When artists wanna come to me, they don’t want some shit they can go get from their
own producer.
They don’t want some shit they can go get from Mustard.
They don’t want some shit they can go get from whoever else.
They want some shit they can get from me that they can’t get from nobody else.
You know what I’m saying?
I say my sound kinda like that Memphis down south bounce sound mixed with the new sound too.
When I first got interested in music, I was probably like 10.
I had like a piano and I used to remake songs that I heard from the melody on the piano.
One song I can remember remaking on my piano was “Lollipop.”
Lil Wayne, “Lollipop.”
Yup.
I remember playing the notes on it.
That’s what kind of just made me get more into making my own beats.
When I was like maybe 14, 15, I started putting music on YouTube and that just kind of escalated on.
Me and Bloc started doing music when we were about like 15.
Me and my brothers had a studio in the garage and he’d just come in there and just record
off my beats.
From the Rover to the Shoot, like everything we built up as far as like doing the mixtapes
together, people were just catching on to the wave.
I had recently just talked to ASAP Rocky.
I had talked to Kanye.
Drake reached out to me and he was like, he like what me and Bloc got going on.
When he was like he wanted to do something, that shit was just unexpected.
I ain’t expect him to wanna work with us just like that.
It was just so quick.
I made that beat for Drake.
I just made him a beat pack and then that was just the beat he wanted to ride with.
So the first thing I did was start off with the melody.
The piano, like, I just wanted the creepy like piano sound type shit.
Then I just fucked around with the notes on it.
It just was a piano I just messed with in FL Studios in Nexus.
Then that’s when I put the brass on there.
The brass is like that Memphis sound.
You know, it’s like that dark melodic sound.
It comes from Memphis.
Then that’s when I added the bass to it.
You know, like the rattle.
That comes from Memphis too.
You gotta have good bass when you talking about southern Memphis music.
You just gotta have bass to it.
There’s no soft shit.
You just gotta have that punch to it.
That’s when I added the hi-hats.
Most producers don’t have their hi-hats loud.
I just have mine loud as hell like you just gonna hear them.
That’s one of my signature sounds.
You hear them hi-hats, you know it’s my beat.
Then that’s when I added the kicks.
On this song, I used two kicks.
This the stutter kick.
It just was a hard ass beat.
I just wanted to go and add some more punch to it.
The last sound I did was the hats.
Like the regular.
It’s one sound I’m not gonna play by itself ‘cause that’s my signature sound.
That’s the sound that y’all gonna hear in most of my beats.
I’ve been using that sound since I was like 17, 16, 17.
That’s my signature sound.
That’s what set me apart from everybody else.
It took like 8 tracks.
I made 8 sounds individually and just put it all together, and this how it sounds.
I’m in school now.
I made everything while I was still in school and then “Look Alive” just hit the charts
and it was just like, people just started kind of treating me like a celebrity in a sense.
Since me and Blocboy started doing what we were doing, we just kinda brought Memphis
together in a sense.
There was a lot of shit that divided Memphis but then now it’s coming together now as
we build up.
It just opened the door for so many other artists.
That’s what I want, to build my city up so help at least like how Drake helped build
me and Bloc, we just gotta keep it going.
It’s like cause and effect type of thing.
Man I just got a lot of respect for Drake ‘cause he reached out to us and put us on
a bigger pedestal and didn’t ask for nothing in return.
We didn’t have to do…
Everything that was done was done.
He ain’t ask for nothing in return.