When I saw it leaked,
I kind of just thought the song was done for.
I didn't think it'd have a chance
to get the views that it did.
I would just get links sent by people.
They're like, "bro, what's this?"
And it'd say, "Little Mozart"
and have some just terrible cover on it
that says "Blueberry Faygo".
I was like, this is getting millions of views.
But, Tiktok started going crazy
and then we started seeing the numbers go up.
That's when we knew we had something.
It's all really about having connections.
If you wanna get placements, you've gotta link up
with people in your town
and start building from there.
My friend Brennen, who's an engineer,
he made connections with Mosey and Mosey's camp.
When Mosey and Brennen asked for a beat pack,
I kind of just sent all west coast beats.
I guess, the first beat off that pack
was the "Blueberry Faygo" beat.
The day that I was working on the "Faygo" beat,
literally what I did,
I went on YouTube and looked up 90's baby making music.
I was like, "what do you call that slow,
ballad-like music with the 80's vibes to it?"
And the best guess I had was baby making music.
Johnny Gill's voice was deep enough where I knew that I could pitch it up
without it kind of distorting it.
Off the rip, if you listen to the sample,
you'll hear a Kenny G solo in the beginning.
I was like, "that's too smooth not to use.
"Let me just take that real quick."
The sax just came in real nice,
just real smooth and jazzy.
I was a band kid, to be honest.
I was doing concert band, orchestra, drum line
where I was able to learn all these different
percussion instruments.
When I first listened to the song,
I could tell right away
that it was a two, five, one chord progression.
Got on the keys,
found the best way that I wanted to play that.
Added that, quantized it.
Then when I played it with the sample,
it just lined up perfectly.
The next sound, it's just the claps on two and four.
I added a little clap roll at the end
just to kind of give it more of a punctuation
at the end of the phrase.
After I added the claps,
I just added some basic high hats to it.
That just kind of drove the bounce of the beat.
It kind of gives the beat a focal point.
When you leave space in the high hats,
that's an indication for them,
okay, I could go a little bit crazy on the flow right here.
Then when the high hats are busier,
that's more of an indication to leave space.
Once I added the open hat on top of the regular hats,
I got this.
With my background, playing an actual drum set,
it's just more natural for me to start with the kick drum.
Then the 808 is more like a baseline.
The 808 I used is the Spinz 808.
Producers that are watching this,
you guys know what I'm talking about.
It just hits different.
At this point, once I kind of had the core foundation
and the beat, now it's just a matter of adding
extra ear candy and perks.
So I added a rim, a conga, and some shakers.
All three of them together sounds like this.
I still felt like it needed something more.
I went through one of my drum kits,
and I found this weird tape swell,
and I just put it on the root note,
and it just fit perfectly.
It was really just lucky,
but it came out sounding like this.
I had the kicks, I had all the drums down.
I had a melody that kind of sat nice under the sample.
But, I still didn't have a high end melody.
Once I heard that on top of everything,
I knew that the beat was done.
I was like, "if I add any more, it's gonna be too much.
Let's just call it a wrap here."
First time I heard the song,
I was texting Brennan back and forth.
He's like, "yo, we got one."
Immediately, instead of listening to it on my phone,
I go straight to my room where the studio monitors are at.
Cranked that all the way up
and just start gigging.
'Cause that was really a dream come true for me
for a long time.
Couple of days after the song was dropped,
one of my friends sent me a Rolling Stone article.
You scroll down and Johnny Gill was saying,
yo this is fire, I like this.
So to me, that was the highest level compliment.
I started out making trash, not gonna lie,
but eventually I started getting the sound I wanted.
The ideas I had in my head,
I started translating that onto there.
One thing lead to another and now we've got "Faygo".
All right, so I'm gonna play my original tag right here.
Shout out Tezzygsup from Florida.
Appreciate you bro.
So, I took that, just cut the "damn Callan,"
and so then when you combine that with the record scratch,
you end up getting this.
In "Kamikaze", that song, they used the record scratch.
So, I was trying to use that same vibe but kind of make it a continuation off that.