Like Timbaland gave me a shout out on the 'Gram like, "Yo I want to work with Buddah.”
I got a call from Chainz one time when he was playing ‘Pretty Girls Like Trap Music.’
"Yo, Pharrell said you're blessed, man.”
Them was the people you watch.
Like, Pharrell and Jay Z and all that.
Like, you know what I’m saying?
It make it bigger than just me lasting two years to making that big music lasting years, decades.
Me and my brother was like a lot of black kids growing up.
My mom put us in the church.
We just gravitated towards the instruments.
I used to sit behind the organ, just learning.
Until one day I remember it was like during a little prayer time, it wasn't even no big
song.
It was like a prayer interlude session and he let me slide over, play and do like...
Through high school, that was like my job.
So, I always liked the keys but I started probably getting good at actually playing
when I was around 12.
13 or 14, my uncles The Smith Brothers, they introduced me to actual music production and
making records and mixing and mastering and all that.
Otis Redding’s “Cigarettes and Coffee.”
I actually heard it riding with my grandfather.
And I had to leave it like that.
I don't know if y'all noticed but I didn't like the beginning of it, the actual beginning
of the record, I left it just how it was.
See now, this part right here is actually it's just a guitar loop.
Now the bassline, I just wanted to really just follow the actual bassline that was already
there.
Just put a little more, a little meat on it.
Now this part, I still wanted to keep the sample feel, but this is literally like a
little chop I already got in my own little personal sound kit.
It’s just a little…
The next part of the record, it's actually the same sample but I took the pitch down
a whole 12 semitones.
A whole octave.
See, one thing about it like you gotta be simple too.
You've got to give the artist room to be his or her own instrument.
We called grandma.
She doing her 1,2 to this already.
Well your grandma already familiar with that.
She heard it before.
It’s somewhere in her already.
Then you get to the drums.
The drums is always the feel of a generation, whatever generation it is.
Back in the day, you have boom bap, now you got 808, trap.
You could write the Migo flow on that.
When you hear that, it go from 0 to 1,000.
You already liked it but now you really love it.
You just love it.
I hear a lot of fans, a lot of my fans saying, "Oh, when I hear that Buddah Bless this beat"
"tag, I know it's going to be some heat."
So, it's a branding.
It's just like putting your logo on it.
New York's where hip hop started.
Atlanta's where it's at.
I was born where it started and I live where it's at.
Both sides gave me both parts of my swag.
I’ll come up top like I talk a little country, but I still wear my brim to the front.
I would say my style is like your grandmother's music with Gucci Mane with 808, with bass.
Soul trap, trap soul.
You know when you hear it.