OG Parker: Selling 50+ Million Records Across Multiple Genres for 10+ Years

Timbaland told me that he said he used to come to the studio with five beats, play them in rotation until they pick one. Because he said you're in the studio to work with me. If you believe in the artist, I would give them the beat for free. Because it can grow into something crazy. I learned a lot from P and Coach K and how they were selfless and like really tried to help artists. Oh, we're probably like 40, 50 songs in, and we only have five on the album. I worked at Macy's Forever 21. Journeys. Guess. Foot Locker, you put the jersey, the ref jersey on. I ain't working Foot Locker. The music industry moves fast. One day you're hot, the next day you're not. There's not too many people, whether you're a producer or an artist, who have been successful and at the top of their game for over a decade. Today's guest is OG Parker. He's a Grammy winning multi-platinum producer who sold over 50 million records and recently started his own label and publishing company. He gave us all the game on how he stayed relevant for so long, and surprisingly, it has nothing to do with his beats. Naming his label Neutral Records couldn't be more perfect. The dude crosses over from hip hop producing for the Migos to RB producing for Chris Brown, Party Next Door, and even Pop with Katy Perry.

The dude's an absolute beast. This episode's an inside look into someone who's mastered the art of navigating this crazy music industry. And he's made music at the highest level for over 10 years. Without further ado, let's get into it. Nikki's the best female rapper. The best? The best at rapping. Yeah. To me. I mean, I definitely agree, but. I don't know. Just. Anyways, we got OG Parker on the fucking podcast. Let's go. Let's go. This might be the longest scheduling process of any guest. We've been trying to get Parker for a minute. I think it was 20 2022. We had it scheduled, bro. Did we? Nah, maybe not that long. I'm just saying. Not that long. It was a lot of time ago. Took a minute though. It kept like having to change and stuff. Anytime we have a little bit of like some scheduling things happen, the episodes always fire. Yeah.

You know, we've been able to stew on it a little bit. Yeah. So hopefully this one's you know no different for sure. That's right. But so what I've found very interesting about like your career is your ability to not only produce like rap bangers, I mean it's Mr. Walk It Like I Talk It and like so many other rap classics, right? And then also like your ability to produce RB smashes. Is that as like is that actually as like mind-blowing or difficult as I'm like making it in my head? Like, are there other people that really float in between genres like that as well? Yeah, yeah, no. So, like the whole reason I call like my company neutral is because I always wanted to be able to make every genre. So, like I like always try to like make pop. Like, I have a song with Katy Perry. Like, I I always wanted to like, you know, just make anything reggaeton or rock. Like, I want to tap into country, like to be honest. I'm gonna work with Morgan Wallen. I love Morgan. Let's speak it into existence right now, Morgan.

Yeah, don't you, Parker? OG Parker's got some heat for you, my friend. I'm Coming to Nashville. Do you have do you have any country beats? I I got some shit. Do you have a pack for them? Yeah, I mean, you know, what I'm saying, I'd rather like get in a studio and make it from scratch, but I'm, you know. Do you have something ready to play for him? Yeah, I got some stuff, yeah, for sure. Does Morgan seem like a send me a pack kind of guy? I feel like he's an in-studio guy. I don't know anything about Morgan Wallen, my friend. I do. I'm saying I don't know if he prefers packs or in-studio, you know, sessions, but no, that's that's dope. So that's where neutral came from. Yeah, yeah. That that was the idea behind it. Yeah. Damn. No, because I just feel like there's not too many that like so easily float between to your point, like pop, hip-hop, RB. You know what I mean? So I I've I've always found that fascinating for sure. Part of the reason too. I mean, I just think genre is becoming less and less of a thing as time kind of moves on. Everything's kind of blending together, which makes neutral, I think, a cool place to be. It's like we just make good music. Yeah. We're not worried about, yeah, you kind of have to label it when you upload it to your distributor. You had technically have to put a genre, but like it's a vibe.

if You like it or you don't, right? So, like, how does your creative process change though, right? Like, uh, you know, if we're going in and trying to make something with you know a traditionally hip hop artist versus like an RB act, uh is your mindset different? Is it you know what I mean? Like, what what is different about those two processes? Well, with a lot of the trap stuff, it's kind of just like if you go to the studio with like a rap artist and like just play beats, you know what I'm saying? It's like just play beats. But like sometimes with R&B artists, like I was in the studio on money long, and she was like, Oh, I want a bridge right here. Or like working with party. Like, he was like, I want the transitions in between the songs. So I had to, you know, not to sit and like play chords and like you know, do like the whole process. But a lot of the rap stuff is like a little bit easier. So which do you prefer though? Gotta be the RB version. It's the RB stuff. It sounds so much more fun. It's more like intricate and more like involved. Yeah. Yeah. Yeah. Wow. It's interesting to know that, like, even at the highest level within hip hop, right? It is still very much like play the beat.

Yeah. And like, I'll decide if I want to rap to it exactly as it's kind of. I mean I'm not saying there's not production decisions made, post production, mixing decisions, etc. But there is a lot less, probably than to your point, like building out like an RB record or like even a pop record. Did y'all see the post recently? Academics went viral for saying he was talking about ATL Jacob. He was like, We don't we don't want a producer that's yapping in the studio. Why are you talking in the session? He said you shouldn't have a personality. Yeah, I that was probably like one of the top 10 dumbest shit I've ever heard in my life. Literally, like, shout out to Big Act, as he calls himself, but like that was a wild take. Right. he said no personality and shouldn't say anything. Is he thinking of engineers? Like, I don't know. I don't know what the fuck he was talking about. I don't even know. Like, why would ATL Jacob not be able to say something or have a personality? You're insane. Yeah, I don't get it. I I don't know. He basically said that Southside or uh yeah, Southside's the only one that's allowed, apparently. That's like saying podcasters shouldn't have a personality.

No, we shouldn't. We were having a conversation about this right before you got here. Yeah. no, that's that's wild. So, you know, you've been called, I don't know if it's you know, something that you really like strive for, but like the king of modern RB has been something that you know you're you're you know, you're claiming that title. What do you think you've you've brought to the genre specifically? I think like uh change of tempo. I think I tried to do like more like up tempo RB, especially with like Chris Brown and stuff, but then sometimes I don't like that title because I want to be genreless. I don't want to be known as like the king of RB. I kind of rather just be like one of the best producers of all time, like a Pharrell or a Timbaland or you know, stuff like that. Yeah. No, it's wild, but like how do you think that? Like, I I guess where do you see the trajectory of RB going? Any like forecasting into the future? Like, what are we, you know, where do you think it's headed? I think it's actually like a resurgence right now.

I just seen on uh tanks podcast. R&B Money. Yeah, so good. God, love tank. What a fucking character, dude. He's a he's a goat, man. If podcasters can't have personalities, then he's doing it wrong. Tank is saying, fuck you, Act, because he don't care about shit. Yeah, but no, he was basically saying like it's a resurgence. Like you have like all these new RB cats, especially like women, like with the money long having such a huge song with like made for me, and just like I feel like it's like a really good space for RB because I think it was kind of like on a decline. And I feel like it's kind of like coming back up. Someone posted something recently about like how sexual and vulgar modern RB has become versus like they they basically likened it to like old school RB, like SWV or S what, what's the like old school RB? Yeah, okay, exactly. Yeah, so SWV, like apparently their music was like more like a strip tease, whereas like modern RB is more like They got their pussies out. Yeah, like full.

I don't know. Do you think that that's do you agree with that? Back in the day they had songs like pony, like ride it like a pony, like it's the same shit. I was kind of listening to it to that take, and I was kind of like, I don't, I don't know enough to be able to do that. They were more metaphorical back then, and now it's just kind of in your face. That's what they were claiming, and versus now it's like we're having sex, and like this is the position. That's the point of it. That is the point of RB. Not the point of it, but you know what I'm saying, it's rhythm and blues. You're supposed to be, you know what I'm saying, talking, talking to your lady. Yeah, for sure, for sure. So, you know, you you've been in the game for over a decade now, right? Or like coming up just on a decade, essentially. I've been making beats for 15 years. Okay, wow. So making beats for 15 years, I would say like 30, that's half your life. I'm 30, yeah. Yeah, wow. My birthday's this month. I'm about to be 31. Oh shit. Okay, there you go. So, you know, what do you think's allowed you to stay relevant for so long? Because I feel like whether you're an, you know, artist or a producer, like shit, a decade worth of success is a long time, right? Like, this game is very like you're hot one day, you're fucking gone the next, right?

So, like, is there anything you point to that you think has really allowed you to stay stay relevant? Yeah, I would say it's probably like 70% being like a good person and doing good business. Wow. Major. Say it again. Say it again. Yeah, a lot of people make good beats, but some people are assholes. Yeah, I feel like there's a lot of people that can make beats. Like, you know, what I'm saying it's like a lot about like networking and being a good person, doing good business and keeping your name good. What does that look like though for people like in practice, right? So, like, we all understand like kindness and human, you know, being a human, but like any examples that you can kind of point to of just like a way that you've moved in the past that like speaks to what you're talking about? Because I feel like sometimes we get caught, like we like hear something, and it's like, oh, that sounds cool, but then like our audience doesn't really necessarily know how to like it sound it just sounds like a white lady's bumper sticker right now. Jesus.

Okay, respectfully, but like, is there anything you can kind of point to that's like a little like example of that? I would say just doing fair splits, good business. Like I would never make a beat with like a random loop maker and be like, I'm gonna take 49%, you get one because I got it placed. Like, you know what I'm saying? It's just about just being nice and like helping out others. Wow, you just opened up a whole can of worms, bro. There's so much division, I feel like within the me from like an outsider looking in. There's so much division around that topic within the producer community. With loop makers. With loop makers. I do feel like getting a beat placed warrants some percentage. Do you? Of course, but I don't, I wouldn't want to do them like, oh, you only get two percent, you know what I'm saying? I would still want to give them something as well. Okay. But I do feel like a lot of times these loop makers do live in like another country and just send me a loop and then I make a full beat to it, get it placed, and then they're like, you know what I'm saying? Sometimes they might be like, oh, like why?

Why is it even? I I made all the music. Why is it, you know, what I'm saying? or if like, let's say that I do something like give 5% to the engineer, I take 25 and they get 20. They might be like, oh, like, why, why am I getting less than you? I made the music. It's like, because I got it placed. Oh, I'm sorry, you go call Chris Brown. It's like it should be obvious. Trust me, in my mind, like it's just straight up finders fee, like placement fee. I mean, I think it sounds so obvious. Just like everything else in life. Literally anything in business. Like, if you're the one that actually turns the thing into something real, you're typically 9.9 times out of 10, yeah, gonna deserve a higher percentage of whatever the thing becomes. But to his point, some people try to also take advantage of that. Like I made it happen, so I get a massive share. So do you have those conversations of Like, how do you deal with it? Do you have those conversations up front, or is it I'm pretty much uh even all around the board?

Like, I pretty much do even splits pretty much every time. Wow. I don't really try to like, you know, be too, you know what I'm saying? I'm not really hurting for the money, so I don't really like try to like take from somebody who I know is going to come up. These a lot of these kids are young and you know what I'm saying, like I know they're excited and just trying to get keep they're trying to keep getting placements, so I don't want to like, you know, try to take more money. Bro, Parker for president. I'm I'm voting. He's got my vote. I'm for the sheriff. Governor. What's up? bro, Parker for governor. You got my vote. It's on the way, dude. Dude, because honestly, man, there's a lot of very established, successful producers at your level that don't, I don't feel like have that same approach. Like they're pretty like heated about it. Like, and they're very, yeah, it's it's very like tight, like aggressive about it, you know what I mean? And to your point, a lot of the best loot makers in the game are overseas. Yeah, like they really are. And so I don't know if it feels easier to take advantage of someone when they're a passport away, you know what I mean? But it it does seem like that happens a lot because they just sit in their room all day and fucking Switzerlandians can play guitar all day.

Yeah, and they're amazing, yeah. So they're super talented. So it's like, you know, what I'm saying they just send them over. And then I will say, like, to like Southside's point, I saw on like the producer culture page and stuff. Yeah, I do think him adding to the beat and getting it to future warrants maybe more percentage. What if he adds like one hi-hat roll? Yeah, I don't think it matters. How are you gonna call who call future then? You right yourself, right? Dude, that's the thing, man. I almost think if you just send me a beat, if you sent me a finished beat, it's like an A&R fee, yeah, and I get it placed, and I will add a goddamn thing because I don't even know how to do that. Like, I'm, I'm getting, you weren't, yeah. I'm getting a high percentage, like it's it's nothing without that. Yeah, because to your point, you could put feature in your bio now. Yeah, you're welcome. Yeah, yeah. I mean, it's gonna change your life either way, right? Yeah, no, it's facts, man. What what do you think is like the most common reason that you know producers fall off? Once again, seeing yourself be successful for you know a decade plus at this point.

Is there something you point to of like, man, a lot of them fell off because of this? I would say sticking to one sound and only trying to work with like one artist, like you know how like an artist, like somebody will come in with an artist and be producing for them, and then that artist falls off. Yeah, you fall off with them. you fall off with them, yeah. So, like I always try to like I'm gonna spread my wings type of guy. Like, I'm trying to like work with everybody, like I'm not trying to just sit around nobody, like you know what I'm saying. Like, I love everybody I work with though, though, but I want to keep like you know, just moving around. I want to work with younger artists, new artists. You can't just try to just stick around one artist, unless you're like a Mike Dean that's working with a Kanye, you know, what I'm saying that like if you're working with like just like one of these huge artists, like he's also doing synth solos for Travis Scott, yeah, doing some other things here and there. He's kind of like one of those people that doesn't really have to like, he doesn't have to give a fuck about nobody else. Yeah, it's so interesting though, because it's like I think um coming into the game, if you are able to, at least what we've heard, right? If you are able to kind of come up with an artist as a producer, that is like the best way to kind of really stamp yourself in the industry.

So it's almost this like double-edged sword, right? Of like you should do that to like be like, hey, I'm the producer that was responsible for building up X artist's career, but then to your point, you almost need to like quickly diversify almost after that, though, right? Because I mean, do you think that's a good strategy? It can be like I saw uh I was watching some podcast and Pooh Bear was on there, and he was saying that like when he started working with Justin Bieber, he started getting 200,000 a song to write for other artists. Oh wow. So I feel like you still, even when you're working when you're Justin Bieber's main producer and songwriter, I think you still have to write for other people and you know for that type of band. Do the other thing, yeah. Yeah, and shit. I mean, if if Bieber's main producer is, you know, yeah, looking at you know, looking left, looking right, taking opportunities, then shit. Why why can't you? No, for sure. How much easier do you think it is for, or do you think it's easier for producers to have long careers versus artists? Um, I think it's might be easier for a producer because we don't really have to like have our face in cameras and like we don't really have to like go through a whole bunch of drama and like stuff like that.

Like we're artists, they gotta they have to like stay cool to the public, you know what I'm saying? Like we kind of can just sit at home and make beats, like and watch TV. I do want to tell you that this camera is on your face right now. Oh just so you know. No, I looked at it once. No, he just means you're on camera. Yeah, you are on camera. No, but I think that you're you know, you're taking a different pro approach than a lot of producers take. Because to your point, there are there's plenty of producers whose name I know, I have no fucking idea what they look like. Yeah, not I couldn't pick them out of the lineup at all. But it's like I think it's harder for an artist to recover after a fall off. I think a producer can, you know, more easily pick up, you know, find a couple new artists that they work with, create a new sound even. They can reinvent themselves way easier than an artist, I think can like, oh well now I'm making this kind of music. It's like I don't care. Yeah, it fell off. Yeah, someone talked about like producers almost have like nine lives, like that. type shit. I can't remember, but like, I thought that was pretty good. I could take off a year and just come back and start making beats again. And like, you know, what I'm saying, like as an artist, can't do that.

Can you stop beating people's faces? They'll forget who you are. Right. Yeah, fuck man. True. Yeah, no, it's um it's tough. So I want to talk about like those early QC days, bro. Cause I feel like even hearing from uh, you know, your friend Steve O, who's uh one more time podcast alumni about some of those like early days, I think you know, people look at you and might think like, oh, you know, this dude's been successful, like came in just like immediately overnight success, right? But like overnight success literally is 10 years in the making type shit. You know what I mean? So just where you know, where were you at mentally, like financially? Like just talk to us about some of those like early days that you remember that maybe like keep you going today, even you know. So uh mentally, I was probably in a bad space. I had just dropped out of college. I worked at um like every store in fucking Linux. Uh worked at and you dropped out to pursue music? Yeah, I dropped out like uh my sophomore year. I went to Georgia State, and then one day I just like just walked out the like I was about to walk in, and then I was just like, nope, fuck this shit.

That's out of a TV show or a movie. Yeah, no, I wish it was fucking recorded because OG Mako got signed to QC, and I was like, man, fuck this. I'm about to just make beats. Cause I was like, man, just sitting in this damn class, falling asleep and shit. Like, that shit was too boring for me. Yeah. Yeah, because I was like a graphic design major. So I was taking like art one, like computer one. Like, it was just like dumb shit. But did you have this like crazy belief, like, oh yeah, like I'm gonna be, you know, I'm gonna be successful as fuck, like I'm gonna make it, yeah. Yeah, I believe in myself. I just knew, you know what I'm saying, like it's hard to do. So yeah, I was a little nervous. My parents wasn't fucking with it at all. No way, right? They made me get a job, yes. I I worked at the mall and then I used to like the middle of the mall, like jewelry stores. Oh, where'd you work? I worked at Macy's Forever 21. Journeys, Guess. Foot Locker, you put the jersey, the ref jersey on. I work over here, Fitch, Just stupid shit.

Like, oh, you were an Abercrombie dude? Yeah. Oh shit. Yeah, that shit was terrible. Did you just go home like reeking like their cologne? Yeah. Every day. But you could smell that shit from the other side of the mall, bro. Watching little girls just throw shit on the ground and have them pick it up. pick it up. Oh. Damn. That's demeaning, bro. Yeah, bro. It was terrible. That humbled you real quick. You were like, I'm not him. Like, I know Mako just got signed, but like, I'm not him. I'm picking up these fucking clothes. Yeah. Damn. So yeah, I mean, like, what were you doing then? Like, how were you pursuing music, right? So you're working the job at the mall. Like, what was your music regimen like at that point? So I would like to get off, and then I was taking the uh train. I rode the MARTA to work every day. Wow. And then my mom would come get me, and then I would just go home and like play some COD and make some beats until like six in the morning and wake up and then go back to work. Wow. So you weren't even going to like sessions at that point? Like, how did you enter the QC like world?

Yeah, so once he got signed, I was like, okay, I'm taking this as a sign is that I'm gonna be able to come to QC and stuff. So it took a couple weeks to kind of get there. So then Mako was like, I used to be with my homie Dico. We made walking like I talk in the slippery together. Yeah. Shout out to my brother Dico. Is he still producing? Dico. Yeah. He makes all types. He makes a whole bunch of like EDM music. Really? Yeah, he has a uh character named Yami, and she does like robotic EDM stuff. Like, it's crazy. I gotta tap in. Okay. I have a I have a question. What's Dico up to? I gotta cross that off my list now. Okay, sorry. Yeah, I was like, I remember we were talking. Sorry, I didn't mean to. He's going crazy. he's going crazy. Y'all gotta tap in. Like, yeah, he had he just dropped a video, got 18 million views. Whoa. Damn. Yeah. In the EDM space? Yeah, but it's a virtual character, so it's like uh kind of like virtual artists, bro. We were just talking about that. Shout out to our our team member Asha, she's doing a whole thing about like virtual and like real artists in the difference. It's going crazy. He just he just performed at uh Tabernacle.

He being the character. No, he put up a long uh like not green screen, like a see-through screen, and then he bought this crazy ass projector, and he projects the virtual artist and the virtual artist performs for a crowd. Is it like lip synced up? You gotta see. it. I got to see it. We're definitely getting Dico on the podcast to talk about this. This is blowing my mind right now. I can't believe y'all heard of it. It's going crazy. It went viral on TikTok and stuff. Oh shit. Yeah. Okay, okay. So all right, so back to OG Parker, but that sounds very interesting. And oh yeah, slippery, like top three Migos song of all time for me. Like, by the way, thank you for making that. Seriously. No, seriously. Thank you. Thank you. Um, but yeah, so like you know, a few weeks in Mako's feeling a little more comfortable around QC. Y'all start going around. Yeah, so me and Dico started pulling up like every day, and we were staying like three, four days at a time. Just sleeping there? Yeah, we were just sleeping there. Wow, like, and we was just Quavo would come, we would play him some beats.

He was getting on stuff, skipping a flip over. It's a kid. Flip over. Yeah, they had some other artists that like people don't even really know about Sun Ye and Jair Woods, and just like some like older cats that like they signed uh rest in peace, young greatness. Like, you know, so we were just giving beats to everybody, and it was just like just slowly building, and then one day uh P and Coach K was just like, oh, we want to sign y'all. Yeah. They saw they saw the work ethic, I feel like. Yeah, but so but so I think this is this is key. Like early on, I mean, were you just giving away free beats? Yeah, yeah. It was just free beats. Well, yeah, I was in a um, I was in a group, it was a rapper and a singer, and I was the pro producer. We were trying to be the first like rapper, singer, producer group, and I was signed to 88 Fingers in like 2012, 2013. Okay. So then when I got out of that management contract, I got into a production team with my homie Dre and Golden Child called the Dream Team. Okay. And then we they stayed at Georgia State. I dropped out, so I was like, I'm gonna just go do my own thing.

And then that's kind of like when I like link with Mako and them. But yeah, that's where the OG comes from. Yeah, yeah, from Mako. Because my name was unfortunately it was Pretty Boy Parker. I know I think Pretty Boy Parker. I saw that and I wanted to bring it up. I'm glad you did instead. Because I was like, damn, I don't know if he wants to even I would have been broke if I kept that name. Yeah, I mean he wanted to be the RB singer himself. I was like, bro, it could come. Maybe maybe, you know, there's always a chance for a rebrand. We could go back to pretty did it. We need to go back to back to Pretty Boy Parker. No. No. No. No. No. I'm just saying back to Pretty Boy Parker. No, no, no, no, no. I'm just saying. We'll Keep OG. Okay, okay. Keep it OG. Um, but yeah, I mean, just like free beats has gotta be like if you were a new producer right now and you had the chance to get beats, you know. I I don't know. I just feel like producers that are new sometimes they're like coming in thinking that they deserve these like fat advances. No, even small ones. It's like give me a hundred bucks. It's like, is that gonna change your life? Yeah, like how would you recommend someone move? Like if they're a new producer and they might have the chance to like get beats out to you know, more established artists.

Like, how should they be moving? I would probably say uh if you believe in the artists, I would give them the beat for free because it can grow into something crazy, you know. There's a lot of people that kind of grew with people, and it changed their life. Like, I'm sure Riot wasn't charging Ice Spice for beats. And now, look, now they're well, I think they were dating. Were they dating? I don't know what they're doing. Where did you get that? I'm pretty sure that's a thing. Am I tripping? I think that's a good thing. Bro, someone fact check if Riot was dating Ice Spice. Because that was a wild, bold claim. The internet's a crazy place, my friend. So what do you miss most about those early days? Anything? Uh I'd probably just say like the hunger and the grind, you know what I'm saying? Like when you're trying to get to it, it's like a little bit different than to like, you know, what I'm saying I'm probably like a little lazier now. What, What does motivate you now? There's just a lot of goals I still want to hit. And I still want to like win producer of the year at the Grammys, I want to, you know, make more platinum songs. And there's just a lot of stuff I still want to do in music.

And I want to grow my label. And and so what were the goals early on? Was it just like I want to just make a living off of music? Was that like how it was earlier? No, I really to be honest, like just seeing P and Coach K, I always wanted to uh start my own label. Wow. Okay, so 10 years ago that was the goal. Yeah, yeah, for sure. I always knew like I just seen them grow in QC, and I was like, oh yeah, this is what I want to do for sure. Like, and I just love to see like Yo Gotti and CMG and you know the independent the TDE's and just there's a lot of people that are like really just going crazy. So shout out to Neutral Records on the on the chain. When when did you officially start that? So it's crazy. Like I've been doing that since like 2013, 2014, but I would probably say like when it really got going was probably like a couple years ago. Okay. And then like actually signing and building it out and taking it serious outside of yourself. Because like LS you were exactly like you were neutral records, but it's like kind of treating it more like the business that you want to build. Yeah.

Dang. So is that I mean that's pretty cool to check, at least like starting it. I know you want to, you know, obviously you want to grow it, but like being able to check that off the off the list is that's gotta feel good. Yeah, I mean, that's really like all I care about right now, to be honest. I'm really more focused on like growing like the producers and the artists I have signed than to like my career, like you know what I'm saying. I'm trying to like just keep it growing. I seen I learned a lot from P and Coach K and how they were selfless and like really tried to help artists and like they did a lot for a lot of people, and I want to kind of like you know follow in the footsteps. It's interesting, man. Like you're saying so much that's just around like human to human like decency, you know what I mean? It's like you mentioned coach and and uh P who obviously like have so many like things that they've done in music that you could probably be like, oh yeah, he made this play and signed this deal and did that, and you're like, no, just the way they helped artists, you know, like just they were just genuinely helping people, like I want to get rich too, though. Oh, I mean that's what I'm talking about.

Come on. There it is. Damn, we gotta clip We got a clip. So, so looking looking at like you know, you're a couple years in taking it seriously, right? With the you know, labeling and publishing company, right? What's something that you have learned like firsthand that you now are like, oh shit, like that's what those that's what those labels were talking to. You know what I mean? Because you were on kind of the other side of the coin always, like dealing with the labels and dealing with the publishing company. So what you know, what have you learned now being on the flip flop on the other side? Is there something you like or like Oh fuck. Like the executive side. Yeah, um, it's a lot more work than I thought it was. I got my boy Steffi F baby. He helps out a lot in the building. Yes. But yeah, it's uh it's a lot. What would you say you're most focused on? You know what I mean? Like, what's what keeps you most busy when it comes to trying to like build out the the label side? I would say just trying to grow all the producers in the label and um probably just trying to like grow the brand, you know, what I'm saying you gotta you gotta get your brand out there, you know, what I'm saying like QC, like they were like spending thousands of dollars like putting posters on trees and posters on the wall, you know what I'm saying? Like you gotta do a lot to like really like he had his artist yelling, QC the label on the songs, like it takes a lot to like you know grow it up.

Yeah, they have a street team, like actually in the field. Yeah, it's so interesting because like part of me is like, eh, like, why do we care what label someone is? But then part of me is like, well, but then you build this like brand, and then almost anything that you are attaching to it, yeah, has a way better chance to like grow legs and and go, you know what I mean? It's the storyline, it's part, it's all part of this story, that's this world that you're building, you know, and the label's a big part of that. It's like Vince McMahon becoming a part of you know, being a character in the WWE, like, yeah, he's the executive, he's part of this, but he's also a character in the world of the thing, and that's why he's huge. Yeah. So how do you stay like creative in these days, right? Because I feel like, yeah, sleeping on the couch, you know, and just like doing it out of like damn near necessity and you know, survival mode. That like triggers such a different, I mean, at least in my mind, I would think it would trigger like a certain level of creativity, right? Like, how do you today, you know, you've got a lot more comfortable lifestyle probably than you did 10 years ago.

How are you finding yourself able to, you know, kind of stay creative? I've been trying to like take some breaks. Like, I haven't made beats in a like like maybe like two, three weeks for them. Wow. Like, I've been trying to take like little like entry breaks and then like, you know, get back to cooking with the gang and like, you know, I feel like you just gotta kind of get excited about something. Like, I've been working with Young Blue a lot, so like I've been kind of excited about kind of like making a cohesive sound for his album. Like, I think it's all about just keeping yourself like in love with it. Yeah, what are those conversations look like, right? Because I think you know, our producer and artist community could probably benefit that, right? Or benefit from understanding like how are you and Young Blue going about creating this, you know, quote unquote cohesive sound, right? Like, what do some of those interactions sound like or look like? I mean, he'll tell me, like, oh yeah, I want you to redo this or do the drums like this, or like stuff like that. Like, we were just in Miami, and we just like redid songs and like added stuff, and I feel like it's kind of just about being honest with each other and just being like, Oh, I don't like this, change this. I hope you guys are enjoying the conversation.

I want to take a quick moment to tell you about our pals at DistroKid. You can't get your music onto streaming platforms without a distributor, and DistroKid is an excellent choice to handle that for you. For the ridiculously low price of $23, you can upload unlimited music for an entire year that is less than $2 a month. I tripped on $2 walking down the street earlier. They have countless features to help you out on your musical journey. One of my favorites is splits. Instead of my collaborators hitting me up all the time saying, Where's my money? I can input everyone's percentage when I upload the music, and DistroKid will handle it. I've personally used DistroKid for many years and can genuinely recommend them as a great tool to get your music out into the world. And if you sign up at omtdistro.com, you'll get 30% off an already insanely low price. This is absolute peanuts for unlimited uploads yearly. We wish you the best with your creating. Let's get back to it. So the DDG collab project. Yes. So like if a producer or an artist are considering doing a collab project, right? With with another creative, what's the like selling point?

Like, why should they do that? Also go stream Die for Respect. For sure. D4R2 on the way. Oh, for real. Is that exclusive? Has this been announced yet? Nah. Well, we talked about it on Twitter, but it's a one more time exclusive. Let's go. Come on. We talked about it on Twitter. Fuck. Okay. Fine, man. Jesus. I just got excited. But yeah, like, you know, why should an artist and producer consider doing a collab project? Like what, what benefits are there? I think just a cohesive sound. Like, you know, everybody loves this future metro project. Yep. Both of them. You know what I'm saying? I think like when you just locked in with one producer, you can just, you know, just keep the sound going. Yeah. Yeah. Is there any like downside to it that you've, you know what I mean? Like anything that's like harder about the collab project than there is, like, if you're just a producer on a project, maybe give a few, you know, a three-piece or something on it. No, I prefer to do somebody's whole album for you. You want to do it. Yeah. It might take longer does it take longer? Okay. See?

He is a businessman. Does it take longer to make? It depends how many beats you got. Oh, if you have all of them on the D4R already, right? Yeah. Yeah. Cause like, you know what I'm saying? Like, no, he means like how many you got in the vault, right? Oh. Well, it depends. We make a lot of songs. Like, so me and DDG, we've been working on it. We done went to Miami twice, worked on it in Atlanta. And you know, it's just taking time. Like, we got some good features on there, and we're just trying to like make sure that it's a good album. So on that note, say if if you want to make a 10 song album with an artist, how many songs would you want to make before you start whittling it down? We're probably like 40, 50 songs in, and we only have five on the album. Wow. It's like 10% of what you're making is actually keeping. Exactly. Yeah. You gotta be special, you know. Yeah. And so you already know that, that those 45 or whatever aren't gonna be. Yeah, it's like those are, they have like a list. Yeah, and those those didn't make they're they already got cut. Yeah, yeah, for sure.

Okay, wow. Interesting. So you're cutting things along the way versus like waiting until you have fit, you know what I mean? Like, yeah, so you're just not stopping. It's like I mean, like, I'm sure when we like finalize it, we'll go on this back to everything. Yeah, but like as of right now, we know these hard five are on here. Mm hmm. Yeah. It's interesting though. Have you ever had a song that you like really didn't like personally, that then ended up like going, you know, like multi-platinum, and it's like you don't even like the song. Or a beat you didn't like. And like you don't have to say the song, but just in general, has that happened? Probably. There's probably been some songs that I ain't like like that that went up that I didn't expect to. Yeah, I feel like I've heard that so many times from producers, just on the yeah, to your point, like the beat side of things. It's like yeah, it'll be that one that they wanted to delete, and like somehow an artist fucked with it, turned it into a hit, and they're like, Well, what the fuck do I know? Exactly.

I don't like the beat, but they make a good song on it. Yeah, yeah, yeah. Because they hear it a different way, they just perceive it differently, and they can create something that you didn't expect out of it. And it's just so that's so beautiful to me. I don't know. Yeah. So, how did the DDG original project like come to be? Like, did you were you like a fan of his or he is a fan of yours? Hit you up? Like, how did that even come about? So my manager uh knew his manager, so she hit me up and she was like, yo, you should uh come to the studio tomorrow with DDG. He's working on a project. So Did you have any idea who he was? No, I didn't. I don't, I wasn't like tapped into the YouTube space yet. So I looked him up and I was like, okay, cool. Cause he already had a couple songs out. So I pulled up and we made a song. And then I was like, Well, should I come back tomorrow? And then we made another song. And then we kind of just like stayed in contact. And then one day I was just like, man, let's just do a whole album. Mm-hmm. So, like, is is YouTube rapper like a thing? Like, is that like a term? I don't know.

How do you feel about that term? I guess. Who else raps from YouTube? There's YouTube rappers. There's some, there's some out there, bro. Who? Come on, bro. Tom Mc Tom McDonald. What? Is he one? I don't know. I don't think so. Yeah, no, he is. Okay. Yeah, for sure. So maybe there's not as many as we think. It feels condescending almost like TikTok rapper, right? It's it feels like you're being boxed in, kind of. But if that is your platform where you're dominating. Well, I think a lot of people blowing up off TikTok now, though. Yeah. Like that's kind of the way to blow up. Yeah, versus maybe, I don't know, maybe YouTube wasn't actually. Like, who were some of the ones? Come on, like Clip was trying to. Yeah, no, I made a song with Clip, he called all of them out. So just go listen to another YouTube cypher. No Clip Monstars. He lists all of them, give us a stream. You're supposed to know these guys. It's been many years, Ben. I was trying to distract the audience and take it another way. Oh my God. God.

But yeah, no, I just feel like you know, YouTube rapper was kind of like the term of the like old days, and then TikTok rapper became a thing. You know what I mean? I don't know. I just hate that shit. Yeah. I hate it's like they either like the songs or they don't, right? Like, there's not, there's no amount. If it was as simple as just pay every TikToker to react to whatever artist's song, then every major label would just have this TikTok budget, and they would be guaranteed for every song to work. I mean, they pay, but that doesn't mean the song's gonna blow up. Exactly. Right, yeah, you can't control that. Do you remember like the last song that you discovered from just it being like pounded into your brain on social media? Was there one that like comes to mind? Sabrina Carpenter Espresso. So good though. She's fire. She's so good. It's a smash, bro. Yeah, everybody loves that song. Yeah. It's a great metaphor. Yeah, well, I mean, and uh what's the other one?

Please? Something like that. Okay, well, y'all, you come on. Sabrina, we'd love to have you on the podcast if you happen to be watching this. We would huge fans. We're in uh we're outside of Atlanta, Georgia. Talk to you soon. Um, so obviously the moments EP is out, and I know you're working on a full-length album as well, right? Yes, sir. So, you know, it takes like a special producer to do the whole like producer as an artist, like release type of thing. Like, why why did you do that? I always wanted to do that, you know what I'm saying? Seeing people like DJ Mustard do it and seeing Pharrell drop his own albums and stuff. Like, I always knew it was in the plans. It was just it's the process to like get all the artist clearances and get everything, you know. The different labels have to clear everything, it's a lot trying to get a music video done and trying to get everybody on the same schedule. So it just took some time. What's been the biggest lesson learned from like the whole process of just like releasing this EP? It's hard to like get your uh just like branding stuff, like getting stuff out, you know, what I'm saying, like you gotta really like uh post every day and like really try to like make content, like you know, what I'm saying, that's something me and Steph, I've been trying to like focus on is like building the content around the songs and like building interest from like your consumers.

Yeah, well, welcome to the game, my friend. It's like man, I think every producer, like maybe if you don't want to do it as like a long-term strategy or whatever, but I do think it's important to kind of understand what all it takes to like make a song go, you know what I mean? Because it's really easy to sit from the sidelines, I feel like as a producer, and even just as like a spectator like me, where it's like, oh, like, why aren't you doing this, that, and the third to like promote the song? And it's like, because it's fucking hard, you know what I mean? Manager every day. Why you ain't post this? Why you ain't, why you ain't put the tag at the bottom? Why you ain't, it's like always something. I'm like, you know, it's hard. It's a lot to deal with, right? It's a lot, yeah. So as far as like the creative process though, were these like old songs, new songs, the mixture. Like, how did the songs kind of all come to be? And like what made you pick, you know, this grouping of songs. A lot of them are older, like because like this was supposed to come out like a year and a half ago. Why didn't it? Just trying to get all these clearances and doing all the business and stuff.

So they just move slow, huh? Yeah, so it was a lot of these songs are older, like no fuss was supposed to be on uh parties album Party Mobile. Party Mobile? Yeah, that's that old. Yeah, so it's like it's a process for sure. Yeah, damn. How did you and party first link? Um, I feel like that's one of your strongest. I mean, at least from yeah, for sure. Yeah, it's gotta be one of your strongest collaborators for sure. Yeah, that's my that's my brother. Yeah. So I met him through my homie G Rai. So he uh he's uh he's been cool with a party since he was like 16 years old. Okay, yeah, so they've known each other a long time. And uh I we got cool and we started cooking up, and then he was like, Shit, I'm going to party next Door House. Pull up with me. And I pulled up and we just been cool ever since. Yeah, yeah, but like, okay, you pull up to his, you know, I can maybe meet party one time and then you know, he played some OG Parker beats. I know. It was over with. But party got a lot of good beats from a lot of people, I'm sure, at the time. So, like, what, you know what I mean?

How does that? I'm just very curious as to like how that relationships develop, you know, develops, right? So you go with your homie, you go. Do you play beats for him that first night? No, no, no, no. It was a party. Oh, it was a party. It was a party next door. It was a party at party next door. Oh, okay. Real on the fucking nose. Okay. Literally. Okay, so it was a party. It was a party, and it was just cool. We just chill, vibed out. And then um, I got his like number and his email and stuff. And then I just started sending him stuff. And then he was like, Oh, this beats hard. This beats hard. And then, like, you know, we just kept making how how often did you send? I send beats pretty much every week. Every week. How many? Yeah, what's a good pack? Size. That's like pause. Five, like five or nine. God damn it. A little bit of a roundabout Paul. He reached on that one a little bit. No, he was there. All right. It was legit. All right. No, it was it was legit. Five to nine is a good pack Size. Pause.

Stop. Why? Okay, so you're sending weekly packs. And is he giving you like, you know, are you starting to understand like what he's maybe fucking with most? You know what I mean? Like, are you starting to kind of like get on his same page? Because I mean, you were new to him, obviously. You knew him probably from like the outside looking in, but are you starting to understand, like, okay, yeah, like this is the type of wave he's on? Yeah, I mean, I could, you know, I listen to his music a lot, so I knew the type of vibe he's on. So I just kept sending stuff. Did you ever send him something like left field that he was sending all types of stuff? Yeah. And yeah, yeah, rap stuff, R&B stuff, pop stuff, all types of shit. I feel like every time I finally get in contact with an artist that I've been listening to for a long time, and I finally get the opportunity to send them a pack, I'll be like, what like what are you looking for? And it's always, it's never like what you think they're looking for. A lot of the time. That's why I don't ask. Yeah, you just send. Just like, trust me. This is what you want. Artist will just say some crazy shit. Wait, no, no, this is key. So you so you don't ask. No, not really.

I don't really. I really just say what I think they should get on. Timbaland told me that when he was on the come up, he said he used to come to the studio with five beats and he used to just play them in rotation. Yep. Until they pick one. Because he said, You're in the studio to work with me. I remember that. I've heard that. Like, this is what I was like, you know. This is handpicked for you. Yeah, this is what I made. It's gonna be one of these. Yeah. So when was the first time you tried that? Oh, never. You don't do it? Shit's not gonna work these days. In a different time. Oh my god. Bro, I was hoping he was like, that's all I do now. Every time. I've Been doing that every time for the last 10 years. He said, you don't do it? Nah. He said that's cute. 20 beats out. That's cute, Timbaland, but we're not doing that around here. We're getting we're getting the shit placed here. There was a handful of producers back then. So like it was like get these beats, or you're not gonna have no beats. Right. Nowadays, artists can type in type beat on YouTube and get a beat. They can type in OG Parker type beat.

Yeah, they can AI a beat. They can AI an OG Parker type beat. That's crazy. So I'd rather just keep playing my position for now. Would you sell your production style to an AI company that would make tight beats if you got like maybe a little piece of everyone? Good question. Maybe. I prefer to just make AI make beats with AI and shit. Yeah, but that the that'll be made in about seven seconds. You know what I'm saying? It's kind of crazy. Now you can like get it and then like fuck with it to like your, yeah, you can tweak it. Yeah, you just tweak it. You know what I'm saying? I wouldn't just take an AI beat. I wouldn't want to like, you know, add to it, to replace the snare, maybe. Yeah, exactly. Add a roll. Exactly. It's easy. Replay the chord progression. What's the uh what's the first placement you got with party? I think loyal. Okay. Okay. Yeah, I think loyal featuring Drake. What's your favorite party record that you and him have done? Uh song on uh P4 called Her Old Friends. Okay. Wow, so off the newest. Yeah, off the newest.

Okay. Yeah. Her Old Friends. How'd that one come about? Or like what's the is there is like a story behind that one? That's why it's your favorite. I was just in LA and I called him. I was like, yo, I got a studio at Paramount for 12 hours, pull up and he pulled up, and we just made like two, three songs. Okay. What's what's like what what do you think is so special about him as an artist? Because I feel like he's just a legend at this point and just has built this like crazy unique sound and brand for himself. You know, what do you see in him? Definitely songwriting ability. Yeah. What's his process like? Oh, he just goes in and just freestyles, just does it. Yeah. Does he do like a mumble track first? Find the melodies, or He just be saying it. I don't know. Does he punch in? Sometimes if he needs to, yeah, but most of the time he just goes in and just like, you know, like work for Rihanna, was just like a freestyle. Wow. And he wrote that. Yeah, he wrote work for Rihanna. Wow. Because it's the simple shit, man, that wins. No, but here's what I love, man.

Even me who's like, you know, tangential to the industry, right? It's like I still am so surprised sometimes when I hear, like, even hearing like the records that Leon Thomas has written. Yeah, yeah, he's a legend. So fucking good. Like, yeah, I love him as an artist, and like I didn't even know he was like out here producing fucking smashes, you know what I mean? And like songwriting smashes, and it's just he produced snooze for SZA. Exactly. When I found out that I was like, oh Jesus. This guy's a legend. He's the best. Unanimously voted. Yeah. Yeah. All right. So let's see. Um, how can an artist get your attention? Right? So, like, you are you did say you're trying to work with newer artists, you know, as well as established. Like, how if I'm a I love a snap? He loves being the young, hungry artist in the scenario. I'm the I'm the dopest shit coming up out of Atlanta, right? Like, well, how do I how do I get your attention? Am I just like shooting my shot in the DMs? Like, how, how do you Yeah? I would say definitely DMs are like, you know what I'm saying?

If you see me in person, like ask for my number, send send me a song and stuff like that. Like, I'm I I like to like take a listen, you know what I'm saying? Like, just make sure you send your best shit. Cause like if I hear one song and it's ass, I'm not going over with the rest of it. Yeah. That's pressure, bro. He's very open, but he's also there's a short rope. He's short leash. Yeah. You blocking me if I send the... Nah. I'm not. Okay. I'm just saying, like... Damn. If that first song like if that first song ain't it. Yeah, um, I feel like most not all producers are like that though. Like, some people you gotta just organically get their attention, you know. Like, I don't think you can just walk up to anybody and ask for their number. I think you're more maybe more of a people person. Yeah, or you know, what I'm saying? or send it to my boy Steffi, you know, what I'm saying? right? Contact management. Yeah, if he if he hears something, he likes he'll he'll, you know what I'm saying, put it on my radar. See, that was something I used to hear a lot about. Of like when I was kind of like first, you know, getting into the scene is like hearing, you know, send it to the engineer or the baby mama's cousin of the artist, and like somehow it'll make its way in. Like that still works, though.

I'm just like you never know these days, yeah. You really never know. Could be the dog sitter or some shit. I don't I mean, seriously, the babysitter, somebody. Yeah. Could be something. If you really want it, you know, you'll find a way. Yeah, for sure. Well, Parker, we have entered a final segment of the podcast. Oh, shit. Yes. Let me hit some more buttons. Oh shit. Don't hit all of them. Go easy on them. What about that one? That one's good. I like that one, yes. Parker, this is the rapid fire rampage. It's gonna be a three-part rampage. There's three parts. I'll explain them as we go. Very simple. The first one is just some short answer questions. Let's get into it. Starting with, you can executive produce an album for any artist, alive or dead. Who are we executive producing for? Rialto. Number one. Parker, what are three classic signs? And I have my own answers for these, but I want to hear.

Classic signs of a weak beat. Um, too many sounds. Too long. And not uh laid out right. Two out of three. Two out of three. Damn it, Henry. Instead of too long, I have 808 out of key. Oh yeah, I hate that. That's a classic one. Yeah. Yeah, too many sounds and no arrangement. He does have it. I can attest. I'm feeling we're gonna be a good one. Wow, you really you really made a lot of assumptions about Parker coming into this episode. I'm just gonna say. I feel like we've uh been friends longer than this. I don't know why. Okay, well we go back. He'll he'll let you know about that. Parker, invent a genre. Um hyper pop. With rock. Hyper pop. Hyper rock? Hyper rock? Hyper rock. Hyper rock is actually kind of interesting. Alright.

I was like, hyper pop is a thing. That exists. I thought he was stopping there. No, no, no. My way Nico makes hyper pop. I was like, yeah, there's a this thing. It's called hyper pop. It's pretty cool. Give us your three best just quick tips for producers to make better music. What are three quick things just to automatically level up their music? You gotta pray before you cook up. You gotta um gotta learn how to play some instruments. I think you should learn how to play piano or guitar or something like that. Why? I just think it helps with the music. Like you said, a lot of producers like they'll do like that 808 out of key shit because their ears not like trained. Yeah, just some basic theory. Yeah, exactly. You don't have to be like Ray Charleston or okay, and then number three. Um, I would say cook up all night. Just don't stop, just practice, just get their reps in, right? You know, just like sports, and you got to keep doing it. Stay in the gym, baby. Okay, fire. Um, I'm bringing back an old favorite with this one.

Oh lord. Is a hot dog a sandwich? No. You heard it here first. One more time podcast. We ask the real hard-hitting questions. And people usually ask, do you know the real answer? And the answer is. There is no real answer. Yeah, no, for sure. Your guess is as good as ours. And finally, what is your favorite curse word? Um fuck. Part one. Fuck's a uh crowd favorite. Fan favorite, for sure. It's Definitely. It's up there. I'm more of a shit man, but uh fuck's great. Yeah. Moving on to part two. This is the this or that. I'm gonna give you two choices. You just gotta pick one. Starting with hip hop or RB. RB. Smooth melodies or knocking drums? Knocking drums. Stacks or ad libs. Um ad libs. Snares or claps. Clap.

Guitar piano. Piano. Open hat or perk. Perky. Perk 30? Perk 50. I don't even know if they make those. Third verse or bridge. Um bridge. Key switch or tempo switch. Key switch. Give up FL Studio or give up one toe of your choosing. Give it one toe. Which one? Just for shits and pinky. Left or right. Left. Jesus Christ. And finally, become a full-time RB singer that goes by Pretty Boy Parker or leave the music industry forever. Yeah, R&B singer. Pretty boy Parker is coming back. I told you it's gonna be full circle. We brought him back. Dude. I knew it. I knew we could do it. I want this to happen, bro. Listen, on the way. You got the connections. You can certainly get some good features on the debut project. I might try it.

Gosh. We'll take 5% and publishing, We'll call it a day. Anyway, moving on to part three. This is the final section. How did we just weasel our way into publishing? I'm good. Okay, well. Part three is the word association. I'm gonna say one word, and you just give me the first word that you think of off the top of your head. Here we go. Starting with music. Love. Love. Microphone. Stand. Barbecue. Sandwich. Record deal. Money. Twitter. Handle. Threads. Sucks. Oh God. Big Twitter guy over here. Big X guy. Big X guy. Big X the Plug. Yeah. Okay, I knew you were gonna do that. Saxophone. Reed. Orange. Pill. Georgia State. Classic.

BBL. Bandit. Police. Chase. Emoji. Fire. Lil. Wayne. Neutral. Records. Let's go. This has been OG Parker. One more time podcast. As always, please like, comment, and subscribe. Follow us on Spotify Podcast. Follow us on Apple Podcast. We are here each and every week. Until next time, Henry, what are we doing? Getting out of here. Getting out of here. Peace, y'all.