Landstrip Chip Interview: The Most Valuable Person in the Room

Get in the room. Stay in the room. Want a motherfucker to want you in the room. The engineer went to the bathroom. I need you to record real quick. Alright, I got you. Background vocals. If you need a motherfucker to do a verse, if you need the hook, you need, you feel me? Whatever I got to do to stay in the room, that's what I'm doing. One more time. One more time. One more time. Spin the rock. Spin the bumble tap. Baby, baby, one more time. Welcome again on the One More Time podcast. Legendary Atlanta rapper, Shady Baby, one of the Gunna. Oh my god. Oh, Lord. You gonna put it in there? Absolutely. it's in there. It's in there already. It's in there. In all seriousness, folks. We have Landstrip Chip in the building. The melody God. We got Pen Franklin, Pen Stiller, Penny Hardaway. This dude's written songs. Keeping those too. Yeah, this dude's written songs for everybody, honestly. But most recently. Go down the list. Written with Savage, written with A Boogie, Lil Baby, Lotto. I mean.

I don't have time to keep going, Henry. It's a long list. For sure. But yeah, so you were just kind of alluding to this, but I wanted to unpack this. Like, it's been a minute, bro. Since we've gotten some Landstrip Chip chip music as an artist. Are you going you going the songwriter route right now? What the fuck's going on, bro? We need it. Um, so I had to get out of a situation or whatever with a label. And um, I really just trying to like peep this the the scene of music and see where I can come in. And I feel like right now, like I got two projects ready to drop this year. I feel like RB is kind of taking back over. Oh, yeah, absolutely. RB is coming back to the front. It's crushing. So it's like, um, I don't know. I feel like I was just waiting on the right time, but the songwriting shit definitely kind of took a forefront. Yeah. Yeah, I mean, it's tough to do both. At first, it was like I ain't I ain't get how to turn the switch off and on. Like, I'm walking in the room and certain people introduce me, like, oh, this chip here, producer, yeah, writer.

I'm like, no, y'all know I'm an artist. You feel me? Like every time. So it's like certain people just seeing me in different spaces and respecting me in different spaces. I wouldn't say it's hard though. Um, that part sounds hard. Literally, just like just almost the politics of being in studio sessions of life It's just more more so frustrating. But once you once you, once you, you know, I feel like I had established myself, because I ain't put out no music in two years. I know. Yeah. So I'm aware, bro. I feel like I had established myself as an artist enough to where I walk in the room and more. You can curse, right? Oh, fuck yeah. Yeah. So what to where motherfuckers come in the room and they see me like, oh, that's nice strip chip. First and foremost, before they think anything. Like, oh yeah, that's the that's the hook God. You feel me? And then the pen slowly creep in the room after that. You feel me? Okay. So it's I wouldn't say it's hard. It's just a it depends on how you balance it.

Yeah, I I just didn't even think about that as far as like, all right, you know, why am I in the room? Am I here to be an artist, right? Or am I needing to kind of fall back and play the songwriter or producer role, right? So that that that would get that would like fuck my head up. It's like, yeah. I know exactly what I'm here to do on the podcast. Like this is my job. They're complimentary roles though, you know. So it's kind of cool to have like the flexibility of kind of being able to fit in wherever they need you. Like maybe they don't need an artist, but you happen to have some fire shit written. I feel like my thing was always get in the room. Yeah. Yeah. Stay in the room. No matter like how you feel, like you gotta put your ego, especially like with some of the people that have been in the room, where you gotta really put your ego to the side, bro. Like, and just want a motherfucker to want you in the room. Like it whether it be I need you to record real quick, alright, I got you. The engineer went to the bathroom. Hey, I need to get this takeoff.

I'ma record you. You need background vocals. If you need a motherfucker to do a verse, if you need the hook, you need, you feel me? Whatever I got to do to stay in the room that's what I'm doing. Damn. Yeah, and writers are so welcome. And the engineering thing is actually a low-key gem, bro. Major. I ain't gonna lie, that shit, that shit made my life so easy. Like learning how to record. Yes. Cause even even like it's been times I done kick engineers out the room. Not I'm the most like anybody to tell you, bro. I'm the most non-confrontational nigga when it come to engineers. Like, you could be totally fucking up, and I'm gonna try to work with you, but it'll come to a point where I tell you, like, get up, bro. I do it myself. Damn. And I done did that because I'm faster than a lot of engineers. And we've talked to engineers like about how important speed is. Speed is everything, right? For maintaining the vibe. That shit is everything, bro. Engineers don't get enough credit. For sure.

The good ones, yeah, exactly. And the bad ones maybe don't get enough hate. I don't know. Thankfully, you're speaking your mind of like, get the fuck up, bro. Yeah, you're literally too slow like bro let me sit down right Yeah. Tell the dude. I tell him bring the mic in here, bro. Right. I sit in with the mic just like this and sit and record myself, bro. I love that. You feel me? Engineer's chair is a new booth. The engineer has to sit on the couch, you know, like usually where the he's just in the booth without a mic. You do that, they get kind of like, they feel it, so they go sit outside and they're pouting. Yeah, but they don't want to say nothing to you. Yeah. I had one bad experience with an engineer in New York, bro. And this motherfucker was trying to tell me how my auto-tune setting is supposed to be like. I'm like, bro, this how my shit is boom, boom, boom, boom, boom. I'm recording. I'm like, why I sound like this? He like, he said some shit like, I feel like you would sound better with it like this. I'm like, bro, I ain't asked you how what you think. It's my sound. You hear me? Like, I ain't asked you. Yeah. It's such a fine line though, because don't you want people to maybe like try and give suggestions, or do you?

I don't know. Do you want people to try and give suggestions or what? Take input from you feel me, respectable. Like if I don't know you from a can of paint, bro, don't tell me how to that's the thing. Yeah. Yeah. It's the trust. He hadn't built any trust. I don't even respect you. I trust you to give me opinions on how you think I should be making music. Yeah. I'm like, hell no, do your job. Yeah. See, I'm the I'm the type of producer engineer. I can't keep my mouth shut at first. I will always come out and suggest things and say things. But I'm also very good at like picking up on the vibe. If someone's like immediately like, nah, like I don't want to try to say that. I'll lay low. Certain people you can do that with. Yeah. You feel me? You feel them out. Like feel them out. You I could tell you like you a jokey jokey type of guy. So how you might crack some jokes and shit and I'll be like, I might not take it no way. So yeah, I'll cut I'll cut them down if I pick I'll pick up on that. You feel me from that? I don't know. But if you just super serious and you be like, oh, do this. I mean, get your ass out of here, bro. It's about how it's about how it's delivered.

Yeah, for sure. The mess, and like we've talked about that so many times. Even um, shit, we were talking with a manager, I can't remember who, but basically, like the way that managers talk to their artists, right? Is like if you do it right, it it's amazing, right? But there's a fine line of like you really rubbing an artist the wrong way, you know what I'm saying? Me and my manager, he gonna he gonna find it. Who Pat? Paul. Okay, he gonna laugh when he see this shit, bro. Like, I'll be telling him, I'm like, damn, why you gotta talk to me like how's he talking to you? It's he just might say some shit like, bro, you acting like a little bitch. And I be and we'll be on the phone and Pat be like, come on, bro, come on, bro. And I'll be like, bro, why you gotta talk to me like that, bro? But that's but we got a relationship like that. yeah it's been my business partner damn this seven years, so it's like I respect it. It's like we got a big brother, little brother type of relationship. Yeah, yeah. And the art is a manager. Now, if you just I don't really know you like that, you just handle the business. We might we might get into it, we might get the hook and like we gonna fight.

Yeah, but you might be a brother, so I could take that. Yeah, sure. Now it definitely it just it goes back to that, you know, what's the status of our relationship, right? Because you can't just say anything to anyone, right? At any time. Yeah, man. It takes time to build that that relationship up and to like build the trust and build the like you know, the camaraderie that you have with someone that you know you're allowed, like, I mean, we we get into it, you know? Like you literally yelled at me about the light, like you actually yelled at me about the light. Yeah, I didn't know don't fucking move my he literally said don't fucking move the light again. Like, thank you. Yeah, and you were like, And I think we got kicked off TikTok live because I was telling you to shut the fuck up, man. And you were vaping. Maybe the vape, yeah. It was the vape. But I guess but it said bullying and harassing, so I actually think it was me saying, shut the fuck up. You know that that is our relationship now. And if anyone knows us, it's love, but like, yeah, TikTok does not understand that. So and it's hard to teach like social skills. These are hard things to like, because you know, we're our podcasts, we like to help people, give people game, and it's like, how do you some people a lot of times if you don't have that, it's hard to kind of teach that, you know? And if you don't have it, or like you need work, you need someone around you to be like telling you fall back, or like you know, or just handle those or that or handle the interactions.

Interactions, but no, I there there was some A&R that that referred to like a powerful, you know, connection between like a manager and an artist is like almost like an artist whisperer, right? Because like managers and A&Rs that can actually translate messaging well to artists, like that's a special talent and special skill. I'm giving on giving game away. Let's go. That's what we're here for. That's how I grow relationships with artists on the right side. I come in, I just listen. I peep the vibe, and I interject myself in certain situations where it's space to do that to the point where we create a bond. I don't like working with people I never had a conversation with because it's like I don't even I don't know how you feel, I don't know what you think, I don't know how you think, I don't know, I wanna know what you ate today, how you feel, what's up with your boyfriend, your girlfriend, y'all into it, like how many brothers you got, all that shit matter in creating the vibe to make good music. It's so true, man.

I mean, because I I heard you in another interview say that like you almost like require being in the studio with artists that you're is that still Yeah, yeah, because I can send you a hundred records for you to listen to and want to cut and shit, but it's like what's gonna make you be like, oh, Chip sent this shit. Hey, I need to do this now. Like prioritize. I want to be there in your face. I damn don't want to do it for you. Like me with certain artists, I do it. I come out the booth, I don't even say nothing to them. They know, like when Chip come out the booth, go right in. I don't need to hear it on the speaker. I'm just finna, we finna make it happen like this. I don't I don't need to replay it. Let's let's just that's how our certain artists, that's how our workflow move. How different is every artist? Like, do you have to adapt or do they almost somewhat adapt to you and your style? I feel like it's kind of both, but like I said, my my job is to stay in the room. So I'm here for what you need me here for.

Yeah. It's not really the other way around. And that's another thing about like the switch from the artist to producer, songwriter. It's like knowing when to be one and be the other. Because I'd be in a room with certain artists, and they might want me to do the hook and stay on the hook. Or they might want me to do the a verse for them or do a hook for them. So it's like knowing and having that understanding with each other. But to answer your question, I adapt more. I'd say it's like a 70-30. Yeah. With me adapting. Yeah. Because sometimes I come in the room so so hype, like my energy just take over the room. Like, this what we doing today. This how this how I'm feeling. You feel me? Get on my vibe. And some artists I be feeling like need different vibes. Like, you know. Yeah, some people probably need that. Because if you don't need different vibe, why you need somebody like me to work with? Yeah, it's true. You need me to give you the same thing you're

doing. Yeah. That's a waste of both of our time, I feel like. Do you think that songwriter using songwriters is starting to become more accepted in hip hop when it was such a no-no back in the day? I ain't gonna lie, bro. I don't even consider myself a songwriter. Or what do you consider yourself? I'm a producer. Yeah. Cause at this point, it's like I don't just do top lines. I don't just do words. Like it's it's it's like two or three projects I'm working on right now. I'm damn near over. I'm damn near AR overseeing everything. I'm involved in every aspect from mixing to stems, hitting the producers, hey, I need these stems, to reaching out to my homies getting these features to everything, cover art. It might be a mix of artist like and they send it to me and I don't like it, and they be like, shit, chip don't like it, get it remixed. You feel me?

So it with being accepted in hip hop, I feel like it's more accepted in RB. See, it's the difference between hip hop and rap. Hip hop, I feel like is like MCs. You feel me? I'm a I'm a student of music, right? So when you say hip hop, I'm thinking of like Sugar Hill, run DMC, like shit like that. KR as one, that's that's like hip hop. I feel like rap kind of started in like the 90s. So like in rap, I don't feel like motherfuckers want you to know who wrote what, who did what? And like on the hip hop side, it's kind of like not so much is accepted. They be cooler with the produced by, you feel me? Like, it's why a lot of writers starting to slide in. If you peep a lot of writers is starting to slide the producer thing, because it's that's how you can get it off. But so like, you know, when I see a bunch of writers on the Spotify credits on a rap song, right?

Right? Like, you know, let's even take the 21 Savage, you know, records. Like, there's there's a lot of writers listed on a number of those songs. Is that like, is anyone like, are people open about like their bars being written, or is it strictly like hooks and maybe some of the features that are RB features that are all the writers that are involved? Yeah. I feel like, and it's me, because I see from both sides of the fence, right? Yeah. As an artist, I've only taken one hook ever. I'm not saying I'm the biggest artist in the world, but I just feel like I'm a I'm gonna write my songwriter. So it's like I go in the booth and I my process is my process. I make my music, and that's just I made music for me first. I learned that from Rick Rubin. He said, You make music for you first, and eventually the fans, you feel me, they'll pick the shit they like. The audience comes last. You feel me? So on the artist side, I'm only taking one hook from somebody, and that's from this artist's name. Most likely, I wanna shout him out.

Yeah, dope, dope, dope, dope, dude. Most likely. On the RB shit, I feel like they don't care. It's like, oh, it's RB is singing. It takes writers to do RB shit. Some artists don't care about people saying that you wrote for them. A lot of artists do care. A lot. Yeah. So it's like. And it's really only in rap, you know? It's rappers that they have the, you know, they have this need to want to feel like they did it themselves. They it's their bars. Yeah, but you gotta respect that. I do. As as a as a secondary creative, you gotta accept the fact that some people don't want to be out it. But I think they need to accept that the biggest songs in the world do have professional writers, and with rap kind of, you know, being closer to pop these days and being so mainstream, you know. If you want to, if you want a top 10 record, you're probably gonna have some writers in the realm, you know. I mean, you got some songs, bro. They just magic and they just happen. It's true.

You got some songs that take, oh, we didn't like these two words. Let's fly him in. Okay, we didn't like these, this bridge. We gotta fly them to London. Some shit take that. Yeah. Some shit really take that, bro. We don't like these two words. You fly out OG Parker, he changes the snare. And then, oh my god, it's a hit now. For sure. That shit crazy. Yeah. So we interviewed uh Taron Thomas, who's Yeah, I saw that. That's what made me want to do y'all by hell yeah. When I seen it, I'm like, because I look at Teron like the ultimate OG. For sure. He's he's the goat. Like, like when you think of, especially like African American. Well, Teron from St. Thomas, but he's still he's the a black man. Yeah. We think about like black songwriters. Yeah. He up there at the top. Like, you feel me? I don't get that much bigger than him, if at all. Yeah. So that's what really made me. I'm like, oh yeah, yeah, I do they pride care.

Yeah. I ain't did no interview in years, bro. For real, for real. Yeah. I only saw yeah, the Dirty Glove one, so yeah, I appreciate you coming on. We did this shit in years, bro. Yeah, yeah. No, so I mean, you know, Taron obviously had some really great perspectives on the songwriting world. Clearly, he's gonna be nominated for fucking songwriter of the year. Uh by the time he comes out, he might be winner. Winner, he might be the first black, you know, songwriter of the year ever, 20 Grammys. That'd be fire. Legendary. Um, I don't even think they have they ever did songwriter of the year. It's a relatively new category, I think. Yeah, yeah. Oh, okay. Yeah, sure. So maybe being the first black word. But there was one white guy that won it. I just the way Teron said it, I was like, There's been a hundred years of white songwriters winning. I don't I don't I don't I gotta look, but I don't correct me if I'm wrong. No, it probably right. I think it's new as a motherfucker. Yeah, I'm pretty sure it is. Knowledge and songwriters at the Grammys. Yeah, I can't believe it's taking this long to know. No, it's ridiculous. Like wild. A lot of shit, bro.

Yeah, for sure. So, you know, we talked about this, and and probably one of the most viral clips that you know you might have actually seen probably was the whole seen. Um, you know, him him commenting on like what he thinks the most important part of a song is, right? His answer was melody, right? So he was very vocal about that melody is the most important part of the song. I want to ask you, Lance Strip Chip. What's the most important part of a song? For sure. The melody. Melody. Shit, don't like if you look at all like a lot of the biggest songs in the world, they like nursery rhymes. Yeah. You feel me? It's some memorable shit. Shit that you that's why a lot of people like sampling and flip doing like interpolations. Easily. You feel me? Certain beats you could play, like you turn it on and be like, damn, I can I hear the I hear how they're supposed to go already. So those melodies that you're like trying to go to sleep at night and you're just like it's like replaying in your head. C D one, two, two, next time, one, two, play with me. Yeah, and it's the same as twinkle twinkle.

Same melody. That audio is so fire, they used it twice. I have I have a toddler and a newborn, and so I actually sing these songs on the regular guy. So like I get it. Melody's the most important part of the song for sure. But so what would you say your greatest strength as a songwriter is? Is it melody? I say melodies and cadences. Cadences. Yeah, flow. For those that like, yeah, yeah. What's what's cadence really mean for like the cadence is kind of like a pocket. Okay. The melody being like the transient, I would say, of the the keys. Yeah, how you singing. What notes you're singing? When the notes you're singing and the cadence would be what the timing of you, how you saying it. The rhythm. Yeah. Potentially. Yeah, okay. Yeah, no, it's all right. How about like your biggest weakness? What would you say you struggle with the most when it comes to writing? I don't really got one. No struggles, bro. Talking to Land Street. I just wanted to add just in case.

It was background vocals. Uh to you to work at that. Harmonizing and stuff, like stacks. Yeah. Stacks and shit like that. So a lot of my shit be like one note with an ad lib and shit. Sometimes it be like real minute stacks and shit, but stacks can be powerful when they're quiet too. Well, yeah, how did you get better? Was it just practice? Or did you like study someone or some shit? Like how'd you how'd you improve? I went to a studio Esther Dean. Um Keith Thomas took me to the studio S and Keith Thomas really got me started on the whole song, right? It's like he him and Usher's like best friends and shit. He'll produce an AR and shit. So Keith really got me started, but like 2016, he took me to Esther Crib. And I just kind of watched her. You feel me? Like just study what she was doing. And then after that, I studied Jazzy. Shout out Jazzy. It's her birthday, too. Happy birthday. Is it happy birthday? Jazzy. Yeah. Um I studied Jazzy.

Um, I study everybody, bro. Like, who allows me to be in their space instead of if they don't. Like Nipsey said that shit, like I steal information. Yeah. I just listen to people talk and I just I take the game. I don't really wait for people to show me the way. Like I'ma I'm gonna follow you. I'm gonna creep behind you in the door. You're not even gonna know I'm in the door until you turn around. I'm right there and be like, damn. You used what plug-in on your vocal may have something like that? It's so crazy, bro. I gotta, I got like this uh this thing. I be teaching engineers shit they didn't know. I'd be like, bro, you knew how to why you not playlisting my vocals and shit. They'd be like, oh, how you do that? Like, oh, this button, this button. I'll be like, bro, I never knew that. Yeah, how you gonna compliment if you don't have a bunch of takes playlist them? I get a kick out of that shit, like teaching teaching people that shit they didn't know. Yeah, I get a kick out of that shit, bro. Oh man, as if I was that engineer though, I'd be like, damn, bro, like I'm not qualified. Nah, I'm just overqualified.

That's all that is. I'm overqualified, but like hell yeah. Yeah. So when Keith, well, he said Keith Thomas, right? Yeah. So when Keith kind of introduced you to the songwriting world, what were your thoughts of it? You know what I mean? Like, what was your opinion about okay? That's how I was like, I just wanted to like make sure people understood that like it's like 2016. Okay. Like I've been doing music a long time. Yeah, so what was his pitch? It wasn't even really no pitch, bro. It was just like I I was still trying to find myself as a man. And he had a studio. And fucking, I just used to be at his studio all the time. And then he had an artist named PM. It's like one of my real close friends now, Pat. And uh past this white kid, you feel me? Blonde hair, skinny. He dressed like Kanye West and shit, but he wanted to rap. What era kind of? I was gonna say like tight pants, like YCL jeans with the slit on the bottom with Yeezy boots on and shit. He had all the fucking, what's them boots called?

The Chelsea boots and shit. You feel me? So like Pat wanna rap. And I'm like, bro, you need to be doing pop music. Like, man, Keith was just like, bro, we need to get him to do pop music. Like, he wanna rap and shit, but let's incorporate like up tempo, like EDM type swag in it. And that's really how I started writing. And then Keith uh had signed this kid named B. Smith to RCA. I was writing for B Smith. And then I never forget Usher came to the studio one day. And we just sitting in the studio like this, like listening to music and shit. I'm on the end of the couch on my phone. Keith playing like some B Smith shit. Usher like, yo, who did who who who writing these songs? And Keith pointed at me. That would be Chip. He was like, that's Chip. I had got my head now. Usher, like, yeah, we gotta, we gotta work. You feel me? And then That's a moment. Bro, that's crazy. Like being from Atlanta and being from anywhere on the planet. Yeah, being from Atlanta, but Atlanta hit different. You feel me?

Usher like, it's Usher, bro. Yeah. You feel me? It's like he like, yeah, we gotta work. So then he's doing the Super Bowl, by the way, right? Yeah. That's gonna be fire. Dude Usher was doing, bro. Like Usher was one of my first concerts. You feel me? Like, so Usher, like, yeah, we gotta work. So then me and Usher worked on a couple songs. And then I flew to LA to work with Chris Brown. And then from there, this shit just kind of been rolling. Yeah, I think you that's you're pretty locked in at that point. You're not going to college after that. I had a record deal in high school. Right. In 11th grade, I signed the record deal. Yeah, you were one of the first ones, because I mean I remember hearing you talk about like Sonny went to your high school, right? And everyone kind of looked at you as like the guy that had already grouped though. Okay, yeah. It was like me, Yak Gatti, um, Rico. Um, we had a whole group. Yeah. Like eight of us. We was like the we supposed to be the next, like the downside Wu Tang shit, whatever. Like the next crime mob or something at that point. Two nine.

Fuck no. It was before two nine, even right. Nah, nah. It was our it might have been. I don't know. Yeah. Cause they was pilot music before they was two nine. Okay, yeah. And my boys, but they was always on the hipster side. Yeah. Like what were you on? The dude we was signed to, like, we was on some gangster shit, but but they was trying to like clean us up, market us as like a rapping ass group. Like, and we 16, 17, bro. So I signed the record in 11th grade. And from there, I Who was that with again? It was uh I was in a group called Rebel Gang. The who you signed to, though. I don't really speak on them. Okay, fair enough. But um next question, Henry. I don't really speak on No, it's all good. We don't need it, we we don't need to give him any shine. Yeah, but we signed a record there in 11th grade. So I know me personally, I was like, college. Fuck that. But I had scholarships to go to college for audio engineering.

Oh wow. So you've been doing this. No wonder you knew how to play with I had two though because when I when we was in the group, like we had a whole studio, everything, bro. Like we had our own studio we could sleep in, whatever. Wow. And fucking our engineer got tired of, you know, he wasn't as appreciated by the the dude we were signed to, I feel like. So he left. And we ain't had no engineer, but we had a studio. So it was, but before he left, I had a feeling he was he wanted to dip. So I just used to be over his shoulder, like, hey, what that means. What that do, what this do, what this do? He's always been creeping, bro. You feel me? Needed an exit strategy. But I but I I I learned the basics. Yeah. So now it was like, shit, we can be in the studio all day long as shit want to record. So I had scholarships to go to college for audio engineering, but I just said fuck it. Yeah.

Yeah. Damn. Wow. That's that's crazy, man. Um, all right. So who's who's the artist would you say that like you've had the most success with from the writing, you know, standpoint? Um I mean, obviously you went with number one with 21 recently, so maybe I don't know if that counts, but like just probably like the most like consistent success, would you say? See, that was being savvy really first time, even though I known him forever. We from the same side, but that was our first time, like getting music out. Yeah. Because bro, you gotta understand how hard it is to for one, get an artist to want you around for two, want to do music with you for three. It has to come out. Shit gotta come out. But out of the thousands of songs that artists record to be one of the 15. Yeah, you feel me? So true. But I probably had the most success on the production side, I say baby. Yeah, yeah.

On the writing side, I probably say like Tanache. I knew it was Tanashe. Did you? Yeah. Did you know it? Like, like overly, like overly like doing a lot of the a lot of the writing, like doing everything, I say Tanache. Yeah, yeah. No, your credit, like I was looking at your genius earlier, and she's all over it. You know what I mean? My shit with baby be production. Yeah. More so like on the producer side. What'd you do on detox? Um detox. I've been on the road on go. Oh, uh production. Yeah. You remember like any specifics like how you're involved? I'm just selfishly curious. I love how he didn't even remember the song. That's how many snow, that's how many songs you've done, bro. It's okay. I had to think about the It's okay. Um I'm like, oh my god. I don't know. I think I might have just gave him the beat for that. Okay. Yeah. Yeah. I might have just like slick AR the situation. Mm-hmm.

Dot connector. Yeah. Yeah. Crucial. That seems like that's a differentiator for you. It seems like, I mean, just the A and R skills that you like. I always wanted to be that when I turned like 40, 45. And I always said that because I hated how artists was getting done by labels and shit, bro. I felt like the disconnect was the AR. Like, because you know a lot of artists, bro, they come in, they sign to a production company, and then production company deal with the label. So it's like yo, really, only communication through the label is your AR or your project manager. And I feel like a lot of the ARs these days, they just going to collect the paycheck. Yeah. You feel me? They going to work. Now at whatever time they get to the office, at 4 45, they ready to get the fuck on. Mm-hmm. They don't give a fuck about what you feel mean. It's not really their job to care, but it's like you want to develop good artists and successful artists. Why not care?

Yeah. That's why a lot of the the good ARs, they super like connected to their artists and shit, like Barreline. Like you see Bear Line everywhere with all her artists. All the time. You feel me? Yeah. We need that interview. Yeah. But it's like it take it takes shit like that to for artists to even believe more in they said, like, damn, you believe in me this much. I gotta go hard for you. Yeah, when the people around you aren't even motivated to help you, that can be demoralizing. It's gotta be depressing, bro. Like, damn, like y'all, y'all signed me and gave me this money and shit. Y'all don't even really. Yeah. Yeah, okay, cool. I can just I fuck this shit down, just bullshit. Yeah, put some shit out, read the contract, or something. Whatever the fuck. So is that your experience as an artist at any point? With that label Who Shall Not Be Named? I didn't, I'd have been on two, three labels. I was gonna say, because I mean you were signed with what? Dev Jam or signed a dev jam. Yeah. And then I did a situation with um Asylum. Yeah.

On my last project. I feel like my first, like my first deal, keep mine, I'm 17, bro. I'm in high school. Mark Pitt signed us. Mark Pitts still at RCA to this day. Oh yeah. Mark Pitts and Wayne Barrow signed us. And I always was like the, I wouldn't say micromanager of our group, but I was the motherfucker, like, I'm getting everybody numbers on the slick on the side, like team leader. Me and Greg Street, like chopping it up, because I'm, you feel me? Yeah. I know like the other motherfuckers in my group, bro. They was on some gangster shit. I ain't gonna lie. I was the damn near the pretty boy of the group. Okay. I damn near didn't belong. I'm gonna keep it keeping a break. I didn't belong. But then was just my brother, so you feel me? And they trusted me in that. Like, hey, you and Big Arrankin need to stay connected. Like, you and Greg Street. You and me and Mark Pitts talked. Like, I was damn near him, Mark Pitts, like, hey, bro, we ain't getting no love. Like, what's going on?

He, like, man, I can't, you feel me? And then my second situation with Dev Jam, it was kind of strange because Rico signed me. Rico beat signed me to Dev Jam. Him and Steven Victor and A.E. But probably like a month after I got signed, Pop Smoke was like blowing up. Took their full attention. And Rico was managing pop. Steven has pop signed to Victor Victor. So Rico been to me. I don't he probably don't give a fuck about me saying this shit. Now he been told me, like, bro, I ain't gonna be here. Like, I see where this shit going. And I respected it. But some shit happened to where they ended up leaving the label. And it was like, it was kind of weird, because I had four labels trying to sign me. And that was the first meeting I took. And I signed with them just because I felt the camaraderie of brotherhood with them, you feel me? So it was kind of weird when they left and it was a disconnect with the label because now it's like new people coming in and they don't know you, and I don't know you, you don't we don't know each other. Man, we've heard those horror stories when you're the person that you signed with is like no longer at the label, there's a restructuring or something, and you just get assigned to someone else.

Yeah, bro. So that shit was that shit was kind of weird, and I feel like I was in like a great spot musically at that point, because this before like super streaming and the social media, like they making you do this TikTok book. Not ain't gonna call it bullshit, but they making you do the TikTok and the challenges and all this other. So it's like I feel like that was like a time where I really could have made a mark. It wasn't even I can't really say it was a bad experience. I learned from it. Yeah. I don't really look at nothing like a bad experience if I if I take something from it. You make sure at least make sure it doesn't happen again, you know. Yeah, if I can gain from it later in life, bro, I don't really look at nothing like a loss or like a yeah. I say it all the time there are no losses. Yeah, so uh so it is is it is there any artists that you think you can't write for? Like it does it have to be that chemistry, or can a writer like you who's just good at what you do, can you write for anyone? See, that's what I'm saying. You got a lot of writers who just try to mimic, and like, oh, let me come in and do your cadence, your voice, do your ad libs. Cause they sometimes when the artists hear that shit, they like, oh, this sounds like me.

I could hear myself doing this. I never been there. I was never I never tried to do the ad libs and the the voice and make my voice higher or lower depending on the artist. I just be me. If you like it, you like it. If you don't, shit, I it's a million other motherfuckers out here. You feel me? So it's like so people are really out here like trying to mimic the that's how writers ain't been saying like the AI shit. Oh yeah. Well, I mean, yeah, I yeah, those are I've seen that, but I just mean like I didn't know writers took it as far as like if you're writing a reference for an artist, yeah. I didn't know that a majority or like at least a good amount of artists actually try and like seriously mimic the the like reference artists. Yeah, yeah. Damn. Like sonically, like actually. Yeah, he's he's saying they actually like they do the stacks like them and they're harmonizing like them. Yeah, like they're trying to make it so that it sounds to his point like as familiar as possible. I'm not knocking nobody for how they you feel me? No, but I just even my thing.

Yeah, yeah, it sounds like too much. It's just because I be round certain artists and they be like, I be, bro, I've never been, I'm gonna play, I'm from Atlanta. I've never been a motherfucker to be like, oh, don't do they shit, or just prioritize my shit, my shit only, my shit, my shit, my shit. It's enough money I have for all this, bro. So it's like I be around certain artists, and they might play references from from some other people. And they'd be like, damn, why they trying to sound like me? Or why they oh. And I'm so real, I take some on the side, like, hey, switch it up. You feel me? Like, change it and then let's send it back. You feel me? And then once you send it back, I'm like, hey, they switched it. Woo woo. That's you. I don't, uh, you feel me? It's a lot of songs that I'm not credited for that I had a hand in. A lot of them. Cause I'm I'm not like, oh, give me this. Because what's for me is is for me. You feel me?

How hard is it to determine who gets what on the songwriting tip? Man, that shit is a toss-up. Yeah, bro. Free for all. That shit, it's damn near, it's damn near this at this point, it's like shit, whoever registered the shit first. On God, bro. And then it's like, shit, you register how you register, I register how we register, and it's a dispute. Yeah. Now nobody getting paid. Damn, three people have 60% of this song. It's just crazy. And they be on there, bro. The publishers be like, hey, this shit ain't right. Yeah. You feel me? Yeah. And then it's a, it's a whole, it's a waiting game now because it's like, it's in the lawyer's hands. Yeah, who has those conversations, right? You know, you work on a song, who's actually, who's actually deciding like who gets what? Do you do you have those conversations? Luckily, I don't be in, I I by the grace of God, I've never been involved in I don't think no songs where it was like 10 motherfuckers. Yeah. On the writing side, maybe on the producer side, that's a the but that's none of our business. They get their shit situated and they want to get their shit situated because they getting paid immediately.

So they want to make sure they percentages add up. On the right of side, it'd be more so of a conversation, like. But what we might have an understanding, and an artist might come down and say, shit, I want 80%. And now everything we thought we had going on, we gotta restructure. Or the sample might come down and they want 80%. Oh, that's the worst. And then shit, it's 80%. A sample taking, they taking the the the chunk of the whole joint, not just the top line. They want 80%, 90% sometimes of everything. So now the artist might come in and say, Well, shit, they taking 80, bro. I I need mine. And you you might, it's it's songs I got 1% on. 1.04%. You feel me? 04. You feel me? Like it's it's some shit I got like 1% on, but that 0.04 really hit him, you know. You feel me? Yeah, yeah. I'm thinking about Ferrari, but yeah, at 0.4. He did pull up in the Rari, guys. Off that point four.

Fuck out there, that point four. The point four. But it's all a it's a conversation. Yeah. But we might have we might come to agreements, and then, you know, it might it might change later. Oftentimes it do. But then it just it becomes straight lawyers. Yeah. So from like a songwriting tip, right? Like, how much money is generated from like songwriter royalties on like a platinum song or like a big song? Just so like our audience understands. And I'm talking like the whole pie. We don't need to like get in your pockets, but just like so the whole pie, I I the shit changes. Yeah. Like the the typically gets lower. Nice go. That's gonna it's going up. Yeah, I was gonna say they're actually passing like an increase. Yeah. And I think they're about to increase it every certain amount of years, a certain percent. Yeah, through like 2027 or some shit. Let's say a song go platinum, right? That's it. And you say that's a million singles. If a single on iTunes is what, 129, supposedly that's 1.29 million dollars. Yep.

If the production side is 50 and the the right and the writing side is 50, you could say that's 600,000. Now, if I get half of the 50 off of 1.29, technically I'm supposed to make 300,000. But then your publisher's supposed to get half, depending on your deal, structure. The structure of your publishing deal. You feel me? It's a lot of money in this shit, bro. Yeah. But you probably now. Okay. Majority of the money is on radio. Yeah. Like people like to say, like, oh, radio is the last step now to like, but it's really not, bro. You catch a radio hit. Yeah. Shit change. It's very much still alive. Sure. Yeah, I think Jason Reddick pointed that out on his interview. Shit. And see, he he in the publishing side, so he can he can get more in depth into it. Right. I'm well up on my business. Don't get me wrong.

I can tell. I still have certain questions about certain shit. And I'm like my lawyers, I be on their ass. I be asking them, like, what this, what is this? What is this? Because it's confusing, bro. But I want to know. I know. Yeah. Everyone should want to know. Yeah. Yeah. Like you motherfuckers don't care about it. I know, but that's ridiculous. And then 20 years down the line, you'd be wondering why they doing like unsung. Oh, they went broke. They had 50 million and they motherfuckers ain't end up with nothing. You'd be like, man, how the hell did that happen? Like, you went up on your business. So I always pride myself in being up on my business. So you started to, you know, talk a little bit about the you know the 21 Savage relationship. So just, you know, walk us through, you know, this is kind of the first uh, you know, record that y'all have done together, I guess you said, right? Um, obviously it's going to be. Well, that's come out. Well, sure, but it's gone number one, regardless. That was the first song I ever did with him. Wow. Wow. I was gonna say, let him tell the fucking story, Henry. I thought I heard it, right? But stop assuming. That was the first song I ever did with him. Yeah.

But but you mentioned that it was maybe like a long time of kind of like, should you know, are you in the room? Or like, you know. I mean, cuz you say you knew him for a while. So like kind of talk to us about how that like evolved. So like with us both being from the east side, we didn't go to the same school, but like we had mutuals. Yeah. And me and him got, I wouldn't even say cool, but we kind of like really like got back met through Sonny. Okay, yeah. Just being at Sunny House all the time and then Metro and shit. So it was like he knew me as Chip, like an artist. The idea was introduced to him, like, oh, let's have some people come in and get some ideas on some shit. He was like, I bet it just so happened to be like the very first shit I tried to do with him, stuck. Damn. And that song probably two, two, three years old. Yeah, that's pretty normal, and I feel like in the industry. Does that happen a lot for you? Where like old songs are.

Yeah, but it's like now I feel like I be wanting to be in the room towards the end of the project. Cause that's when final decisions is getting made. Final, like, hey, we need a new hook on this. Oh, this the hit, but we need change, woo woo. Shit, I'm right here, let's do it. Or like, man, we need that one. We need that last one or two or three records. I got them. Come on, let's do it. So, like, because it's like when you when when artists be like working on my album, I mean, album mode, it's like then as soon as they start working on the album, you catch one, and that'd be your that'd be their favorite song, but it's like the album ain't finna come out. They might that albums might come out in a year and a half. Like, who's to say that's gonna be their favorite song in fucking 16 more months? Yeah, but but so like a song that's two or three years old, right? So that was see the real, right? Yeah, that song's two to three years old. Right.

Savage clearly has recorded probably I mean, countless records since then, I would assume, right? I mean, like let's just say he's he's recorded a lot of music since then. How does he remember? How did that song actually like get brought back up into the fold? Like I it was never out of the fold. Okay, so he's like that good, Ben. No, I mean I thought that was one that was that was like one of his favorite songs. Okay, so then that long. And then I talked to him every day, damn there. We play the game a lot, so it's like what game COD. Uh 2K. 2K. So it's like Is he good? I ain't gonna lie. No, come on, bro. This is your chance to be talking crazy by me. I say I be I I this year. At first I was whooping his ass. Okay. Who's your team? Nah, so we got like a league. Uh we draft like we we we have I got the Warriors, but I got like different players, yeah. Yeah, yeah. Okay. The Warriors. Okay, yeah.

So that's just the logo on the jersey. Yeah, first I was winning a lot, and then lately he he'd been whooping my ass. Oh, what's changed? Oh shit. Um he's been practicing, he's been in the gym, the virtual gym. He's like, we play somebody so many times you start learning that sentences and shit. So Chip always runs that fucking pick and roll. Yeah, everyone thought Savage was actually working on his album, but he's just been getting better at 2K. We finished. We're leaving the studio at one in the morning, we playing a yard until 10 in the morning. Hell yeah. Oh my god. Crazy. That's why that's a problem, bro. I don't mean that's that's the that's the life, baby. That's the beauty of that's crazy. You feel me? Yeah, I set my own schedule. That's true. I mean, yeah, I feel you, bro. He doesn't get that, bro. We have that conversation. I don't got two kids and a wife. Yeah, yes. You can't do that. Yeah, bro. You gotta get your sleep when you can. Oh my god. I don't get it. You ain't got no kids, but I understand. For sure. Um, all right. So other than other than see the real, or you know, maybe not, like, what's your favorite song off of uh off of American Dream? Proud of the one with Mariah.

Dark Days. That's the last one, right? Dark Days, right? I think that's it. Yeah, it's the last song. Yeah. That was because I um uh it's probably because I was dead when that shit got made. So it was like special connection kind of seeing certain shit come to fruition, bro. You'd be like, damn, that's that's amazing, bro. I feel like there's a very big distinction when you say I write songs for versus I write songs with. Is that like a I don't know. For some reason, I was like writing my notes. I was like, for some reason it feels really weird saying for. What do you say? Do you say with? I just say I work with, I work with because it could be in a different type of capacity, bro. It could be like, like I said, certain artists is just simply um bringing producers in. Yeah, with some artists, it's the whole song with some artists. It might just be the hook, might just be the verse, it might be top line cadences, might be post-production, helping with the production on the arrangement, composing, composition, and shit. So might just be giving little baby a beat.

Boom. What's your favorite part of all of it? Everything. Nah, come on. What's your favorite part? Everything if you had to give up everything but one piece of the puzzle. What are we doing? Nothing without everything. That was a bar. It's nothing without everything. It's not, it's nothing without everything. Fire. It's a paradox of sort. It's like if you think about it, bro. I thought about it, Chip. And it's not the A-Boogie. Like, think about it how you don't want to think about it. Yeah, yeah, yeah. It's like, bro, did he say that or did you say that for him? He said that. Did you write that one for you? I was like, I know you work with A Boogie. Was that your fucking? That's crazy. That's viral as fuck. Bro, it's like without one piece of it, the whole house breakdown. Like every piece is the foundation. So like you pull the top line out, it's like the house leaning. If you pull out my ear for production, it's leaning. If you pull out like just me being somebody to connect the dots on certain shit, it don't the circle don't fully close all the way.

So it's not. The game is being able to fit in wherever you're needed. I know it was a hypothetical fucking question, Chip. It's a bad question, man. Bad question. I just wanted you to pick one. God damn it. I'm super literal about it. I know. I'm just messing with you. So you know, you've arguably worked with like every like top producer out there. I mean, whether it's like London or I feel like I feel like Hitmaker is always like trying, he was like in your comment section all the time. I feel like uh obviously OG Parker, freaking who else? Jetson, C note, whatever, right? What how does your workflow different like when you're working with just producers? I don't go to the studio to do shit for other people. Like if I'm in a studio by myself, I'm just making music. You feel me? I don't be like, oh, today I'm writing for, well, today I'm doing my stuff. I just go make music. You know, people be telling me, like, you gotta be intentional.

But it's like I've heard that. They be like, like, certain people go in the room and they be like, oh, today I gotta do a radio song. I gotta get some shit that's gonna stick on the radio, and then they leave the studio 15 hours later, but I ain't come up with shit. We talk about this all the time, bro. I because creatives almost need to not be intentional on purpose. You need to be able to let your mind. You gotta you gotta have your blinders on and understand it, like what it is you trying to accomplish. But like, certain shit, bro. It's like, oh, I'm going in there to do a pop song today. Like, oh, I need to such and such needs this type of song. They AR called and said they need this, like, uh, hell no, bro. You need to leave yourself space to like wander and be creative and come up with something that might not have been the original plan. Because I feel like that's how you stumble on things that can be great. If I was if I was only a writer, if like my sole job was songwriting, then it'd be like, all right. Yeah, it's different when you have different things going on.

Me being an artist, it's like I be knowing like people calling, like, oh, this artist wants to do this. I'd be artist side of my brain cut on and be like, bro, they don't want to fucking do that. I talk to this motherfucker, they don't they don't like shit like that. How often are the people that are like advocating on behalf of the artists just completely wrong about like what they actually want? Because we hear that a lot of like A and R say like, hey man, we don't want anything like the last project. We're on some new shit, we're on this vibe, we're on this wave. But it's all opinionated. Music is opinionated, isn't it? Subjective. Yeah, it's like n you ain't right for saying that this shit is a hit. Yeah. It might be a hit to you. To me, it might not be a hit. The manager might think this producer worked better with their artists, and the artist might not think that. Shit all subjective. Yeah. How often do you maybe write something that you think is for an artist, but you end up keeping it, or you write something that you think is for you and it ends up being good for someone else. Does that happen?

Yeah. But it um I might go through like my playlist of shit. Having both on both sides. I might be like, damn. But like I say, I don't write songs specifically. Only time I'm writing a song or working on something for artists is when we in a studio together. So it'd be like shit that I'm doing on my own, I might listen to it be like, damn, this shit has sound hard on this girl. Let me send it to her. You feel me? So you make the music first and then kind of decide where it's like. Yeah. Specific, like, oh, this is for you. Mm-hmm. Yeah, just make it and however I'm feeling. However, I'm feeling is what how the song gonna come out. And then after that, it's like, oh, this damn once I come out of the trance, it's like, oh damn, this will sound hard for me. I'm keeping this. Ah, see, like I love that approach, but then it also like gives me anxiety of like the options are endless versus if I were a songwriter, I feel like I would so much more lean towards the like I am going in the studio to write for this.

Like that would be how my brain works. You know what I mean? Where it's like, I I don't know, I just feel like I would need those constraints. But I but it's like that's not what's best necessarily, you know. Nothing is best or worse. That's true. Whatever works for you. God damn chip. Whatever. You're a wizard. It's like whatever, whatever you feel works for you, yeah. How long did it take you to like find what works for you? I still don't know what works for me. Bro, I'm Batman, bro. It's like you know me, but you don't know me. It's like Batman barely know himself, bro. What works for me is good music. You feel me? And understanding my role at all times. You know, like you got certain people, they come in the rooms and they they try to overtake the rooms and be bulldogs and shit. And it's like, bro, we ain't even need that. You got 10 bulldogs in here.

You trying to come in here and be, bro. You know, I got a funny story. I'm not gonna say no names. Say them. I'm not gonna do that. Say um. I was in LA. Say it. I ain't gonna say it. Bro, I was in LA. And um, I'm working on a song for an artist. This this way back though, before any major criticism of that shit, like me and I'd say Jazzy. Me and Jazzy was working on a song. Okay, see, he already said one. He said one, he's gonna say it more. Come on. A producer had had made the beat. And I was in the booth doing the second verse on the song. And the producer, I'm talking about this uh five times diamond. Oh, heavy hitter. Big dog. Yo, we'll look that up later. Five times diving, bro. So big dog, you come in the room and he's on some shit, like, um, hey, y'all need to hurry up. I'm like, he like, I wanna I want to go to the next beat.

I'm in the booth, but I hear what I hear him. Cause talk back. Talk back, son. Oh, the fucking engineer fucked it. Let the talk back my gun. Talk back on. He like, bro, like, why we still on this song? Keep mine, I've been in the booth five minutes. And then so I'm telling him, I'm like, bro, I'm almost done. It's gonna take me like five minutes. He like, we ain't got five minutes, we need to pull the next beat up. So the engineer, like, what you wanna do? I said, bro, put your fucking headphones on and record me. I came out the booth. He like saying, like, I didn't, I didn't want to spend as much time on the song and shit. I'm like, hey, bro, let's go, let's let's go outside and talk right quick. I'm like, bro, I understand who you is and shit, but I don't give a fuck. You're not finna come rush my process. I don't care. I'm finna finish what the fuck I'm doing. After that, we can go to the next song. If not, we can get the fuck on. Cause he an older dude, so like I ain't gonna go there with you. But you ain't finna come in the room with little boy, me neither.

Yeah, I don't give a fuck what you done did. Yeah, maybe if you were doing a 12 bar verse for an hour, I get it. I don't even work like that. Yeah. Like I pride myself on going in the room, wowing people doing that shit quickly. So motherfuckers be like, damn, you just did that shit that fast. And I'll be like, Yep. Hell yeah. Like, that's what kept me in the room early. He was like, damn, this nigga chip going in there doing this shit quick. See, that's important. Yeah, that's the easy way to not get invited back. Yeah, but like should take forever. Speed shouldn't actually matter. Cause like at the end of the day, we talked about this with a lot of people like all that matters is the song. Shit don't matter with the the outcome of the song. You feel me? Yeah, but in the moment where you got like a lot of motherfuckers in here who done so means and means of records and shit, and I see motherfuckers taking too much time, I'm going in and knocking that shit out five minutes. And they like, I need him. I want him. Cause like early on with me and Jazzy relationship was I come in the room and I let Jazzy lead the way. Still, it's like that, but like, because back then my strong thing was words, like lyrics and like punch lines and shit.

So she'll do the top lines and the melodies and cadences and shit. And she be like, hey Chip, come in here now. Let's write the words out. And I come make that shit catchy catchy. Not saying she couldn't do that. She could do it by herself. But she was open enough to let me in her space and bring me along. Like now I need you to help me with this shit. So that was always my thing. Just like I said, being in the room. Yeah, but however, I needed to be in the room. Yeah, but it's crazy that like speed is important, like from the like the optics of it, right? Like how people perceive it. Perception. Especially when, like, you know, there's a lot of people in the room and everyone's trying to do their thing and be contributing or whatever. Like I only like being in a room with hella writers. Yeah. Yeah, it seems like a cutthroat, like, like weird. Yeah. You probably don't like camps either. He doesn't seem like a camp guy. Yeah, camper. I've never been to camp.

Uh by choice or no, I've never been camping. I've been to camps. Okay. Writers' camps though. Bro, like, I don't know. It's just I don't know. I gotta really fuck with you. That's a funny shit. It's a funny YouTube video, bro. Taking Chip like to a camp. And he like thinks he's going to a writer's camp. And like we actually just take him to the woods. We're like, shit, we're going, we're going camping. We're going camping. You go camping. Alright, go camping. Look, I brought my I brought my interface. We can record. I wouldn't even record. He would just be roast marshmallows and we get that the forest ambiance. I want to escape. Yeah. Yeah, yeah. Any free time I get, bro. I like to take it. Yeah. For sure. I think that's inspiring. It helps you write. Yeah. You know. Hey, but I guess you wind down with nine hours of 2K against 21 Savage. Yeah. Because he's whooping your ass. He might win too. I might win too. You feel me?

Game five. And it's like I gotta beat this nigga. Hold on. Hold on. Oh man. You know how that shit goes. Play the game all night, motherfucker. And then she's sleep by the time I get done. It's like, damn. Or she's awake because it's then 10 a.m. in the morning. Man, listen, man. I live a crazy life. You do, man. Well, Chip, we've entered a final segment of the podcast, my friend. Oh shit. Final seg. That's funny, bro. It's been great. All right. We're taking chip camping. This is I'm telling you, like taking music people to do like weird things too. It was an ideal content. Yeah, like y'all ain't seen it. That that video of thug, like going hiking and shit. See, that's funny. And he was like, This this would be a cool place to foot. See? The amount of topic shit. He like this should be a cool place to foot. The amount of quotables we would get from Landstrip Chip while we're camping. Like making him try and set up the tent or something. You know what I mean? I'm gonna figure it out, bro.

I know you would, but it would be funny along the way because you just like some montage music. Exactly. Yeah, have it on high speed as he's trying to figure out like it's great. Not the Benny. Well, Chip, this is the uh rapid fire rampage. Uh it's gonna be a three-part rampage. Why are you groaning? Because it's just you, this is your segment. Yeah. You've had a say some wild shit. He's gonna be. Because at first he had to say it was kind of wild. I know. I I do it to everyone. I've never called anyone by the correct name at first. So to be fair, like I didn't just single you out. Uh, but it's gonna be three parts. We're just gonna start with some quick short answer questions. Nice and easy. First question, um, just to get kind of deep and serious here. How about this weather we're having? Shit. Crazy. Chip, give us your top three tips for artists too.

And I'm gonna change writing better songs to making better songs. Being true with yourself. It's not most important. Just just making the music for you, making what you want to make. Having a great engine there. Love that one. That's that's been a theme on today's episode. Do not suck. Yeah, don't suck. Don't be ass. And then taking your time. Yeah. Unless you're in a room with a bunch of people. And then make sure you're fast. I mean, the guy who just prided himself on speed is like, I mean, just take your time though. When you have it, yeah. And you can afford the luxury. I can go fast. But if you don't make good enough music, take your time. Yeah. No, that's true. He's just nice. And we are talking to the people that need to improve their music. Right. I mean, everybody need to improve their music. Oh, yeah, true. It's a constant battle. I mean, you just said you hadn't figured it out, so this segment is called ideal audio.

You're gonna create uh craft your perfect song. You can put any writers, any producers, any artists, alive or dead, create the perfect song. How many people? As many as you want. You can't say that because I just named all right. Let's say two verse artists and one hook artist, Max. Well, by writers and producers. Two writers, two producers. All right, so as I do them, tell me what. Okay. So two writers. Yeah. Give me babyface. And give me R. Kelly. Cool. Okay. What's next? Two producers. Two producers. Give me Quincy Jones. And give me OG Parker. Ooh. We're supposed to interview him on Sunday. Yeah. Yeah. So I'll tell him that you selected him in your ideal audio from the Warmer Time Podcast. Two verse artists and one hook artist.

On the hook? Who's on the hook? I'm on the hook. You're on the hook. Ah, thank God. Is there anyone else? I mean, on the verse, give me Drake and Wayne. Holy shit. Young Moo, baby. Song is incredible. I'm checking that out. I just want to see, I just want to watch Quincy and Parker in the room. Like, so let's see how they interact. I just want Drake and Wayne back on songs together. To be honest, bro. That was me. That's crazy. Yeah, with you on the hook. Oh my god. That's crazy. Chip, if you were an app on your phone, which app would you be? The Metronome. Ooh, you had a metronome app. Yeah. We know how it sounds. Not everyone does. We got it, bro. I'm gonna mute you right now, bro. I swear to God. Ben's muted for one question. Let's go to. You can party with any three fictional characters. Who you partying with? Fictional characters. Fictional characters. They don't gotta be cartoon.

They can be, but they don't have to be. Give me my man from Wolf of Wall Street. Jordan Belfort. Yeah, yeah. Belfort. But Leonardo Belfort, not the real one. Yeah, give me Leonardo Belfort. Yeah. Like kicking the door open at the car type shit, Belfort. Yeah. He's bringing the quay leads. Give me a kid from Kid and Play. Okay. Because he's gonna throw a wild party. Give me fucking. Damn. I don't know, bro. Anybody. I'm gonna be the one in the corner of the part anyway, like trying to talk to some girls and shit. So it doesn't really matter who the third person is. It's already a wild party. I was about to say, I was like, the fact that he's just so chill and he like wants like mountains of cocaine from Jordan Belfort. Like I was like I know. I was like, damn, I didn't know it. Chip was such a party. He's a curator. Nothing to do with that. I ain't got it. He's a curator. Yeah. He is a vibesetter. That's right. Yeah. And Jordan Belfort. If that part happened, hypothetically, yeah.

Yeah, exactly. For sure. Chip, what is the first thing about the music industry that you would change? Net pay. Just raise it? Nah. No, like the getting paid in net 30 versus net 1,000. Like, why the fuck, bro? Why the fuck this song? You know this song going on our album. Right, we done did splits and agreements and shit. Why the fuck it take y'all three months? I just hate how they rush motherfuckers to do the work. And then they tell us to wait for our money. Like what? Very true. That shit crazy. It is. I seen Hazel said that shit like that. Yeah. Hell nah. What the fuck are we waiting to get paid for? How are you supposed to plan your finances around that? It's just insane. Yeah, I've heard good things about Uniport. So they hates Uniport. You already with Def Jam. Do you know Uniport? That's their payment system. Oh wow.

You had a good Uniport experience. Interesting. Yeah, see, I I know the, I know the, I know the uh admins of Uniport. In the text. My invoice. Push that through. And the fuck push it through. I sent it. What's up with that? Yeah, yeah, yeah. I love it. He's gotta, he's got a connect at Uniport. Yeah, that's the best connect to have. Um last one of the short answer. What is your favorite curse word? Probably fuck. Let's go. Part one. Part one. What the fuck? It's so uh, you know, you can just use it anywhere. Versatile. Um, this part is the this or that. Very simple. I'm gonna give you two choices. You pick one. Here we go. Rap or R and B. RB. Hooks or versus hooks. Write it down or punch it in off top. Punch it in. Barbecue or teriyaki. Damn. Switch. Barbecue teriyaki. Ooh. Oh, chip.

Come on. We'll take it on. We learned something about him. TikTok or YouTube? YouTube. Beamer Benz or Bentley. BMW. Vegeta or Thanos? Vegeta always lose. Thanos don't lose. He did once. Yeah, but yeah, he did. It was a big one too, right? If I remember it. Yeah. He did lose one time. But not before snapping his fingers and making half the world disappear. Yeah. Pretty tight. Um, okay. Rich or happy. Damn. This is where we learn the most about people. What is rich? You don't have to worry about anything. Well, the rest of your life. Financially speaking. That's what I meant. I'm saying what's happy. You wake up every day excited to be alive. Give me a happy. I'm gonna go get the money. Yeah. I'm gonna go get the money. Happy or sad. I'm gonna go get the money, bro.

But I'd rather be happy. Love that. Bro, Chip's like some heady shit, bro. He's like, what is happiness? What do you mean? What is what is rich? I was like, damn, I don't know, bro. Dead ass, bro. Yeah, no, for sure. I was like, I I might need to sit on the on the left seat there and have a therapy session with Chip. Think about it. Yeah. I mean, I am now. Thank you. Thank you about it. Chip 10 platinum records or one diamond record. Depend on my split. Let's say it's even through through the hall of them. You're getting 1.4% on every record. Shit. It's the same thing then. If my split's equal. Yeah, that's why that's why it's a good question. I give me 10 platinum singles. Or one diamond single? Correct. Yes. Give me 10 platinum singles. Okay. Why what's your what's your reasoning there? Because that means you was great one time. Yeah. Really great. 10 platinum is like consistency.

Yeah. Thank you. Get that. Discover new artists or binge your favorites. Um new artists. And finally, become a full time country singer or leave the music industry. Shit, what a guitar. Let's go. That's a chip a guitar. That's a fire answer. I love it. We're the guitarist. Yeah, give me the guitar. All right. The last part is the word association. I'm gonna say one word, and you just say it the first word that you think of right off the top of your head. Alright. There are no correct answers. You're only judged on speed. Starting with hip hop. Declining. Traffic. Alright, car traffic. Any type of sleep. Candle. Chip. Friend zone. Sadie Hendries. Yeah. COVID. Fuck. Concert. Lit. Jelly. Bean. Atlanta.

East. Loud. Studio. OnlyFans. Fuck. Melody. Chip. Lil. Baby. Catch. These nuts. That's all my good side. It was supposed to be my good side. No, no. Catch these nuts is way better. Let's change the title of the song. Catch these nuts. Let's write a song, catch these nuts. This has been Lance Trip Chip. As always, please like, comment, and subscribe if you fuck with this interview. We are here each and every week. That was crazy. That was a good one. That was a good one. Cash D's nuts. Until next week, Henry, what are we doing? We're getting out of here. Catching these nuts. Okay. So good. Oh, pause. Pause.