01):
What I have three more year Beyonce sorry or Beyonce flawless.
Speaker 4 (33:07):
Mm hmm flawless flawless because like they did the remix
to that ship, Nikki Feeling myself came out of that.
Speaker 3 (33:14):
So yeah, I had like the triple I had a
triple double with.
Speaker 5 (33:17):
That one, you know, thesiography, Yeah, Kanye West, Cold or
Asad Rocky one Train featuring the world Damn Man, Damn.
Speaker 1 (33:30):
Cold. It was yeah, yeah, yeah, that's one of one
of the coldest beats. That ship was crazy.
Speaker 3 (33:40):
Recently we did that at Jungle City. That was tough.
Speaker 1 (33:44):
Man One Train, that was crazy. Man One Train was hard.
That represented like a whole era that was like coming
out the blog era. Everybody won.
Speaker 4 (33:53):
Everybody was really getting seen on Two Dope Boys, and
it's like shining on that Mother that is raised.
Speaker 1 (34:00):
I did not know he did that record.
Speaker 3 (34:02):
Damn. See what I'm saying, I got family members.
Speaker 2 (34:05):
I don't know how my crazy I definitely did not
know that. So you're going one drain, I'm going with
one chain.
Speaker 1 (34:11):
Okay. Yeah, Now this one I was very curious about.
I would have asked you this off Mike, the Magic
series or the King's Disease series.
Speaker 2 (34:19):
Damn, Damn, seems like it's like the Magic Ship felt
like more like mixtape. Just having on King's Disease was
trying to laser in on a good concept and all that.
So they both mean a lot. But I just I
can't choose bro like. I just I just love I
(34:40):
love all that.
Speaker 1 (34:42):
I was on the King's Eat side until Magic three
was like kind of made it difficult for me to period.
Speaker 2 (34:48):
That's that was a ball. Katie three some ship. Kat
three was hard too. Yeah, I think Magic.
Speaker 1 (34:55):
Magic three is my favorite on the Magic side of
the I think KT two is my favorite.
Speaker 3 (34:58):
Most people say Magic one.
Speaker 1 (34:59):
Really yeah, three is three? Is that ship?
Speaker 3 (35:02):
To me? On there?
Speaker 1 (35:04):
I know we're getting the wrap up thing, but we
we did do this with JD briefly of the rather
produce on an album that you didn't produce on reasonable
doubt or amatic.
Speaker 2 (35:15):
That's reasonable doubt Why I said ship Man, It was
just on that bragg of just dope boy talk. That
shit was would have made some ship and.
Speaker 1 (35:29):
I feel like Dead Presidents kind of sound like a hit.
Speaker 3 (35:31):
Boy, that's funny.
Speaker 2 (35:32):
That sound is very boy. Yeah.
Speaker 1 (35:36):
The infamous are Low and.
Speaker 2 (35:37):
Theory, the infamous dark gangster gutta grime.
Speaker 3 (35:41):
Yeah.
Speaker 1 (35:42):
I only put those two together because you do have
that sound, but you do do like more R and
B slows. Not to say tribe is that, but this stuff. Yeah,
I was curious which which you would prefer that entire thing. Chronicle,
Doggie Style.
Speaker 2 (35:57):
The first chronic, Yeah, Doggy Style, Yes, it was. They
elevated on that one. You know what I mean, They
took the sound up. They like lazier, They ain't even
more on that ship.
Speaker 1 (36:09):
Don't Style made niggas from New York feel like we
was in l A.
Speaker 2 (36:12):
Yeah, like that kind of how that music was so
like detailed in LA and California culture that everybody on
the East coast, definitely New York listening to it.
Speaker 1 (36:24):
We definitely felt like we knew what it makes said
about like we've been there before. It's crazy Ready to
Die or all Eyes on Me, take your West Coast
by way, even though ready to Die is production wise
the West Coast out. Damn.
Speaker 3 (36:36):
I want to say all Eyes on Me.
Speaker 2 (36:38):
I'm there, got to say that, but then produce it
for Big would have been probably we got the same
birthday me and Big first, so I'm like we would
have made some crazy shit.
Speaker 1 (36:48):
Mis education or Aliah one of a million, Oh ship
mis Education. I ain't gonna lie.
Speaker 3 (36:56):
You answered that too fast.
Speaker 1 (36:58):
You got rapping and singing on that feel like it
gives you more space to try.
Speaker 4 (37:03):
But I mean, but yeah, come on, I ain't no
disrespect to none of this that you named it. I'm
trying to choose, you know.
Speaker 1 (37:08):
The last one, Dangelo Brown Sugar or Shoty Love Deluxe.
Speaker 3 (37:13):
Oh damn, I would.
Speaker 2 (37:18):
Have I feel like hit Boy's only producer we could
even ask these type of questions to.
Speaker 4 (37:22):
I would have wanted to produce on Uh. I know
you didn't say Lovers Rock, but that album is one
of my favorite albums. Like that that joint got flaps
after get flaps, like you know what I mean? That
album particular, I would have I would have loved to
produce on.
Speaker 1 (37:35):
That is there is there any album that you you
thought you had a record on and it ended up
not making it?
Speaker 4 (37:41):
Man, what motherfucking everything is love? That was the jay
Z and we had so much shit in the tuck.
Speaker 1 (37:47):
I was like, what this nigga literally said, that's the
hard drive. Sail Me was like, you got too on here,
send me some mob so you get some mo.
Speaker 3 (37:54):
Then the album come out and had nothing. I was like, God, damn,
I was distract with.
Speaker 1 (38:00):
It, you know, making play just be like that.
Speaker 3 (38:03):
I was at the park with my family when I
found out how to.
Speaker 1 (38:06):
Go to the car, like, yeah, call this like maybe
they changed the title of the song, it's something else.
I was like, oh, but I mean a lot of
times with albums like those where jay Z and Beonce
were on tour and they just dropped it. Not not
for sure, I get I give this a process at all.
I'm saying, what's that feeling like on both sides of
like finding out you on some ship with the rest
(38:27):
of the world and then finding out you not on
some ship after Maybe he was at the family picnic
and was like exciting I got three joints on the
Talking Ship.
Speaker 2 (38:35):
I'm like they just dropped, like, oh ship, yeah you
old TV shows, basketball my name on that.
Speaker 1 (38:48):
I you got to work card in this time. Man,
they give you that speech, but wars like that, what
do you what could you even do with those joints?
Like can you repurpose those beats?
Speaker 3 (38:59):
Like?
Speaker 1 (39:00):
Can we re purpose the.
Speaker 2 (39:00):
Beatsh But you know, hopefully don't be to see the
light of day. The day timeless artists. So you know,
I ain't heard them songs in a minute, but I
know they hard as funk.
Speaker 1 (39:08):
I think you should just chop Beyonce's voice sample chops.
That'd be crazy purple sitting. And now you throw Homie
sent that you needed that forty five k. Yeah, you
don't want the problems. He's gonna need to deed your house,
all right? So start this in yes, out now. When
can we expect the album?
Speaker 3 (39:26):
Man?
Speaker 4 (39:26):
Me and Spank dropping October third, and then ship later
that month. Me and alchim is coming with some ship
in November. I'm coming with a solo.
Speaker 3 (39:33):
Bro. We just we fire enough.
Speaker 1 (39:35):
Damn I love it. You think you do it tour?
Speaker 3 (39:38):
Oh yeah for sure?
Speaker 4 (39:39):
Like I feel like me and I could have a
crazy just experience, like playing his we made that happen,
whatever the fuck, just like it just be a whole situation.
Speaker 1 (39:49):
Even how Al does his DJ sets. So yeah, that
would be fire if you guys did that, even like
that first video you guys put out of the side
by side ship, like seeing that live crazy off.
Speaker 2 (39:59):
It's coming, bro, I'm gonna keep it rashing you about
the half a mill joint. Yeah, I understand it. You know,
everyone getting older, you know, high school playing baseball.
Speaker 1 (40:07):
You get that old tiny type check man like you
look like they coming forward for sure. You know he
locked Listen.
Speaker 2 (40:14):
If I'm dumb, I ain't mad. I wouldn't put out
another half a mill. Half a mill, my son might
be worth half a bill, like I respect it. I
respected well here, we appreciate you. You know you always got
a home. Whenever you want to come by.
Speaker 3 (40:26):
I'll be back in.
Speaker 1 (40:28):
Let's go to dream instead, Let's run it, let's do
something that's it. Boy, I'm not He's just gent.
Speaker 3 (40:33):
Yeah,
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