Mystery Superproducers Bankroll Got It FIRST Interview + New Album with Rucci

You know, was there an intention behind remaining almost faceless to some degree up to this point? We used to like do sessions with artists, then we'd take pictures with them and we looked even more corny than we look now. You know what I mean? An artist actually gave us the advice to, hey, bro, maybe don't show what you look like. Make the music speak for it, and then maybe that'll help do business for you. Ladies and gentlemen, welcome back to the one more time podcast. I'm Playback Ben here with my co-host, Henry with a three, because Henry with an E was already taken. Henry, we have two people on the couch today. Who do we have in the motherfucking building? I am so honored for our 99th interview to be welcoming in legendary podcasters, boxers, YouTubers. It's the Paul brothers, Jake and Logan. Is that the roast?

That's it. I tried my best, yeah. We just were like white brothers. Wait, who's Jake? Who's the Paul? no, like not sure we gave that any thought. Yeah. I didn't I didn't guess who. Who do you want to be? I don't know. Yeah. They both came up with the biggest thing. He's almost out of shape, you know. So, nah. in all seriousness, we got legendary production duo. We got bankroll got it in the house. Bankroll Got It. AKA Joel and Taylor. Yeah, Joel and Taylor Banks. Yeah. Joel and Taylor Banks. That's actually where Bankroll got it has come from. I didn't even know that. Yeah. last name is Banks. Yeah. Mhmm. Do your fucking research, Henry. There's levels to this shit. Yeah. So I I did want to ask, like, what inspired you all to become like an official duo versus just operating as, you know, strong collaborators? Because there's tons of producers that just collaborate almost on every record. I know a bunch. Like what what was the decision making process behind, like, hey, let's actually just do this under one brand, bankroll, got it? You know what I mean?

Well, yeah, so it goes back actually deeper than even just me and Taylor. Um, I was always doing beats. Taylor was too. and uh I had a different group, and ended up as it fizzled out and life got more real. We all had jobs, blah, blah, blah. Our little brother started playing with beats, just FL. He used to love like what was it, like metal. So it's a third brother. Third brother named Matthew, yeah. Our younger brother. Yeah, he would listen to like metal song, like you know, normal rock shit. Well, not normal, but rock shit. Uh and then he started listening to Waka Flocka Flock and stuff like that. So he like started to want to make beats because it kind of He wanted to go hard in the paint. Exactly. Exactly. So uh Jesus Henry. He actually kicked it off. And just for me personally, uh, you know, it's more fun with somebody else, you know. You know, a lot and most people do it by themselves, but for us, it's like kind of winning with the team as opposed to you go back and forth off feedback and off the energy, and when you know you celebrate the wins together and you learn from each other. So he started it, and you know, I jumped in to work with him, and then Taylor jumped in because he always did it too.

We and we started traveling together, and then it slowly just became Bankroll Got It pretty much as a, and we're we're not from like a city that's big uh in music. So um so where are you from? So we're we're from the Bay Area, but we're from like a small city within the Bay Area, you know. So we used to fly and we didn't make like Bay Area type beats when we first started coming up. So we'd fly to LA, fly to Atlanta, fly to South by Southwest, all that. Um we didn't know a single person in the music industry. We didn't have any connections, we didn't know any managers or anyone, so like we had to do it all ourselves. So flying to these places, meeting people by yourself, that's tough. So like when you have someone else, we can go like link with people together, network. That's why we started drinking Hennessy. We're always a little, you know, loose. I've been to those things and been like if it, you know, if Henry's busy and I'm trying to like go to an industry thing, that shit's like it's kind of nerve-wracking, bro. For real.

So, like, I can imagine like having someone by your side, especially Blood Brothers, to be there, like shooting your shot with whoever it is that you're trying to network with and you know, make make plays with, like, that's gotta be a little bit more like comforting, right? Exactly. Yeah. And now these days when songs come out, you know, every Thursday or whatever, like we celebrate, you know, it's like you're winning together, you know, versus like you're by yourself celebrating your song by yourself, you know. You're like light yourself a little little cake with a candle. Yeah. It's sad. Yeah, it's just more fun with collaboration. Any, I think any artistic medium, it's like if you're just creating for yourself, it's it's definitely not as fun. And and we're blessed, you know, we're brothers, and all of us are friends too. You know, I know sometimes family dynamic doesn't work well. What do they always say? Don't do business with family. But in our case, I trust Taylor more than I trust anybody. Um, I trust Sean too, but you know, Sean's you know, extended family. Shout out Sean Moolah in the building, shout out Sean Moolah in the house. Sean is the one is a Banks brother now, technically, you know, so you can hear it, but I'm hitting the alarm sound for you.

Whether he likes it or not. But yeah, so we were gonna start talking about this, but like how did y'all decide to start working with Sean as your management and like what went into that decision-making process, right? Because it's a big deal, like finding someone to trust your career with, and like for them to go make the right plays and like you know, handle business correctly. I mean, that's a big step, and a lot of manager situations don't work out initially because maybe people rush into it. So, like, you know, how'd y'all link? What went into that that process? Like, you know, put some game uh, you know, out there for people. Yeah, so um, I guess you tell how we first link with him, and I'll um I'll go from there. So, yeah, our little brother, he worked for like a programming company, you know, out in the Bay Area. So he had an intern that was just under him, kind of learning the ropes from him. And and the intern was talking about music, and you know, Matthew was like, Oh, you know, I make beats too. He's like, That's crazy. Cause my one of my good friends is in music, you know, interning for like Republic or whatever. So we're like, Oh, let's talk to that guy, you know what I mean?

Happened to be Sean interning at the time. So at, at that time, we didn't have a manager, we were just utilizing different people around the country that we knew to shop our beats for us, you know. we'd give them some sort of a percentage, you know, like if you place it, you place it, but it's you know, not exclusive, just you make money if you play something, you know. Did that work at all? Not at all. So I'm like, I'm like wondering, like, hey, y'all producers, like, y'all should do that. But yeah, so that's what was scary it does because we found Sean who made it work, yeah. Okay, so it did work in that regard, but it was just funny because we met so many people in so many different cities that we'd meet them and they'd sit us down and they'd talk that talk with this is what I can do for you, here's what I know, and we'd be like, Cool, we'll give you 30% play something. I don't care, like play something, like show us what you can do. And literally, no one would do anything. Like everything they said, no one would do anything. Most people just sign a contract off jump, just someone sounds good. So you should do this non-exclusive, just make people hustle for you. Otherwise, you're stuck with this guy.

Yeah, so they never did nothing for you, but now you're contractually like screwed. Yeah, so that's what we did with Sean. We're just like, we're not committing to anything, but let's see what you do. And we didn't actually, I don't think to this day we ever really signed paperwork with Sean, but like for years, he just hustled for free and proved to us year after year that he's still going hard, and then it just like grew and grew, and our trust grew and grew with him, and then like we saw that he's really like you know, hungry, like and that was the other thing we did is like some of these more old head people that they can pick up the phone and call people maybe a little quicker, but then you're not their top priority. So we always wanted someone that was more like young and hungry and was willing to put in the work, send the email, send the packs, call people, like really doing the legwork, and that's what he wanted to do, and that's what he's been able to do. And not go sign like five more people right after you. Yeah. Right. Right. and then get all booked up, yeah. Right.

That's that's so fucking underrated though. Like, I just want people to hear that, right? That's game for y'all out there. Just because anyone can step into the game and say you're a manager. We've talked about this with Jets and Maids manager TP. We've talked about this with Fame, who was another manager that you know used to be over at Cinematic, right? Under Hovane, who's a legend, rest in peace. RIP. Yeah. But like anyone can step into the game and say they're a manager, and that's fine if if they do have the hunger, the passion, the willingness to go hard for you guys, and the business savvy, of course, to like get the job done, right? Because at the end of the day, you don't need a manager degree from a college. You don't need to have gone to some school and get, you know, get your master's in management or something. Do they even have that? Is that even a thing? I have no fucking clue, it doesn't matter because it's not required to get the job done. So I think that what you guys did is smart, and that's kind of something that you know when I was uh working with Henry and like starting to manage a couple artists as well, is that doing that just kind of like trial period where it's like yo, prove yourself, prove prove yourself. And that's not meant to be like a flex on y'all's part or whatever.

It's just more like we've got other people that are saying the same shit. Yeah. Like, like let's just make sure this makes sense for both parties almost, right? Because it's a big commitment from a manager, he's given his time, energy, you know, sometimes money. Figure that out. They go, Oh, this producer just expects he's like, Oh, get me placements, make me money. Well, it's like, bro, you gotta put the work in too. So how much of it is how much of it is a two-way street, right? Where you're like, Sean's working his plays as your manager, and like you guys are working your plays, right? Because I think that's the underrated part of this, too, is that producers, especially, and artists too, for that matter, expect that, like, oh, the manager's gonna come in and save the fucking day. Yeah, not gonna make all the plays. Talk to us about kind of like that that dual approach, right? From the client and the and the manager perspective. Yeah, yeah, there you go. Um, yeah, it's gotta be 50-50. I mean, it could be a little balanced, and it all depends. We're building relationships, right? With the artists, so it's our job to keep in contact with them, and you know, Sean will track down new talent or keep in contact with A&Rs managers, even some artists. Um it's everybody putting their part in to keep the relationships going and finding new artists to work with, you know.

That's where the the consistency of bringing an income comes from, you know, for sure. So so you guys are like, I mean, even articles that were written about you or like written interviews, the whole like mystique and like mystery behind who is Bankroll Got It, who is bankroll, got it? What do they even fucking look like? And I and this and this is we I think confirmed before we got on camera the the first video, first interview for real. Yeah, right for bankrolls. Yeah. time for that. So, you know, what what went into the thought process around like I mean, even scrolling your Instagram page, it's damn near just at this point, like still a resume of like, don't get me wrong, fire resume. fucking hits on hits, right? But like what, you know, was there a like uh intention behind remaining almost faceless to some degree up to this point, or like what what was that about? Yeah, we actually um way back in the day, probably like three years, we used to like do sessions with artists, then we'd take pictures with them, and we just look we looked even more corny than we look now, you know what I mean? Still not good, and we didn't have the placements to help leverage like getting in with new artists and whatever.

So and and actually an artist actually gave us the advice to hey, bro, maybe don't show what you look like, make the music speak for it, and then maybe that'll help do business for you. So did you feel some type of way when they suggested that? I'd be a little offended. I'd be like, damn. I get it. How ugly am I? First, you know, you think about it, but he was right. Like when I was looking at our Instagram, and just like us, you know, people pose when they work with someone in LA, oh first session, you're like hugging them and like yeah, it's corny. Like, and he was like, Y'all music so hard. We I think at that time we just had a couple placements come out that in the beats, you know, doesn't really match up with those pictures, you know. So he was like, yo, just similar to how Murda did it. It's like let the beat speak for himself and then they could figure it out later. And ever since we did that, it started it just started working. Yeah, yeah. And we thought from the artist's perspective, you know, if we hit up an artist, like, hey, let us pull up to your session or whatever, and they like go to our Instagram, is this gonna help or is this gonna hurt? You know, and at the time it was like not helping.

Like, we're in our thirties, we're these white guys, they're like, Who the fuck are these guys? You know, so we're just like, you know what, let's just let the music speak for itself and go from there. Damn, I mean, I you know, I I love almost like the self-awareness level. I mean, because that takes a little bit of like maturity slash like self-awareness to because a lot of people would just be on some ego shit of like, nah, I'm getting my pictures off, bro. Like I'm I'm post I'm posting who the fuck I'm with, and you know, maybe not being able to look into the future and be like, is this the right approach? You know what I mean? Yeah, well, you know what people say, you gotta love yourself, you gotta understand who you are. Once you figure that out, life is a lot easier. You know what I mean? A lot of people I don't think really understand what people think about them or know about them or the way they speak or carry themselves, and it goes a long way just to embrace who you are and then use that to your advantage. That's your brand, you know? Yeah, look at us. We're four goofballs over here, but we're figuring out we're figuring something out, right? One day at a time, like four white guys that know nothing about hip hop. Oh yeah, that's what TikTok says sometimes.

Um, so talk to us about like the relationship dynamic growing up, right? Because obviously you guys are super close uh now, you're in business together, you're you know, creating art together, and that's awesome. Like, I you know, shout out to you guys for being able to do that at special. What what was the dynamic like, you know, as kids kind of growing up? Yeah, I mean, so we're two years apart, so we're always doing most everything together, like always competing in sports and stuff at the house or or whatever it was, but really like Joel was always the one that was figuring out ways to make beats on these little programs growing up and stuff. So then, like, that's what my older brother's doing, so that's what I'm doing, you know. So we're you were the first one to crack FL. Bro, we came way back, like I'm talking like Super Nintendo Mario paint going crazy. You know, what I'm talking about. This guy was recording on Audacity. Like the fucking mushroom was like the bass drum, you know, like this turtle shell was the snare or something. I don't even remember, but like I'm talking when we're like nine years old, eight years old, you know. Damn. But technology wasn't there the way it is now.

These kids are so smart and they're just yeah. Using whatever BandLab or whatever. They're doing speed runs and it's like, how how did you even know what producing was? Like a lot of people don't even know what production is. I mean, maybe at this point because it's so widespread, but like when you were getting started at age nine, for example, Clearly came up on hip hop. Did you have like a frame of reference from someone or like how did you? Yeah. I would say at that time we were just kids. So for whatever reason, I you know, we were just stuck on watching MTV jams. I mean BET, uh TRL at the time or whatever, you know. For sure. Just but infatuated by just hip hop and RB. Like I just never gravitated to rock for whatever reason. It just didn't. I used to I used to remember thinking, man, this guitar shit sounds like noise to me. Like I don't get it. You know what I mean? Like I just really did. I pretended I did to fit in. You know, you know, but uh it always was into rap, so I always want to make rap beats. And then later on, I'd say, you know, I I guess the Neptunes are probably the first one from just my awareness of what a producer is really came from them. I think like they were the ones that really started, or I guess they defined the super producer, you know, term right.

You know, I know Dre, Scott Storch, all them were were already doing it, but Neptunes were the first ones I think that really put the shine on the producers, at least from me growing up. Yeah, shout out to Pharrell Four Count intro, by the way. Yeah, I feel like I don't know if that's because we did a producer tag draft, and people were pissed that we didn't count that, but I don't know if that's really a tag because it's not explicitly, it's it's a yeah, it's kind of a tag. It's kind of a tag, yeah. It is, yeah. Well then we dropped the fucking ball. We definitely definitely did. Sometimes the way that you guys lead into songs with your tag, the bankroll and like the way your drums are knocking, it kind of is reminiscent for me of that that four count Pharrell shit. So is that sometimes like you know how the influence is there? Yeah, I mean, from the way beginning before we had a single placement, we always knew that we wanted to brand ourselves in a in a dope way that sounded good, that made people want it, like when they see us, they want to say the tag, and like so. But before we even had a placement, we made that tag.

So like every song you'll ever hear, unless the artist takes it off, you'll hear the tag. So uh it was just important to our brand from day one. So we thought about it and we made sure it was good, you know. Yeah, it is fire. That's why I drafted it in our six million view producer tag draft TikTok. Yeah, Shout out. So had to, you know, y'all are definitely known for almost, you know, you know, at least originally, I think maybe it's evolved, you know, slightly, but like you're known for your hard-hitting 808s, right? And and almost like less musical sounds and more just raw drums and 808s, right? Is the 808 the most important part of a hip hop beat? Uh for me, yes. And I'll tell you why. Um so when you're making a beat and when it first hits, right? Whatever that sounds like is usually the when people you know make that face or whatever, Stank face. the sonics of what they've never heard before or a certain 808 that hits so you get the best masterpiece beat, but everybody always gravitates to the bass of just how it hits. So, in my opinion, it is the most important.

Like, so that's why I'm always been, you know, when we make beats or whoever we collaborate, I always push to just not sometimes use some of the more generic sounding 808s Zay 808 spins 808. Well, I mean, we we use the Zay, but we well, we we put our own effects on it and stuff or whatever, even spins if you put the right effects, but a lot of times you use you know generic ones everybody uses, it just instantly the listener thinks, oh, I've heard this before. This sounds more like a you know, not like a YouTube beat, but it could be you know more generic sounding where if you hit them with something they haven't heard before, instantly, you know, they're gonna think that that's just the hardest shit they heard, you know. Do you use like um saturation distortion? How do you achieving that kind of unique? Bro, they can't give you this sauce, bro. Come on, bro. I'm just trying to sneak it. It's not even we we don't do that complicated stuff. A lot of it is just going through a million 808s, you know. Just finding the right one. Really picking the right sounds. I'll be driving people crazy when we make beats. I'll just I will probably go through a hundred 808s and keep switching them over and over and over again. Even Taylor probably gone through that.

I just I don't know. so for the only person that's not a producer here. That's me. The most important thing in production is sound selection. You can try and make a sound, sound however you want it by adding a million plugins. But if you start with that sound that sounds like the one, you're you're winning every time. It's so important. It sounds like specifically the 808 selection is actually what matters. I mean, really funny. Any other drums too? You could take a snare, you could try and stacks three snares on top of each other, but there's probably a a snare that's better, you know what I mean? Oh, every time. Snares piss me off more than I don't even know. Yeah, snares are the worst. I fucking hate snares, dude. I always just end up with the generic like Zay clap, just that same like or the Lex. Because that never sounds bad, but yeah, you can't. go wrong with that. Just end up with it. You better be in the comments, y'all use the same fucking drums. What are you talking about? They fucking hate. Fuck you guys. So being from the Bay, I know you guys were influenced by you know other regions, but like, do you have a Mount Rushmore of Bay Area rap? Oh, yeah.

Who's on there? E40. Mac Dre. Definitely E40. Definitely Mac Dre, Nicotina. We grew up during the hyphy movement, right? There's a couple hyphy motherfuckers. We were actually we'll date us, but we were like in college, you know, or at least going into the college in Hyphy. So you got like you got, like 45, 47, 50, 50. And now in LA, you're 28 forever. So we're just gonna be able to do that. We're trying to get Forbes 60 under 60 this year. Yeah. Yeah. Oh, but even shout out like the team, Federation, you know, those kind of acts. Like who else? Um Hood stars, right? Like we did a Bay Area draft, and we should probably not have done that. But I mean, we should have at least checked in with them. Yeah. Probably. So but they're in LA now. Yeah, but still. Like the first artist we actually ever work with, like Love Rants, you know. Uh so he did beat the pussy up, you know. Yeah. So yeah. So uh Ben took G-Eazy in the fifth round. How do we feel about that? It was partly for the memes, but like shout out to Gerald, man. I gotta respect G-Eazy. He did it for the band.

Yeah. I mean, he's a fucking global, you know, superstar at this point. The bitches love Gerald. They do. So, but you know, a lot of people would almost mistake the fact that, like, you know, thinking that you guys are from here almost, right? Like, your sound has this almost iconic southern trap hip hop sound. Yeah, sound like Atlanta. Yeah, so sometimes how how influential was Atlanta, you know, as you were developing your own unique production sound. Yeah, when we first started producing, like California music wasn't something that we were listening to all the time, you know, and so we gravitated towards Texas music and Atlanta music, and we would watch 10k cash videos of like these real open beats with these like heavy drums. So we started doing music like that, and like we started working with Asian doll, and like um one of our first biggest songs ever was uh real hood babies with uh Lil Got It. So like just real open drums and like Atlanta sound, you know.

So but then now we're kind of coming back to the West Coast, like after um a few years of kind of doing that sound. So now we're kind of well, y'all are welcome for the come up. Oh absolutely, yeah. No, we love Atlanta, man. For sure. So. So was it the got it record that um kind of like phone starts ringing or like DMs start coming in? Like is that what kind of set things off? Yeah, that record was like one of them records that it was it was big out here. Wasn't I mean I wouldn't say it was big like nationally, radio wise, but like culturally, just we could DM. I remember it hit me when we DM like we DM like Sway Lee, and he responded back saying, I fuck with that record. Like that's the kind of shit that was whoa, this record's bigger than we thought it was, you know what I mean? And then we'd you know, we go out here to the clubs, strip clubs, whatever they'd be playing it, you know, that thing everywhere. We'd hear it all the time. So it was just uh like all right, we got something with this. Which clubs do you have here? You hit Magic City Magic City. Sean, yeah. Sean's like, we gotta go hear the song, and I was like, Yeah, we do.

Where else? Onyx, or like where are we going? It was on the Magic City playlist, so we knew we just had it. Magic City, if we if your shit's playing in Magic City, you're pretty you're you're valid in Atlanta. That's one of those things you gotta bring you know, run and tell mom for sure. That like it's it's on the Magic City play. I mean, how does that feel a bitch from the south at the same time? Bitch from the South. that's the one I would have guessed. Yeah, it was really like that was up out of here. That was our mainstream record. Yeah, For sure. Hood Babies happened first, though. Like they both came out around the same time, but Hood Babies blew up quicker. Like Bitch from the South was one of those records that just had legs for years and years, and it really like hit its peak probably like two years after it even came out. But that's because Lotto's going fucking crazy. Lotto. Shout out to Lotto. Yeah. Shout out to her. Yeah, but yeah, Hood Babies was one where like we'd meet someone in person and we'd be like, Yeah, we made this record. They'd be like, Whoa, whoa, stop. You y'all made that record? Like, all right, let's work, you know. You know, so that was. yeah, that was big for us. Is that amazing to just like overcome all stereotypical odds when you're like, fuck yeah, I made that record?

I don't know. I would just find it. So much joy in that. It's definitely a dope feeling. Yeah. Yeah. Cause because even you know, doing what we do, getting to talk to a lot of people that are in rap, like it's still even, you know, even from like a media and journalist, like whatever we are, podcaster perspective, that's still like, yep, this is who talks to, you know, rappers and producers and whatever. So like I don't know. I definitely find like joy in you know, overcoming that, like what we should look like, you know what I mean? Type of discussion. Yeah, and I mean, we're really trying to do like big culture records if we can, you know, we don't necessarily want to do just like some mainstream sounding thing that comes and goes. Like the fact that those two records are like kind of legendary records in Atlanta is like big for us too. You know, these like songs will never go away, you know what I mean? We try our best, you know. When you're making hip hop music, you gotta really go there, understand you know what the city feels like, understand where the music comes from, you know. So we take pride in at least, you know, we just to be accepted in rap and and all the artists that work with us is great, but for us to also learn from them and talk to you know, the artists come. And we're talking to their friends who are your favorite artists.

We're just trying to learn what everybody's doing, and and that helps you make beats when you really get why it sounds a certain way. I think a lot of producers probably they hear it on you know, Spotify, whatever, and they just recreate it, but they don't even know why they're recreating what it sounds like. You know what I mean? Like, what does a Memphis type beat mean to them? It's you know, they're just copying, they're not really understanding why Memphis sounds like that. Yeah, yeah. For me, I mean, I I think that it's obvious that you guys are kind of tapping in with artists that aren't necessarily, you know, mainstream radio types of artists right now, right? So I you know, I do want to give you guys a chance to speak on, you know, the most recent collaborative project between you and Rucci, right? Who's straight out of Inglewood? Yeah, and to be honest, Inglewood Rucci. I'm I'm I'm looking at you guys, right? And I'm like, you know, you guys couldn't look more opposite, right? Like and just just you know, it kind of plays into what you're talking about of like, you know, you want to understand where he's coming from, right? Because he's got such a unique story.

I mean, like, you know, openly speaks about his family heritage and you know, the gangs of Inglewood and like just the struggle that he's had as a you know person, and you know, the things he's seen and dealt with, and just like his upbringing is probably like drastically different than maybe what you guys, you know, where you guys came from, right? So, yeah, what's that? What's that like, you know, I guess, you know, coming together like with someone like a Rucci. and creating with them, even though you're from just vastly different worlds originally, you know what I mean? Yeah, I mean, that's that's the beautiful thing about a producer is that we're just really like laying the landscape for him to tell his story, you know, and us coming from California, like even though we did Atlanta beats and Texas beats and stuff, really California beats sometimes are like more natural for us. So, like it's something we've been listening to our whole life, so it's just something that we we really know it from living it, you know, versus some of these other places. Maybe we spend time here, we learn a little more as much as we can, you know what I mean?

But really, like uh even LA sound, Bay Area sound is like really like home for us, you know what I mean? So it makes it makes it easier, and that's his sound. Well, I mean, hit he has his sound, um, and his he has great projects already that he's he's accomplished in. Um, and you research you obviously you know know his discography going into it, yeah. And you don't want to be exactly like that, but for us, you know, we started with doing the records like scoring by Kalen, and we just want to make our impact on the West Coast now. Like we grew up loving West Coast music, you know, from shit old enough through Snoop and Dre through the the second Dre wave, you know, all the way through Nipsey, everything. So we've seen the whole you know progression of West Coast music. Um, so we we have a lot of different places we could take the music um from all those different influences. So we wanted to just make a classic album with Rucci that sounds West Coast, um, but a new version of what we would think a classic West Coast album would sound like, right? So it's it's something for his fans would like, but also it we're trying to make something bigger than West Coast as well, you know.

But so you gotta appeal to both at the same time, you know. So is the goal. Yeah, yeah. So what did the the making of the project you know look like, right? Like, were you guys locked in for you know weeks at a time every night, you know. I mean, like, talk to us about kind of the the actual making of the project. Sure. So well, the first day, um, we had done a record with him previously, um with Kalen on it, but uh so we we knew his music, but we never really worked in person. That was just that was over email. or whatever, yeah. Um, so the first night we didn't really know what to expect because you never know how someone's recording processes, or just you know, some people sit down and write the whole time and then go cut one song. Some people punch in line by line. Jesus. Sorry, that was my elbow. It's all good, and the crazy sound effect. But uh yeah, but yeah, Rucci went in like that, just went crazy. Like first night, it went crazy. Just like five songs front to back, off top. just yeah, just he didn't write nothing. He's like going punching in, kind of and he has bars. every time I listen to the project and I catch something else that I didn't catch before.

Like his bars are crazy, like and he just sounds good on you know all sorts of different types of beats, and he's creative, he'll jump on anything. He's you know, one of them rappers which we love working with that will say, Give me anything, I'll jump on it. You know what I mean? Because Love that. it's tough when you work with a certain artist that only gravitates to the same beats. It's like, what do I even bring to the table here? Yeah, you got your producers, you know what I mean? Like, so for for us working with him, we saw like, whoa, this guy, this guy's different. Like, we could really build something crazy. Um, and we could test different sonics and sounds and see producers are always trying to match an artist's vibe. When an artist tries to match a producer's vibe, that's some of the most beautiful shit. Like, you find that artist that's willing to be like, Oh, I see what you were going for here, and I'm gonna I'm gonna match it. I feel like that's way more rare than the other way around, isn't it? You know, yeah, and he told us from the beginning, like so. He came and he was like, play me anything, you know. So I love that. That's a dope thing to hear. I fucking love that already. He let us push the boundaries from the beginning, and those five or I might even be six or seven songs he cut that first night. At least four or five of them made the project.

So we were so blown away, so we love the record. So we didn't even he didn't even come in on that first session saying, like, hey, let's do a project together. It was after he was like, Wait, so we just cut an EP in one night. That's what we're basically a few more at this point, you know. So that's really what uh sealed the deal on that. So uh fire, yeah. So and it so he was at a good like point in his career where he's been doing a lot, he's been coming up, but like he wanted you know to try some new stuff. He he wants to blow up his sound, and like he wanted some bigger records, and at the same time, we're trying to work with someone that is willing to you know explore some different sounds and try some try something new, and so it was just we're both at this kind of the same point in our career, so it was really perfect timing for both of us. Beautiful. Yeah, he was mentioning in some you know, either interview or maybe the like you know, mini doc I mentioned, you know, the taco sun mini documentary, about exactly what you're you know, referencing of how how diverse his uh taste in music is. Yeah, he had talked about how he listened to all sorts of shit, not just you know, LA or you know, Inglewood rap, right?

Even though that's what he was, of course, surrounded by growing up, but he took from rock shit even, and I can't remember what all he was saying he was listening to, but it was just way eclectic. So I think that that's that's neat that he was so open to creating something like still in his pocket, but like pushing the boundaries to maybe like I don't know. Do you feel like uh California rappers, whether it's Bay Area or you know, down in LA, like do you think that they can almost you know get boxed into just being West Coast rappers at all? Like, is that like a is that like a challenge for for the and same thing, even like here in the city. I think that applies to everything as well. Every city has their sound, so um, I think you have to pay attention to what the city's doing, but at the same time, I you know, I think every rap fan would agree that it would be great to hear their favorite artists on other types of beats, even if it's paying homage to that sound and just kind of twisting a little bit, you know what I mean. So that yeah, it could be the same BPM, it could be in that lane, but just slightly different.

Something new that the ear hasn't heard or something, you know, like yeah, yeah. Well, I've always said the best music is slightly, it's gotta be like 50%, maybe not exactly 50-50, but it's got to be like somewhat recognizable, comfortable, and then somewhat new. Exactly. You can't go too new, right? Because you throw people off and it's weird, but you can't go too cookie cutter in the box, it's boring, no one cares. Exactly. You need a little bit of both. That's a good point. Right? Exactly. I agree with that. Yeah. 100%. So this is a collab project where it's dropping under bankroll got it on streaming platforms, right? As well as Rucci. Yeah. So. Correct. you know, if you're able to share at least like once again at a high level, you don't need to, you know, I'm not trying to pocket watch here, but I am, you know, eager to help people out there that are producers that are trying to do something similar, right? Where they do collab projects. How's the business structured? Meaning, like, you know, there's music videos and stuff involved. So, like, are y'all, you know what I mean? Like, if you can share anything about like how it actually works out that way, versus it could have just been a Rucci project that was executive produced and mainly all beats by Bankroll Got it, right?

So when it's when it's both of you guys on streaming, is it structured differently? Like, can you maybe like share some of the behind the scenes of like how that works at all? Mm-hmm. You want to take this one? I mean, just to start, I mean, yeah, you well, you go. I'll go for it. it I think it um this first one. So we're we're trying to build our brand too. So I feel like even to gear towards eventually doing a Bankroll Got It project ourselves, right? You know, you really need to build the brand before you can just start dropping tapes because you know, unknown producer, time as an artist doesn't mean shit if the if the artist and producer, you know, I don't have any relevancy. So we're we're right now, I think you know, Empire's distributing it. So it's really like it is like a project that we produce for him, but we're putting they're they're giving us name recognition to be on our Spotify to build our fans. We've done that similarly. We have a uh record with uh JP the wavy in Japan. We did the same thing that that was technically our first EP. as Bankroll got it. But this is our first American one that you know for LA, especially California, really trying to do so.

Um, we're gonna build up the name, build up the recognition similar to how Metro did it and Hit Boys doing it right now, and really prove to the industry that we can take your artist or or prove to artists that we can take you know a project with you and give you a landscape to tell your story and create a masterpiece. So you are you taking on a lot of those costs then, like music videos, like marketing. This one's through Empire, so it's all through Empire. So there's still a label that is invested in the project, they need to recoup their money and everything, so they're handling all that. But bankroll got it in the past. We've always just tried to make singles, you know. So we're doing one song at a time with these artists. So we we've never really proven ourselves that we can do a project front to back, and that's a whole different mindset for a label, you know. That so we're not proven in that regard. So we're hoping this is the first step to proving that to people, and then we want to keep going with doing more bankroll got it projects with all sorts of different artists. Um, but so for us, yeah, this is that first step.

Yeah, and uh and and on the um on the subject of like proving yourself and building the brand, I'd love for your you guys to discuss your kind of methods of how you even produce songs. I went I I spent a month in LA last year in September. Came out to uh the bankroll studio was awesome, and you kind of gave me a rundown of how you guys even just go about you know producing for these artists, and I think it could be very helpful, maybe for some people watching, just the whole the whole, you know, how you're doing it, you know. Like you got this this fire studio, you know, just the whole, you know, you know what I'm talking about, right? Yeah, I gotta stop hitting that button with my elbow what which button is it's gonna come in to play later, and it's like the worst level of foreshadowing. I was just saying. What I've ever seen. The one closest to his elbow is that one, yeah. It's terrible. It's the one that. You're always supposed to hear until later. But I've hit it. And now and now we're just on a fucking roll with it. It's the Hennessy, man. I'm telling you, yeah. On that note, I don't know that's gonna help our cause, but like maybe we're gonna hit it a few more times at this point. But you get what I'm saying.

Um, yeah, like yeah, the strategy of how you you've come to Okay. Yeah. Which I think is could be super helpful for some of our listeners. So, yeah, we have a studio in in LA that you know, it's the bankroll Got It studio. We have the neon sign. We kind of designed it like a Miami nightclub vibe, you know, especially um early on during the the COVID times. Obviously, we're we were safe in there, but you know, it was a good vibe for artists to come in and create when a lot of things were going chaotic all over the rest of the country, right? So yeah, that was a nice disclaimer. Did you hear that? It's like you're safe, and you gotta be careful with all these rappers and ladies. Six feet away. We had like a bottle of hand sanitizer, like all the time. Of course, you know. The Hennessy usually cleared the rest of it out. Yeah, I mean it's alcohol. that in the weed smoke, you know what I mean? But you know, that was a good thing. Cures COVID, exactly. You know, I heard but uh so you know, artists come. We we basically our business model is really reaching out to artists, bringing them in. You know, the expenses on us, you know. We have our own in-house engineer and producer that's really dope. Shout out ZZ.

So he's there every day. Shout out, um, and uh we basically run sessions like any other session we go to Paramount or whatever, you know. It's just they come to us, they know that they gotta work for us, and it's free for them, you know. The the risk is on us, you know. I mean, if we don't make a good song, then it's our cost, not theirs. So, you know, a lot of A&R's and managers like that. They're like, Oh shit, I can't book a studio tonight. Let's go work with bankroll, you know. So it's that's our advantage that we're trying to get over, you know, other producers. Maybe they don't have a studio. It's like, well, yeah, y'all can come here for free as long as you use our beats, you know. Yeah, and that's I feel like that's just a great business model because like what you know, great environment, comfortable, dope looking, hard beats. You know, I can go and make some hard music. Like, yeah, you know, if I'm a poppin artist, I'm definitely considering that, right? Yeah, so this kind of goes hand in hand to when we didn't show what we look like. So we kind of did that from day one. So it's like if you're not the homie with the artist at the house playing 2K with them, hanging out and making beats that way. If you're trying to lock in with them and they don't know you, you gotta make it really easy on them.

So, like when you hit them up, like, hey, let me pull up on your session at Paramount that you're paying for, and then let me come and play beats. It's like that's a lot to ask. You're you asking for a favor at that point. Facts. And so, and they don't even know you, so they're just not gonna respond. So, we've always taken the approach of like do the opposite, make it really let me give you an offer. You can't refuse. Yeah, exactly. So, like, pretty much. So, when we were coming up, we had full-time jobs, and we would fly to LA, we'd book a studio for the whole long weekend or something, and then we'd make it really easy. Just we we have it all paid for, we're paying for the engineer. Just stop by, listen to the beats. If you don't like it, it's all good. You're done. If you do, let's record or whatever. So, and then that business model stays today, where it's just like we have our own studio, we built it out, we spent money on it, made it feel real comfortable. We always have Hennessy there, we always have tequila there. Candy, candy. We have whatever they want. If they need a runner, we'll go get them whatever they need. Fiji water, I swear it. Fiji water. Yeah.

Whatever. You feel like they got, they got Fiji water? Fiji water is just a little bit. Oh shit. We're in LA. Real alkaline, bro. Well, they made it, bro. If this was their coffee table, there'd be about five Fiji waters on it. Yeah. Some candy. Yeah. I'm telling you, bro. Yeah, we just got tap. I'm telling you, bro. we just got tap water over here. Yeah, yeah. And you're doing an interview with us. You know, you could be bigger. It could be bigger. With Fiji water, you know. All right. We're getting the Fiji tomorrow. Yeah. We did it. no, but but for me, I feel like it's um everyone, no offense. Like everyone and their mother has a studio now set up at their at their house, right? I mean, like, every producer has some way to probably like have sessions at their like, you know, their spot. At least it is a studio. I'm getting there, Henry. I'm just saying. I'm saying what you guys did that is, I think, you know, it took a lot of risk, clearly. Yeah. But the investment and the and the design aesthetic that you like, you know, went after, and then and then what resulted in the bankroll got at studio, that's the that's the fucking money right there, the sauce. that's the sauce because everyone can, you know, invite someone to pull up on them and record.

But to your point, if it's not, if you don't have that relationship where it's like, oh, like, yeah, this is my you know, little humble abode where we're just gonna be playing video games, smoking up, and like you know, recording a little bit. If you don't have that type of relationship with the artist, it's a lot different. Like they would prefer something that's a little bit more, you know, curated, I guess, right? And like purpose built, you know what I mean? So the producer with the bedroom studio, if they don't know the artist, the artist's gonna maybe come, they're gonna spend one day, they're gonna get their two, three records, and they're probably not gonna come back. When they come to our studio, the building does have to work for us. It's a vibe. Everyone's having a good time. We're drinking Hennessy with them, we're all like chopping it up, having a great time. They're gonna come back the next day, the next day, the next day. We're gonna get 10, 15 records, and then we might get three on the project or something. You know, I mean, like the building does have to work for us. And it's like a marketing plan, right? So what started to happen the first time we tried it, we our old studio, we had a one-room studio. We had a Hennessy backwoods vending machine, right?

And it was already that's so fire. Just operate. And the artist would sign it. It was a cool gimmick. We barely had a name at the time. I think we had hood babies just come out, but that that was it. We just moved to LA. We're that was at the time we're like, oh shit, this is working. We're actually now making money instead of just being in debt for the rest of our lives off this shit, you know. So that is the gamble. Don't get me wrong, by building the studio and everything, that is the gamble. We Maxed our credit cards out, just hustling. I mean, the full-time job does not pay for the amount of travel and stuff we were doing, but we we didn't care. I I didn't really see an end end in sight with that. You know what I mean? That's probably you'd be more careful, but this is not financial advice for producers, yeah. but yeah, but it works for some people. So the mark the marketing of it. So, you know, we tried to um get people to think the vending machine would get more people there. And it it kind of worked in there. The vending machine was more of like a branding thing. People are gonna want to post about it. Oh, let me get this hen this glass Hennessy bottle, let me put a few dollars in, see if it breaks. They're gonna post on their IG.

So now people are seeing our name or whatever. Yeah, it was a little bit I've never seen that and being like, that's amazing. I want to fly to LA just to get a bottle of Hennessy out of their vending machine. So if I'm hearing this correctly, like it sounds like the secret to you know, success and hit records. I mean, it sounds like it's Hennessy. Hennessy and a vending machine. No, just Hennessy Hennessy period. Just Hennessy. Yeah, well, it's funny. We're on Hennessy, but everybody else is on tequila, you know what I mean. The Casamigos is the new thing. It's been a big shift. It's shifted from Hennessy to Casamigos. but fuck that because me and Hennessy have the same nickname. It's all about the hen dog, baby, hen dog. Cheers. That makes me not Cheers. Yes sir. that makes me not want to drink this anymore. I know. That's what I'm saying. It kind of ruins it. Don't do me like that. It really does. So, you know, you know, you talked about setting that vibe of like the Miami nightclub or whatever. Like, it's got this, you know, the neon signs. It's got the like. Oh, yeah. Oh, yeah. Let me let me uh you remind me of what I was talking about. So yeah, yeah, go ahead. Hennessy vending machine was cool, but it didn't really work all the way.

I mean, we were getting a bigger name as we went on, but and actually, shout out to Bad Baby. I could say this because she wouldn't care. We would try to get the artist to post the vending machine and tag us so we would get more, like, you know, but she she looked at us and I remember her going, This would be like $20,000 for me to do this. You fucking crazy, you know? 20,000? I mean, you know what I mean. Like, like that's like a sponsorship, right? So it's like, all right, all right, you're right. Cash me outside. She knows her worth, you know. Yeah, she knows her worth. She did make a million on OnlyFans. And artists would never artists would never really post it, right? Um, so damn. We uh the next studio, it was more, you know, our signs are everywhere. people sometimes laugh about that. We have a sign in every room, but like the ceiling, which we weren't even really thinking about. Our does the studio designer um just made this ceiling with the the pink lights that we can change or whatever. Shout out to London. Shout out, yeah. London built it. Um people would in the background they would see the sign or our bankroll sign, but then really the ceiling, and then other artists would be like, where is this at? You know, and then they started to notice that other artists would be in the same place.

The ceiling And they kind of came like a what do they call that? What's the FOMO or something? Uh yeah, yeah. I want to be there, yeah. I want to be there too. What the fuck are they doing over there? You know what I mean? And then people would be excited to come to the next spot that was a lot bigger, you know, and everything. But it's like that's like kind of marketing for us. It's like if you don't, you know, at the you don't have the big name, the murder beats, the jets and whatever at the time, like you gotta figure it out. Like you gotta get someone to want to come to your studio, you know what I mean? Yeah, and that's actually funny. So we we're doing this project with Rucci. One of the first thing he said is I used to see that ceiling, the sign on IG all the time, and I manifested like one day I'm gonna be there, I'm gonna be working with y'all, Wow. and we're gonna do some shit. And which is dope. He said that. So I was like fire, yeah. I appreciate that. Yeah, but I I do want to say also our studio right now, it's very nice. We invested more money into this one, but I'm not saying that every producer coming up gotta spend that type of money. Like, you can have one room, but it is important to create that aesthetic. You know what I mean?

It's the money. We don't need the money that much money to do that. It's just It's a little thing. It's a little thing, as comfortable as possible for the artist. You just want the artist to come back, yeah. Get a whatever they're gonna make plans, get it, you know. Get some lights. Roll it backwood up, shit. have some waters, man. Have some water. Have some water. Yeah. Do you either one of you guys want a water, by the way? We know we're gonna. They brought their own because they're like, I don't know if these motherfuckers can afford water. We bring our own shit. we got Deer Park and they brought smart water, so yeah. We do have water though. Yeah, we usually bring our own shit wherever we go. We know these are giving a shit, you know. They did indeed roll up with a box from a liquor store with a bottle of henny, some Perrier, and some fucking smart waters. But we had water available for them. We definitely did. In case you're watching Drake and you want to come on the podcast. But yeah, so just just to just to kind of summarize like the vibe is everything if I'm hearing it, right? Yeah. Vibe. Vibe. curators is is like part of y'all's resume, I would say big time.

Yeah, and on top of the vibe, another piece of advice we got in the studio was at one point we've never been good engineers, so shout out to you know, someone like you, you're a great engineer, Thank you know. You know, he's all right. So we were thinking about like, you know, it costs a lot of money to pay hourly for an engineer, you know. So we were thinking, oh, maybe we should learn how to get better at that. And then another piece of advice we got, which we've held on to was you know what? Maybe sometimes it's better not to be the engineer when you, the producer, you're trying to build the relationship with the artist and and the managers and the teams and the homies and stuff like that. And sometimes also if the engineer fucking up, but like if we're fucking up now, the artist Reflects on you, you know, and now they're like upset with you, versus, you know, if there's if there's just an engineer there, it does reflect badly on you if you have a bad engineer or whatever. So that's you gotta have a good engineer. But at the same time, you like we're spending time bonding facts, we're spending time bonding. That's how the artists yell at you if you don't know what you're doing.

Exactly. Yeah, so I'm gonna do that to Henry right now. I'm a better engineer than I am a podcast board guy. Yeah, he needs it within arm's reach. Continue. Sorry, yeah. So I mean, so we made the choice. We don't engineer for the artist. We always, you know, we do pay someone hourly, so we have an engineer, but that was another piece of advice, something to think about, you know, as a producer when you're trying to build those relationships. If you're on the board and you're fucking up, you know, maybe they're gonna walk away with the worst taste in your mouth. Bro, transferring the risk, yeah, right. 100% producers coming in, you know. Henry should take that advice and get someone else on the board, you know. Listen, they wouldn't have a lot of people. He's a good engineer, though, you know, so maybe it's gonna work better for him. We were unskilled, you know. Some producers are known for the engineering. And it makes sense. And they're good at Melodyne. And they're going crazy. Yeah. So Like it makes sense, but a lot of times the the artist's gonna judge you off of your image when they come to the studio. And if you're the one also recording and everything, they're kind of like, okay, you know, I thought these guys were like different, you know. what I mean, or something.

Yeah, his beats aren't must not be as good because he can't record in pitch vocals as well. No. Which is bullshit. But you know, no, for me, what I think you said is actually the most important out of all the, like, you know, examples of why this might make sense is that you don't want to be having to focus on the engineering side of it. Exactly. Right. You need to be focusing on the producing of the record. So, like fuck the like if you're good enough or not good enough. Because like to your point, Henry's a fire engineer, but that's where. He keeps hitting his fucking elbow on the damn thing. But that's exactly where I pigeonholed myself as a producer because I'm always engineering the records. No, but I'm saying stop. Yeah, I'm saying don't do it. I agree with that. I make my money from engineering. So, like, I can't afford to pay an engineer. I'm just saying though that y'all took the risk of like, you know, it is something to think about. You just need something to think about. I think that's worked out for sure. Because that's awesome. Because like, if I I would love to be the Rick Rubin character just laying on the couch looking like I'm half asleep, just listening to the record. Well Here's the thing, you're just manifesting what you're doing.

You got their ARs in there, you got their friends in there. You gotta be bonding with all of them. We're part like not partying, but like we're hanging out with them. Yeah, also at the same time, we're cooking up the next beat, fixing a beat, you know. There's a lot that goes into the record. You still are paying attention to what's going on, don't get me wrong, but it's like you know, you can't do that when you're hitting record undo, you know, Move, track, stack, adlib, and all it takes is for him, the artist, or her to think, oh, this guy's slow or whatever, you know, and it may be not even, uh, you doing a bad job, they just might be in a type of mood, but they're gonna remember that session and they're gonna be never come back again. You know, damn. That's a fucking un once again. If you can't, you know, and maybe it's something where you know, y'all are obviously paying, but like get creative with the way you structure these deals because y'all could have probably been like if you couldn't afford the engineering five percent of the record, exactly. Like we've done that as well. Yeah, we we actually leave it up to the engineer. We we let the whatever they want to do. If you some engineers are trying to be producers, so if they want to build credits, we give that option to them.

You get paid when we get paid, yeah. You know, you get five, ten percent, whatever it is, you know, or if you don't want to take that risk and you more you want that bread right now, you know, we'll cash app you right now, then you could take that approach and you won't get the credits. So it's really whatever. It's a pretty fair deal, I think. It is we're looking out for both sides. A lot of engineers complain they want more credits You know, because they do, they actually are doing a lot of work on the record. First of all, let's talk about the fact that engineers don't get back end by default. That's insane to me. They have a huge, huge effect on how the record sounds 100%. At the end of the day. So how do they but they do get that that front end. They get paid. The difference is. everybody's taking the risk except for you guys? So that's the point where the producer will look at it like, well, you're getting paid. We don't know if this record's coming out, you know what I mean? Right, and we might not even get our advance from that record for months down the road, too. So, but that's why we offer it. We go, look, do you want to take the risk with us on this, you know, artist, or do you want to get paid? And respect both options, you know. Damn, makes sense. So, how do you find artists, right?

Like he even how did Rucci initially pop up on you know what I mean? Like, what's your artist discovery process? It sounds like obviously, like, Sean is you know, out there in the field and like you know, knowing what's moving and like who's up next. Sean is really good at finding new artists. He tapped us in with like Lil Bagga back in the day, Olaran, uh, shit. shit. Every all the you know, the new artist that we were working with, he um really brought it in. But um also shout out to Tyler Hooks, he's our our new producer. He interned at our studio now, he's our first producer. He taps us into the LA scene too, so he's telling us who's popping up, or actually all over the country. He's younger, he knows you know who's coming up. You need the young guys, man. Crucial. Yeah, no, I just feel like that, you know, even someone like Rucci, who's been doing this a while, you know, still might not be on like every person's radar. And I think that y'all are trying to, to your point, not just get the radio The radio hits, those are great, don't get me wrong. I'm sure those I'm sure those you know, back end royalties are are nice, right?

And it's a great thing to have on your resume, but y'all seem like you want to build like that timeless project with an artist that's on the come up, it sounds like right. Yeah, and when and when you're a producer on the come up, you you're gonna work with whoever wants to work with you, you know what I mean. So you're gonna take a lot of sessions, even if they don't all the way fit for what you're doing, and then you're gonna try and crunch a bunch of beats before the session and just try and make it happen. But a lot of times, sometimes those artists like surprise you. You're like, oh, they do the same shit every time, but we'll see. Let's see what happens. Sometimes they surprise you You're like, whoa, they're way doper in person, you know. Other times they're what you expect, but like at it gets to a point where like you want to work with someone that you are inspired by that you think you can make like you think you can nail it with, you know what I mean? Versus like you, there's only so many days in a year, it's like you got to use your time wisely and try and target people that you think you can make a dope record with, you know. Yeah, yeah.

No, that's true. So I wanted to get your input on this. I think y'all either have already gone to or are about to go to the the camp radio writers. Oh, yeah, we just did that. Yeah, yeah. Okay. So I look at like these writers' camps all the time. Because we're considering a writing a writer's camp as well. Yeah, and and just you know, we went to the since the 80s one here in Atlanta, you know. You know, shout out Zeke and those guys. That was super dope. You know, we got to see some really great sessions happening, and just there were tons of dope producers and writers and artists, right? 10 rooms, just something going on every room. It was a really dope event, right? And and you know, really dope experience for us to see. We talked to a bunch of people there, and everyone has kind of their own approach to when you're at something like that because it's a little bit overwhelming. Yeah. There's Like, where do you fit in? Yeah, like how do y'all navigate those types of camps, right? Like, you have to be kind of aggressive, right? Like a little bit. Well, I don't know. I feel like everyone kind of has their own style. So, like, what's y'all style when you show up to something like that? I mean, it it depends on how it's structured, right? I mean, the the camp we just went to you just mentioned, the rap.

I swear that's the last time I hit that button. Bro. The rap shit camp was fire. We should have a fucking Henry hitting the button like counter. It's going on. It's never even happened before, and it's the fourth time I hit it. Yeah, I'm so confused. The Hennessy, you know, Yeah. That's true. everything leads back to Hennessy. Yeah, they better drop the bag for these guys, but I they won't. But anyway, the radio shit was fire. I'm not gonna lie, it was very well put together. You know, we got shit done. Because that's Issa Rae's uh, that's the Rae in radio. I know, and that was cool. Issa Rae is amazing. she came at the end, we got to meet her, she heard the records. It was a dope camp. The camp was for rap shit this year. One of the best put together camps we've probably been to, probably the best camp we put that we've been to. Watch, yeah. Why do you say like What, you know, what about it? You know, just for those, once again, that don't know, even what it, it wasn't, give an example of a bad camp. Yeah. A bad camp would be like so sometimes I don't know, and like name the bad camp. Put them on blast. Look straight into this camera right here. So here top draft of bad camps. Yeah, yeah, yeah.

Bad camp draft. Bad camp. But uh we can do that too. I mean, camps are great to network and to work with people you haven't worked with. So don't get me wrong. We we like going to camps to show face, see what it's about. We'll see people you haven't seen in a while. You can link with them. You might you get sometimes you get beats in records that you've never thought you would get out of those camps. So don't get me wrong. We fuck with camps. Um, just sometimes big camp guys over here. He's a camper. I'm a camp counselor at this point. Yeah, Camp counselor. that's weird. Yeah, but uh um I don't even know what that means yet. Trying to understand. Uh never, yeah. Listen. Um you started making weird camp jokes and shit. Here's what happens at camps a lot of times, all right. In general, yeah. I don't know, AR record labels, whatever. They think sometimes that you put okay, we're gonna get, you know, bankroll got it mixed with Murda, mixed with uh put Jetson in there, put uh one of the guys we just signed in there. That's gonna be fire because they're all gonna go crazy.

No, we need at least two more producers in there. Two more They're going to go crazy. We need a couple more. A couple more, ATL, Jacob in there. Yeah. And then, like, then it'll be like an older one, like someone that you're like, oh shit, I didn't even know you were making beats still, you know. And then yeah, big K.R.I.T.'s still making beats, bro. Big K.R.I.T. finals gonna be in there, yeah. Shout out. Finals are hard. One of the greatest ever. Yeah, but um then you got uh you know eight different writers in there, too. You know, maybe two established and a bunch of and it you know, whatever. Good opportunity for everybody. But then you're sitting here and you're looking around, going, what the hell are we doing in here? You know, because for the most part, I think a couple like two producers is cool, especially ones that are more focused on loops and one more focused on drums, right? Or even three is cool if you know them and everything, but like I don't know. They think that five together is gonna make a bigger hit than just one. To be honest, though, when we go to these camps, especially for the artists, that's the crazy one because everybody's kind of fighting to meet the artist or to try to get a placement. It's like too many cooks in the kitchen.

Oh, too many. No, it's too many. Uh it's like if an artist walked through the mall with no security, you know, because it's like hey, everybody is just only focused on getting the bag and the placement that it's chaotic. If I was an artist, I would never even go to these camps. Like, why would I go somewhere that everybody wants something from me? You know what I mean? Yeah. So um, you know, they just put too many people in the room, and then it's like usually we will prepare before a lot of producers will. Like, you got beats, you got a pack that you're ready to play, and now all of a sudden you have these three other people, and it's like, okay, well, I guess we gotta work together. And you know, unless you really know the person, sometimes you make the best beat you ever made. Don't get me wrong, if you never work with somebody, but a lot of times you kind of make mid stuff that's just kind of because you're trying to cater to what they do and what they do, and everybody got to get in there and it's slow, and then the riders are trying to ride, and then you know, sometimes they want a different vibe, so it just gets confusing, you know, and you end up just kind of looking around, like, what are we doing here? And then other times it's like they don't even give you time slots, it's just like yo, just pull up whenever, and then just like all the different rooms are like free for all, and it's just like what the hell's going on, you know. But like the better camps are like less people but the right amount of people, you know, enough people that it's a good collaboration, like mix, and then you have a time slide, you know what you're doing, you're supposed to be in the room, you're supposed to have the ox.

You don't have to be aggressive, you don't have to go in there because we're we're not the aggressive folks that are gonna fight for the ox so that we can get the placement, you know. You know, we're gonna like, if that's the vibe, then we're just probably gonna sit back and rip, we're not real Atlanta producers because Atlanta out here is so collaborative, but man, that ox game is crazy. You gotta just you gotta plug it in and then manipulate someone and then talk to them. Oh, yeah, look at this girl right here, blah blah blah snag that aux plug and that shit, and that's Atlanta shit. Yeah, yeah. I I think the um I think the since the 80s one was probably uh in the middle of what you're describing. So it did seem a little chaotic and a little bit of the free-for-all shit going down, right? But then it did seem to be like there was scheduled, like this artist and these producers are gonna be in this room, this artist and these producers and this writer or these writers will be in this room. So there did seem to be some method to the madness, yeah. Yet there was some of that just like fucking hyenas, like you know, trying to get the ox and like that that kind of free-for-all shit that sounds like really stressful. I was glad that I was there as like a complete third-party observer, you know.

what I mean? So you gotta go into those opportunities just thinking, okay, what do I want to get out of this? And like at first and foremost, just network and just talk to everybody, meet people, catch up, see what opportunities are going around. You know, that like you know, really when you go to these things, you gotta just talk to everybody you can, and then just you know, see what's going on in the room, kind of fill out the camp and just do you know, try your best. So, I don't think. I mean, sometimes you're gonna forget about people, they're gonna forget about you just being in the same room, seeing them, oh what's good. We we should lock in again, just heard what you did, boom, and then boom, now you got a session and then a few days. You gotta go everything with a good attitude, too. Like, you don't want to go into these camps and be like, yo, fuck this, I'm too good for this shit. Because you know, at the end of the day, we're all just trying to make it and you know, and just trying to get that next record. So you don't want to put a bad attitude out there, you know. A lot of times you don't want to, you know, put any bad energy out there. Yeah, it's an opportunity, it's still an opportunity for anyone in the building, you know, and to create whatever opportunity you can. Especially for up and coming producers, you know. Yeah, like take every opportunity.

Don't ever act like you're too big for a situation because that's where a lot of your records are coming from. for sure. But I I still think that you know at the end of the day, like having dope beats is almost just like the bar, right? Like everyone, everyone at those things has to just have some level of just like your production is good. Yeah, so I think that y'all are wise to take the approach, and everyone out there should probably, you know, take this advice of like people work with people that they like, bro. Like at the end of the day, if you could be in a studio with someone you like who's got dope beats, or someone you don't like that's got dope beats, who the fuck are you getting in a session with, right? I mean, it's just it's obvious, right? To you know, to some degree. So I think that just being being around and likable and just personable and just real fucking humans and not not placement robots that are just trying to suck the placements out of everyone there. Like that that goes a long way. Actually, that's some of the best advice that people could take right there. Is because when you're in one of those sessions and someone's mad aggressive and like weird, it's like, all right, they might get this one little record that's not gonna do anything, and now we don't fuck with them, you know what I mean? Or there's someone else too, like you get a bad vibe.

It's like versus you could just kick back, yeah. Hey, you play beats, you know, like that's a good one. Let's talk about that real quick. Because this is what the craziest thing about an upcoming producer is it's it's you look at these albums, right? Like, like little baby albums, Lil Kim, Megan Thee Stallion, Cardi B, whatever. Um most of the time, if you don't get the single, your, your life is not changing from these placements, you know what I mean? So that's something that I think right we thought when we were coming up, it's like, damn, like if all we needed to do is get on whatever B A list artist that you want to name, if we get anything on there, our life is changing because everybody's listening. And then you look at the streams, and you know, it hits millions, you know, it could even be 20 million streams. Times that by our royalty rate on Spotify and Apple Music, it's like okay. Okay, rent for a couple months. Shit, not even that, bro. Like it don't it's something like 150 per million streams for us on our royal, like on our BMI rate for the Spotify or whatever, you know. So it's like, damn, you you work a year and a half to finally get that one big one.

And it just kind of like music is like a drug, it's like like worse than heroin, where it's like you feel so fucking good when you get to that, you know, you nailed it, right? And then two weeks later, and everybody moves on to the next album, and it's like and you just realize that. And then these albums don't do nothing like that, you know. The lows always feel worse than the highs feel good. And you're what you know, and you're on Instagram watching everybody, you know, posting their best successes every day, and you're like, you get so mad, like, damn it, I'm not doing enough, blah blah blah. But the truth is you need to be tapping in with these up and coming artists, and really you're gonna catch a single with them. You're not gonna catch a single with Lil Baby at this point. You know what I mean? Yeah, I mean, don't get me wrong, some people do, you're lucky that I'm not lucky, you worked hard for that, but like it's like you really need to build an infrastructure of all these artists. That was our plan. Getting our tags, we gave out beats for free forever until we got like a couple placements to the point where we could charge. It's like we want to bank regard all over the city of Atlanta, all over Texas, all over wherever, you know. We should we should talk more about this to be honest, yeah.

Yeah, and it's like um well, yeah. What was your it sounds like yeah, like deep you know, dive a little deeper into the strategy to even be at these camps, and you know, having gotten all these you know placements and scattered all about, you know, I feel like Terry had something he wanted to say. You know, I mean, this is we both have this is like how we came up or whatever. So, I mean, there's a big philosophy, you know, know your value. You know, I don't want to say exactly the what the slogans are, but you know, like these beats have value, I'll say, you know, but no free beats, no free beats, sure. I don't. Is the slogan? Sure. I don't agree. well, I'm just saying that's that's kind of the we don't like that slogan. But that's the opposite, we're really the opposite. But a lot of producers out there on the internet specifically are preaching the you know, and they're not hashtag fucking beats. Here's the thing. Well, I I respect everybody's approach, you know, and everybody comes from different situations, especially you know, and and most producers don't have any money whatsoever. So it's like you need to get paid for your craft and everything.

But our our point is it's like, what is a beat worth? You know, think about it. So, how many people are making beats? What's your beat? worth? It's 50% of the song. It sounds horrible to say, but it's like a little kid drawing a picture and you look at it. Are you gonna pay money for that? Why? Because it's not worth anything now. If it's Northwest painting it, it might be worth a million dollars, right? So it's all about branding. It's like, okay, what is this beat that you made worth? If it sounds like everybody else, you have no brand. So you're saying no free beats pay me, but your beats not worth anything because you're not worth anything as a producer. It's a hobby, you know. People are paying for the beat, they're paying for the brand. Exactly. Making beats is a hobby. We're living our dream right now, and don't get me wrong, it's amazing. Like living our best life right now. But it's a hobby. off the henny, It's a hobby. And and when you charge, when you charge these, yeah, that's poor up. When you charge these indie artists, sometimes they can afford it, a lot of times they don't. And you price yourself out of records, and now no record, now no record came out.

Right. Versus you give something away for free. Now you got this record, boom, one, two, three, four, five. Now you're leveraging these records for the next record. Now you're on to still give them out for free. Who cares? Now you're just the whole thing is leverage, and then by the time you've made it to the level where you're working with artists that are signed to real labels. Now you can really get an advance. You're not asking for someone to have money. They're just like you. Like, if you don't have an investor and you're indie, they don't have money. So like they're paying for the music video, they're paying for the engineer, they're paying artists, paying everything. Right, right. So you can't. expect them. Exactly. So, like, you gotta get don't take the artist's money, take the label's money. You know, you gotta get to the level where the labels can pay you. So don't work with independent artists. No, no, no, absolutely. That's the opposite. That's the opposite. Work with everybody for free. And also, until you get there, have another way to make money so that you can live until you get to the point where you bring in an income from the labels, and then you could transfer to doing your passion full time. But until then, your back's gonna be against the wall, and you're gonna force people for $100 here, boom, boom, boom, you're gonna price yourself out of records, and then you know you're not gonna get anywhere.

And the money that you're making on your side job is the money that's going into investing into making sure the artist has a comfortable experience, enjoys themselves, wants to come back and make more music with you, right? Yeah, I just think once again, there's two sides to every you know, coin right. And so I I do hate that we live in a world where, like, getting your start, you know, your production maybe shouldn't have a price tag on it if you really want to, you know, build relationships with artists who also can't afford your beats necessarily, right? Um, but it it's just sometimes the money shit makes it weird too, man. You know, like when when these producers do come out like, yo, I need 250 for this beat and stuff, like you're you're almost you're risking the relationship sometimes over 250 dollars, bro. That's what it is. Yeah, but then you're gonna wait two years to make a hundred dollars on the back. To that point, we were we gave Asian doll free beats.

If you're lucky, yeah. All the way we met her out here. So one thing we traveled to South by Southwest in our own time, right? Met her, um built with her, gave her all the all the beats for free. When she signed um at the time to Alamo, and we got five on that album, it was almost like it was worth it. The all those songs. You get a 25 grand check, and then you're like, okay, that was worth it. You know, yes, you need the money now, and I get it. And everybody comes to different backgrounds, different situations, you know. So for that example, all those songs that we made with her, she was independent, and then she signed to a label, and then all those songs were on her first project as a label, and then we got money from the label. So we had we were gonna give them for free, you know, but then she signed. All right, so let me ask you this. That's actually a gem, though. I just was just for anyone listening. If you do give an artist a free beat and they do sign with a major, you can then negotiate. Yeah, yeah, yeah. Then you shouldn't. have money. yeah, yeah. No, it's not free anymore. Once it once you're there with the label. A lot of people a lot of producers might not know that.

So I just wanted to like the label wants to pay because they have to buy the label and they want to own the master. They need the contract, they need the documentation to say that they can use it, you know. So they're they're not gonna miss on the business. Yeah, so but I I wanna ask around, because you know, I've talked with Henry a lot about this, as far as do you know, how many Asian dolls were there? Meaning, like how many artists were you shell, like, you know, hedging your bets on, right? Because either we're sitting next to lottery winners where like Asian doll ended up getting to a point where y'all then got in the industry and then you worked your move from there, whatever, right? But if you're an up-and-coming producer, you know, how did you how did you kind of like hedge your bets on like what artists might get to a point that then your career because it's not like that's, that really did like start it's not a lottery. No, no, no. Well, I'll say specifically about someone like Asian doll. It's not a lottery because when we were working with her, one thing we saw in her was that not only is she recording all the time, she's all over social media, but like yes, like crazy, blowing her fan base up. She had a brand, and like you we saw something special, like, oh, she's really fucking hard.

She's working hard, she's hustling. Like, that's the type of person you want to work with versus like someone who's making music, not doing anything online, anything on social media. Really, like you really have to choose who you think's gonna be big, you know what I mean? Too if you want to play that lottery, you know, yeah, but at the same time, people who make great music, they can be big just on their catalog, but you're making that decision as well, you know. Yeah, that's huge. That's on us as producers, you know. You just like like right now, South by Southwest is going on, right? So, what we would do, look at not the shows that have even we didn't even buy the tickets to go to the South by official show. You look at the little bars and little shows right there, and you look at the the whole roster of every show in the whole city, just DM those artists, not even DM them. We didn't have to just show up. You fly there and pull up. There's only 30 people in the audience and then you just talk to them yeah. We'd say like Airbnb hostels. Like cheap ass fucking places just to get there, you know, fly. sorry. Half of the Southwest shows are scams.

Put clip that, Ben. Clip that. There's so many Push that, like, expand. Yeah, I'm surprised. What's a scam about them? Oh, I mean, so the smaller stages are basically people that have just curated enough uh independent artists, and then all the people in the audience at those shows are the people that just the homies of the artists that came out. I've experienced it. It's been going on for years. The smaller, like nothing against the bigger stages. We're talking about the horrifying. We're talking about the the outside shows. We've actually never had a ticket to South by Southwest. We would show up whenever we would go to the bars on the main street. Sixth Street. Sixth Street, right? Next to South by. Yeah. A3C. They're doing shows there, too. What's the street called? Edgewood, what's it called? Peachtree or Edgewood. Edgewood shows. It's like that. So we an agent on one of those shows. You don't have to go on the show. So everybody's in town. They're gonna do other shows, right? Oh, there's definitely like networking opportunities galore. You could walk up to him and just be like, hey, I just did a blah blah blah. Do you want beats?

You know, and especially if you're giving them for free. Yes. Why would they say no? Yeah, I mean, obviously they don't know who you are, so you got to really build with them, you know. But yeah, I think what you're saying is more so like he's probably speaking to the whole pay-to-play thing. A lot of things. Yeah, it's like a lot of those smaller. But we don't care about that. Exactly. That's what I'm saying. It's like, who fucking cares? Good, you paid for that, but we'll give you two, so you don't care about what's going on. Exactly. that's why I'm like, I mean, yeah, like the artists should probably look into whether they should pay 250 for performance. fee. And if they are good, they're hustling, they're getting out there. Like, and they're shooting their shot too. You know what I mean? in 2016, we met Jack Harlow performing in front of probably 25 people. Wow. And we noticed like this guy's fire as fuck. Met him. We that's back when we were. We would see him every year. We'd go to some of the things. He was growing. And again, we thought it was dope. At the time he was locked in with his producer, so it's like there wasn't an angle for us, but we were just watching him at that point. We'd always dab him up, say what's up to him.

And uh that's what you gotta do. It takes years for this shit, bro. Damn. Long plays, it's a long game for sure. That's gotta be pretty cool to have just like as a weird third party observer just witness Jack's you know trajectory just from even like those South by Southwest days, right? Yeah, It shows who puts in the work, like that's why he was it was coordinated. The shit like people think people blow up out of nowhere. These motherfuckers have been working for years. Anyways, no man, you guys have an amazing story, right? Like just the grind that it takes, and and I think like if y'all didn't take shit from this, really like working a fucking side job is not a knock to your ego. Like that shit can faze you have to, is is the takeaway. You're not just popping off music. Yeah, so I just think that like that while you just put in the work and take the risks. I mean, you guys have taken risks, whether it's the studio investment, whether it's the flights to South by Southwest, the freaking, you know, working this music shit as a side hustle until it paid for itself. Like, I mean, you know, you guys are definitely risk takers and the shit is paying off.

So, like, shout out to you guys. Appreciate you guys coming on. We have a final segment where Henry can finally hit this fucking button. Oh shit. I can finally hit the button. You've already hit about seven. Hit it with your elbow. I will. we gotta figure out how to do it. I'm thinking, um, so this is the rapid fire rampage. Right. There it is. So it says rampage. He finally hit it. That's what it says. It's from Archer. I don't know if you've ever seen Archer. Great show. Um, anyway, normally, yeah, normally this is one person, but I'm thinking that I'm thinking that if we go quick enough, we can get answers from both on on all these. And we can just make a less rapid fire rampage. I would just cut your questions about in half and let's get answers from both. Okay. It's a three-part rampage. We're going to start with some short answers. And we'll go from there. And then we'll just go quick. Boom. We'll start with Joel, then Taylor. Rapid Fire Rampage. Episode 99. One more time podcast. One more time. Here we go.

You guys are forced to change your production name to something else. What do you change it to? That's me. I guess either one. We could go, we could go open format. Sunscreen boys. No, you don't even need to say anything. That was fire. Oh man. Moving on. Yeah. Yeah, I think I'm pale enough to join. Yeah, all right. Yeah, you knew. Okay. I can't make any beats though, I got a golf glove. my left hand could join. See that golf glove? It's not that bad. Yeah. No, it's kind of bad. You see it. Okay. Um, you guys could pick any artist right now to do a collaboration project with. Who is it? Right now? Others. Taylor. On the way. I mean, anyone? Anyone. Hopefully one day. 21 Savage. You're gifted a giraffe. You can't sell it. You can't give it away. What do you do with it? Keep it.

Have him shit in your backyard. I think he's going to do that anyway. But I'm going to keep it in my backyard for my son. And for your son? son. Shout out to his Keon. Shout out to Keon. He's 10 months. He's going to love it. Bro, baby Keon. When's his birthday? Uh his birthday, May 24th. 16th. 24th. My son. A week. away. 10 months old. Damn. Cheers to that. That's crazy. Cheers to you. You almost stunned me. I'm on the Hennessy. I'm like, I almost missed his birthday. Was it yesterday? I can't slip on this. Yeah. The baby mom's going to watch. You're Like, what the fuck, bro? That's crazy. Your life has changed, obviously. Absolutely. Yeah, it's amazing, man. Shout out to dads. He's your first, right? Yes. In the group. Oh my god. And also shout out the the smart people. I actually took him to the zoo. He loved the giraffes, by the way. Yeah, he was looking at them. So he'd be totally fine with having one in the backyard shitting all over it. Okay. Love that. Love it. Perfect. Bankroll got it. What are three ways to use a stapler besides stapling? What the fuck kind of questions are these?

Yeah. I'm just trying to see where your where your brains are at. Anyone? What? use a stapler? Besides stapling, three ways to use a stapler. Your mouth shut? I mean, you could probably beat someone's ass with stapler. Beat someone's ass is one. Okay. That's the kind of logic. Oh, because I use the same Yeah, you can't. That's stapling. So that doesn't really work. Yeah. Beat someone's ass is valid. One. Can we get two more ways to use a stapler besides stapling? Throw it at somebody. Yeah. Throw it at someone. Okay. Oh, I got it going for you. Run it. No, it's not going to work, actually. I gotta think about it. Yeah. Pushing the space bar on pro tools. Ooh, engineer stapler. Okay. Like it's just like an extension of your hand. Like if you can't reach it, let's go. Yeah. I was just gonna say, throwing it in the garbage because we don't print paper anymore. Bankroll got us about the environment. Sustainable. There's some sustainable motherfuckers over here. Bankroll sustainable.

I love it. I love it. Go green with bankroll. Yep. Bankroll got it. You must delete three states. Which states are we deleting? That's a great one. Yeah. You can go one one one, however, you guys want to do it. Man, I mean, I don't even know if Iowa's a real if people live there. They don't. delete it. It's gone now. It's gone. Off the board. People know that that's a state. Off the board. Off the board. People definitely can't point it out on the map. Can you guys name a city in Iowa? I can't. Iowa City. Oh fuck. All right. Well, there you go. We might have made that up. Fucking geography. I was going to say Boise. I think that's Idaho. Idaho. It's definitely Idaho. You're deleting a lot of the potato supply. Idaho. That's an offensive state. Yeah. No, Udaho. we're progressive. So are we deleting Iowa and Idaho? That's two. You guys hate the I states. Yeah. Jesus. Get another out there. No, no. Idaho. Idaho. we can keep Idaho.

No, it's too late. You deleted all the potatoes. I heard it's beautiful out there. One more time. I feel like Alaska, bro. Like a last year is it should be part of Canada, to be honest. Yeah, or Russia. Yeah. Or Russia. Or Russia. You know what I mean? Like, you know, not saying, don't know about Russia, but yeah, maybe maybe Canada. Canada should have that. I don't know Why we got that? Probably some more. Putin's got his eye on Alaska, for sure. Okay. Moving on. Invent an app. You're trying to just tell us what the app would be? Yeah, tell me what the app. would be. I mean, we actually tried to do that once. I'm gonna be honest. Yeah, we we actually made an app uh that was giving beats away for free. It let producers upload them 100% for free, and then artists could just go in, create a username and just get beats for free because we're so about people coming up and they got back end, they got all the credit at 50-50 or whatever. Sure. But zero on the master, but 50% of publishing. Yeah, no, no upfront money or whatever, but just everything was back in.

It's like YouTube, but legit. It's like YouTube, but legit. That was actually the goal. It's like YouTube meets BeatStars. Exactly. We made it, we got like 10,000 uh subscribers, but then the production stuff just got too heavy, and we're just like, we just gotta go full full force and producer mode, producer mode. Yeah, I can't tell if he's serious about this. No, no, I see. We did it, yeah. I was like, this sounds outlandish, Yeah, that's great. We did it. Okay, wow. Actually, it could still work too. But um, anyway, moving on. The best fast food chicken sandwich. Go. Like I know which one. We'll take two answers. Oh, Popeyes. Yeah, I was going to say something. That's the only correct answer. Yeah, yeah. Yeah, yeah. Completely agree. It's the one. All right. We're not here in the land of Chick-fil-A or anything, but he's fucking Popeyes. Well, Popeyes when it hits, it hits. But when it doesn't, when it doesn't, it doesn't. Chick-fil-A is consistent, like a motherfucker. In the words of Nimesh Patel, um, you like Chick-fil-A, you are a poor white person.

Oh, my God. Last one of the short. Don't ask us about just fast food in general because you already know it's In-N-Out. So, like you know, We don't play with that. We don't want to get that. Last one of the short answer. What is your favorite curse word? Fuck. Gotta go fuck. Okay. It's well, it's good. It's a little bit like you're weird if you say like cunt or something. You're like, all right, yeah, that's like aggressive though. Like, yo, you're we've had some shits, which is cool. Like shit is fun, yeah. Damn. You're a bitch. You know, yeah, the bitch is not in good taste, I feel like. It respects women, so you know. Yeah. Yeah, on God, we do. Okay. On god, we do. The second part, this is the second part out of three. This is the this or that. I'm gonna give you two choices, and all you gotta do is pick one. Oh, that's easy.

Here we go. And the first one, I'm just gonna go. First one is shout out an answer is what we're going with. So now we're really trying to get it rapid. It's getting more rapid at this point. If you want your answer counted, be quick. YouTube video or podcast? YouTube video. Chinese food or breakfast food? Breakfast food. Lose all your current music or lose everything in your checking account. Checking account. Because we'll always make more. Oh, okay. I was like, I was like, I was like, that's a motherfucking bar. You backed it up. Wait, I I got a my next one is a bar. You're gonna like this. This is a bar. We'll see. Watch this. Tiger backwoods or Le Bong James. Tiger Backwoods. Yeah. I don't even know what that is. I'm just disappointed. Yeah. Yeah. It's really he really hyped that up, man. All the smoking references. Well, I thought Rucci was gonna be on the podcast, and he would have appreciated it.

So well, we got stuck with Bankroll Got It instead. Rucci wouldn't have walked out of here. Yeah, I'm just playing. He would have said Tiger Backwoods. No, he would have said Le Bong. He's smoked. He smoked out of a bong. That's actually why he shows up to every single session with a bong. With a glass. Yeah. No other artist we've ever worked with smokes out of a bong. Rucci every single session. So shout out to Rucci. Bro, I've never questioned I've never seen a bong smoke so casually before. He brings it. He's just on the block just with a bong. I'm just like, bro, usually people are smoking blunts or papers or whatever. College for us, you know. Yeah. Even more ruthless. I'm like, man, this dude's just out there. All right, Moving on. Give up hats or give up hoodies. We don't wear hats like that, so keep hoodies. Give up air conditioning or give up deodorant. In LA? What the fuck? I gotta I gotta stick with the deodorant because that's a reflection on me. Yeah.

Deodorant. I don't know. There's not enough deodorant I'm taking the same from the sweat. My shit's smelling regardless if it's hot. Okay. Um, give up your sight or give up the family jewels. Oh my god. I mean, I would like sight. Sight's the best sense, you know. It's important. you got to keep sight. I mean, that sucks. That's a horrible question. That's a terrible. question. You're losing your nuts. Just to be clear on this question. Yeah, just you still got your uh I don't even know if you can come. Pecker. I don't think you can come without the nuts. Yeah, I mean, when you get your tubes tied, you know. Alright, yeah, fair enough. This is above my scientific paper. I'm not quite sure. Yeah. Last question of the... last question of the this or that. Become country producers or leave the music industry. We always have been in the music industry. Country. Country. Country. Country. Country's getting that bag right now. Have you seen that shit? Morgan Wallen hit us up. We're about to go crazy. I should go with something else.

I should go with like death metal producers. Yeah, I bet they pay producers on time. Yeah, but I bet the country genre pays producers on time. Better than the rap. What's up? You'd probably be surprised. I don't know. I don't know. you're right. I have no experience. Okay. So for this last part, this last part is the word association. And I have an idea. I have to piss so bad right now. Okay, well, um, this will be very fast. Okay. Let's just run it one minute. I'm gonna go here, here, here, here. I might just let it rock. Yo, if bankroll got it, pisses on our podcast, we might go viral. It'll go viral for sure. Like in our pants. Yeah, so look. I'm gonna say one word and then all I need is one word back. First word off the top of your head. I'm gonna go here, here, here. We're gonna be like just like this. And this is the word association rap for our rampage. Episode 99. Here we go. Hip hop. The best. 808. Mafia. Ad lib. Momo. Yeah, that's it. That's it. Oh, sorry. What he said.

Okay, yeah. Back to Taylor. Politics. Not interested. Moon. Sprite. Champagne. Pop it. Oprah. Legend. Podcast. You guys. One more time. Family. Everything. Crack. Cocaine. King. James. Only fans. I got a wife. Troll. You. One more time. Facts. Lil. Got it. Bankroll. Got it. I got it. You're very proud of yourself. This has been this has been bankroll. Got It on the One More Time Podcast. As always, please like, comment, and subscribe.

Hit the bell, bitch. Please comment if you thought Henry hit that fucking rampage button too many times with his elbow this episode. We promise that will never happen again. And until next week. Thank you guys so much for coming on for us. Thank you guys. Appreciate it. It's our first one. We're Getting out of here. Yeah. Get the fuck out of here. First interview, baby. Let's go. Peace. Bye bye.