FKi 1st: Helping Post Malone & Travis Scott Become Superstars

I just want to make the artist's favorite song. That's it. With anything that's going to be amazing, especially in music, it's about five to seven people, and that could be producers, managers. He's the only person on the planet to be like, yo, bro, can we like do this for real? I don't care how old you are. That's the dumbest excuse. That's the original hits. That's where I started from. We're in Atlanta. We always go to the strip club. Put me anywhere as long as it's a laptop and Wi-Fi. We rocking with some speakers. Make that happen, bro. That right there is FKI First. He is a music producer who is responsible for some of your favorite chart-topping hits across hip hop and EDM. And is responsible for helping launch the careers of a couple smaller artists you may have heard of, named Post Malone and Travis Scott. From writing and producing White Iverson for Post to working on multiple tracks on Days Before Rodeo for Travis. This guy has a knack for finding talent and helping them create some of the best work of their lives. As different as those two artists can be, first shared with us a thread that they have in common. And it's a box that you might want to make sure you have checked as well.

Some other things we touched on include the business of the SoundCloud era, of which he had a major influence on, the power of strip club marketing, three signs of a weak song, and his collaboration with EDM artists such as Diplo, Skrillex, Flosstradamus, Borgor, and more. He is truly a unique character, and we are eternally grateful to have sat down with him. I hope you enjoy the episode as much as we did. Let's go ahead and start it. One more time. He said, Do I have to wear them? Would you like me to say yes, you have to wear them? Maybe. Okay, I mean I can do it. Bro, we got FKI first on the podcast. Let's go. I'm not gonna just tell FKI FKI first that it's kind of hard for me to say that for some reason. FKI first like a tongue twister for me. Just settle settle into it. I'm not gonna tell FKI first that he has to wear headphones, bro. Well, I feel like I'm DJing. Yeah, yeah, you do that.

But yo, so 10 years later, days before rodeo finally hit streaming platforms. So let's just give it, let's just, yeah, exactly. I think us and the rest of the world are very excited about that. Um, did you always like think that was gonna happen, or was there part of you that was like, this might not ever make it out to the world, you know, beyond what it did? I'm not gonna lie, like it's always been in the back of my mind because I'm like, man, if this song would have came out, or like can this song still win the Grammy? Can like the or the can the project still be nominated for a Grammy? Like, what's the difference now? Because I'm like, because I feel like this is some of the best music like ever. Like all the songs, not even just George Used to Try and Sloppy Toppy, just like all the songs on that project, such a good project. Yeah, amazing project, bro. So I'm just happy it finally came out. And I feel like you also just come from an era where a lot of the the hits that you worked on was pre-streaming platforms, right? There's a lot of music like that, not even outside of rodeo.

Oh, yeah, nah, no lie. What? Travis Porter? Yeah. I don't know what they've put on streaming. Oh, no, That was live mixtapes. That was even. That was all live mixtapes in that piff. Yeah. Uh-huh. We got a lot of shit. I feel like, that never made it. Do you think those like early kind of 2010s? Is that like was that like a golden era for us? Was that peak, bro? I mean, was that peak music? Because like for me, I hate sounding like an old head, but like it was peak fucking music for me, bro. It was definitely a good time. Like, I started I started in 2011, 2012. Yeah. Oh, what a time to be alive, bro. And yeah, yeah, yeah. It was just, I don't know, it was just, it felt free. Even though I'm sure a signed artist wouldn't have said, wouldn't be saying this right now, but that's a good point. Just all the people I linked with during that whole SoundCloud era, and even before that, from Lil Uzi to shit post. We dropped all our shit on SoundCloud.

Yep. Um try like SoundCloud was everything, bro. It was crazy. Good time. What was the business of SoundCloud? There was no business. They pay, I mean, they pay. They did it, right? No, yeah, not at all. So at the time, like what was actually the real deal as far as how it worked? One of the craziest things with SoundCloud is like, I mean, y'all know about the black box. Yes. Well, yeah, yeah. If you don't claim it. no one does the splits at all for what, three years, then a lot of it is gone. Like all the money is goes to some magical place, which I would need to find out where this magical place is. There's some bullshit. If anyone has directions to the black box, we need them. yeah, we need directions to the black box, bro. Type it in on Google Maps, bro. Yeah, yeah, yeah. Seriously. Hop on a plane tonight. Yeah, man. But but yeah, SoundCloud. So yeah, after those three years, you kind of screwed unless every unless the person did some kind of splits or I don't know. I don't know the exact words for everything, but but for Travis, I'm pretty sure we were good though.

So how were you making how were you making money during that era as a producer? Were you? I was definitely, I mean, I still make free beats. Like, I feel like it's almost in my head, beats are free. And then let me tell you why I'm saying that. though. Yeah, please. I'm saying beats are free because there's a lot of producers watching, like, no, first. I know, right? No, Ask for the advance. Because beats are priceless, though. And I feel like people beats are losing worth. Like, yeah. Cause people put like I feel weird charging. I mean, I would never charge for a beat at this point at $50 for $50 or $100. I mean, I have when I was younger in engineering and getting out there, man. I was just, I know I'm still free beats though then too. But I was still just trying to get them out anywhere I can or anywhere I can engineer. I'm like, shit, let's do it. So every now and then, so after make it rain, bring it back Ayy Ladies from Travis Porter. Bangers. Bangers. Bangers. Like certain artists knew me. You know what I mean?

Like some big artists would like hit me up or somehow we'll get linked with. Say, like at that time, Tiger was lit, like he was going crazy. He had a deal. So, you know, what I mean, just there were there were a couple of artists with deals, even though I'm like in the trenches. I'm working with all, I'm working with every everybody from Rich Homie Quan, Young Thug, shit, Travis, Migos, like everybody. But um, yeah, it's just like I was in the trenches. I wasn't even really worried about the money. I'm just like, man, let's do this shit. And then when I met post, I'm like, oh yeah, yeah, yeah, yeah. I feel like I feel like we got something. And I don't know, I really wasn't thinking about money. I'm not gonna lie. That probably does fuck up a lot, a lot a lot of shit. Cause I definitely see interviews and shit where people are like free, free, free. But I mean, gotta eat. You could no, no, no, you could do it in a quality way though. What is the quality of it? It's not like I was just like a slut, like, ah, here, beats, ah, free beats, everybody. Like, you know what I mean?

It would be people I would lock in with or you know, kind of believed in. You know what I mean? Too. So it wasn't really, I didn't feel like I was wasting time. Like, but I didn't just didn't have a website just giving out beats, though. I'm curious if your experience is similar to mine as a producer engineer myself, especially like early on, the engineering side was much more lucrative. Like, that was something where I mean, obviously, it's up front, you know, and and and everyone's down to pay an hourly rate to get like a quality recording. Oh, yeah. Was that helping out a lot? Like, I always tell producers learn how to engineer. Yes. Because like, even though, of course, the producers should get paid every time, people feel like they have to pay the engineer. You know what I mean? Because he's doing given. Because he's doing it right there as they're rapping so they can see it or you know what I mean? They could feel what's happening compared to a beat already being made. So that's a good point. That's a good way of looking at that. Yeah. Yeah, yeah, yeah. So yeah, engine, I was definitely, I was um, engineering and recording as many people as possible, even horrible people. But recording the horrible horrible people made me fired all day.

Yeah, how so? Yeah, I learned how to make them sound good. man. it's tough. Because like, see, because like, all right, so there's like, I feel like there's like two or three different types of engineers, like and producers. Like, like with me, if I'm engineering your session and working with you, I want to make the best product of all time. Like, I don't care who you are, like I'm here, we doing it. Let me at least try to make it sound good, no matter if you suck or not. Yeah, compared to there's there's other engineers who just like get their check. I'm just here for the money, clock in, record, press R, command three, Command three, whatever. Yeah, like so for me, it was just practice. It was like shoot, it was like practicing jump shots for me. Yeah, yeah. I always try to make them sound as fast as possible. I'm the same way. And to your point, if you can make a shitty artist sound good, Wait till you work with a great artist. Yeah, man, that's awesome. Um, so did they give you like a heads up that days before rodeo was about like how you know what I mean? How did the the lead up to this monumental, like I guess, debut on streaming platforms happen?

Like for someone who's actually associated with the project. Travis, did they like, hey, what's your ASCAP, BMI? There's like some, I feel like almost like I don't know, some months back, some months before, randomly, like out of the blue. And I was like, hell yeah, because I knew people, I knew there was gonna be young ears that's never heard it. at all. For sure. That's the first thing I thought about. It's gonna be a kid. It's like, what the fuck is this? Like, I've never heard anything like this. I knew it would blow them away. So I'm like, yeah, that's fine. I love shit like that. Yeah, this tweet that you posted, someone's gonna hear drugs you should try it for the first time this Friday, and their life is going to change. And I mean, to your point, insert multiple songs on the project, right? Like, obviously, that was one you were associated with, but like you even have shouted out other ones that you think are just as good if not, you know, you probably think are better at times. What's the song Metro did on there? The um Skyfall, That's one of the hardest songs ever come along now.

Like, I still remember the first time I heard that. We're almost lost it. I was in the studio. I'm like, what the fuck is wrong? Do you know how highly regarded drugs you should try it is though? Like we did uh we did I think a Travis Scott song draft. Oh yeah. And I can't remember if we did take or didn't take that one, but the comments were like, yo, drugs you should try it. Like that was a cult favorite. How would you describe that song to someone who's never heard it? I mean, one, I would just be like, bro, you just gotta listen to this shit. Let's say they can't. But to a to a deaf person. It's like a that's a good, that's a better way to Yeah. Yeah. Thanks for the help. I got you. Roll riding a rock riding riding a roller coaster on psychedelics. Yeah. In love. Yeah. Oh. With a lot of emotion. I don't know if that makes sense. An emotion, a psychedelic, emotional roller coaster of love. Of love. Whoa. I gotta hear it. Fire. I gotta hear it now. Yeah, yeah, yeah. That's awesome.

Uh I mean, to his point, was there any business that had to happen before it hit streaming? You know what I mean? Whether it's contracts and paperwork and stuff. Of course, of course. I mean, everyone they handled it like a real Yeah, professionally. A professional, real single. Good. Like I had two. I did sloppy toppy also. Yeah. Just regular business with agreements and everything. But I guess from my lens, right? Like, it's not regular business. The songs have been out for a decade, and you know how good. Like, did you feel like you had more leverage leverage at that point? Because it's like, bro, these are hits. Yeah. The people love them. It's certified. Like that's there's no question, there's no risk, right? To the label. Oh, no, no, yeah, no, definitely. And on that situation, I always tell people don't block your song. Like, don't block your blessing when a song comes out with a with an artist. Like, because you can have leverage on the other side. Like with me and 2 Chainz, we did uh Watch Out Little Bitch. Yes.

Watch Out, little bitch. And we put the um he just dropped it, or it came out on something. I'm like, yeah, go ahead, do your thing. But it turned into a hit. So I'm like, we're good. We're going to have to do the business for it. It's like once a song is getting played everywhere and they're trying to count all the mechanicals and all that shit, you have to do professional business. You have to do it for real. And you can ask for whatever. I get so conflicted on that sometimes. It's like we we tell a lot of artists to, you know, make sure your business is handled, but there's something beautiful about like trusting in the work, believing in the art, and then like when you know, if time comes where something does pop off that where it's inevitable, you have to handle the business. You know, you know. It's kind of another way of looking at it. Yeah, I I just think, and I don't, you know, want to get into necessarily y'all's situations, but I think for the modern musician, right? I just think it's about being realistic and being fair, right? Like if you're you know, if y'all were coming up now, right, a decade later, and you're making songs together, and to your point you're believing in a Travis, a post, a whoever, it's about just being honest with each other and be like, look, bro, we're both not really warranting getting paid right now because we don't have a fucking track record, like a label's not signing you and giving you money, you aren't paying me because I'm no one, right? Like, but we believe in each other.

That that's like the beautiful part that I don't I don't think enough, I just don't think enough people are still acting that way. I think oh yeah, it's oh man. It's just it's weird. The foresight is disappearing. Believing, but actually believing in someone, like, because in I'm not gonna say it's easy, like it's hard work, and it's like is it's a team, it's a team effort, like with any artists or any situation, it's the team effort. I feel like it's always five to seven people with any, like with anything that's going to be amazing, especially in music, it's about five to seven people, and that could be producers, managers, anybody. Yeah, but five to seven people. And if all five to seven people believe in, like, believe in the same goal, like no, like, I don't know about this, or where's my or this, that, this, that. If everybody's on the same page, I promise you that shit will go every time. But the but the puzzle is getting those people together. That's why I want to think the same thing at the same time. Yeah.

How do you manage? Can someone like come around though? Can someone maybe not believe in it, and then we help them like turn a corner, or does that belief have to be like from the jump? I feel like you know it pretty quick. A lot of times it's either you riding or get rolled over, bro. You don't come back later trying to trying to get everything. Sure. No, I mean that's fair. and back to not blocking your blessings shit, for Post and Travis, bro. Like after all these years and checks and all that, that's all the money. That's like in a good way. That's like a lot of my money. I can't believe I wouldn't. I'm just thinking about trying to like blocking that situation. Yeah, like telling Post for White Iverson, like, bro. I'm gonna need 250 bucks, bro. I need to have it, bro. Damn, no money, bro. Bro probably had like three cigarettes left. Yeah, right. Yeah, that's crazy. But I believed in him. I mean, he we just all believed. So by the way, I want to know. Um, I couldn't find like what did you actually do on White Iverson? What was your contribution? Shit, I wrote that shit. Wrote

the lyrics. Yeah, I wrote the shit, and we broke like the whole thing, bro. I'm an engineer. I gotta remember. So a lot of people don't know I'm an engineer and just all the shit, everything like hands on. You nerd? Are you a nerd? You a little bit of a nerd? You nerdy first? I guess so when it comes to music, bro, you got to make that shit sound good, bro. You gotta make sure that shit A1. Yes, but and there is a technical piece to making it sound good. Hell yeah. So Post has his laptop, right? I've been asking for it forever. Because he makes beats too. It has all this bro, it has millions and millions of hard ass beats. I hope he still has this shit. And we just used to cook up on that shit, and that was just the laptop. I wake up, we're in the we at my friend Rex's house, middle of the night. I'm sleep, I wake up, he recording that shit. I'm like, the fuck? What the fuck is this, bro? And just the vibe was there was about three, four of us.

Bro. You know what I mean? Add the sauce in all the, you know what I mean? We had to drip to that. But it's a good group effort. Good collaborative effort. Yeah. I'm not gonna take out, I'm not gonna take it all, but good collaborative effort. We all just went in there and we made an amazing song. Facts. Yeah. Fuck. So when did you meet Post? So I met Post in like 2014, I think, towards the end. Like, um, my friend who was an engineer at the time, JB. He was like, yo, I know this kid that rap, bro. And I'm like, all right. Heard that before, JB. All right. Yeah, yeah, yeah. No cap. Literally. Is that your whole pitch, JB? Heard that 10 times today, JB. What the fuck we doing? So we get in the studio. Never forget, he had like this weird yellow Yankees jersey on. And like, I don't know. Yeah, he had like he had his own little his own little drip to him, you know what I mean?

And we just started working from there. And I don't know, I guess I'm I guess I was um, I don't know. I showed that I like I really like I dig his music, you know what I mean? I dig what he's doing. Brett, fast forward, he asked me, like, yo, just move in to my house, move into well, not his house, the room he's at, and we'll turn it into a studio. Yo. Let's say he's not the postman, he doesn't have a house. Yeah, yeah, yeah. Move into my wing. Yeah, yeah. So, and no one's ever asked me to do that. No one still has ever asked me to do that. Yeah, yeah. That's what people don't understand. Like, so like people are like, Oh, I want to ask you to do stuff, but I don't know. I don't know. You seem like you wouldn't want to do it. This, that, this, that. He's the only person on the planet to be like, yo, bro, can we like do this for real? Like, come like turn this into turn this into a studio and let's make a project. I'm like, all right, shit, fuck it. Wow.

Damn. What was your like what was your impression of him as an artist? As an artist early, like he was always fighting me. Because I told you he makes beats. Like, yeah. He will. I don't even think I knew that about him, honestly. He will, bro. He doesn't have to anymore. On FL, he will kill a lot of the top producers out right now. Wow. Like, we used to have beat uh beat battles. You and him. Like, beat battle, beat battle, beat battle. Beat battle. So we would just say somebody would just say it. And then, like, on that laptop that I'm talking about, either I'll go first or five minutes, he'll go first. And shit. He'll win sometimes, I'll win sometimes. No. Shit. Yo, we need this laptop. Yeah, we need that laptop. We need the laptop post. What's the post. I know you're watching this right now. We need the fucking laptop. I text everything. Because they're just sitting. He doesn't give a fuck. He just, it's just fun to him. That's why I fuck with that's why I fucked with him. You know what I mean? Yeah. Because it's like you just love doing this. Like, you don't even care. Like, you just love doing this. Yeah.

So what about his evolution as an artist, right? Because I think he's a very, he catches a lot of flack for this, right? A lot of people who love to hate on Post Malone think that he came into hip hop, took advantage of the genre, and then moved on to pop, moved on to country, etc. Right? There's a lot of negativity that goes towards him. But that aside, I mean, he's proven to dominate in multiple genres. I mean, the guy's a beast. Like, let's just call it what it is. Did you ever see that coming? Was there like hints of Yeah. Okay. At the same time we were making White Iverson, We were making the craziest folk songs too. No. Like in real deal folk, like real deal folk songs, they sound insane, bro. Like at the same time, we were making White Iverson. And what year was this? Uh 2014 15. So all the fucking haters that think that this guy. Oh yeah, no. He's been doing this. Ben had a whole project. Yeah. Oh man. It's just that's the one that blew up. I'm just happy to know that.

Yeah. Just me, me like to hear that from a trusted source. Yeah. That like, because I don't know, even me, I let it get to me sometimes. Like, oh yeah, this, you know, this guy just came into hip-hop and like took advantage. Appropriation is very like sensitive. Oh, I mean, we we get it. We get it because we talked to a lot of people in hip hop that were white. It's true. So like I can totally like understand. But you know, some people I think it might be true, but it's good to know that it's not. Yeah, it's just Well, no, if I was still like around him every day, and if I was in an interview, bro, no cap, bro. At the time, I mean, I guess, of course, uh, probably me, all his friends was black, bro. Bro, I had like bankroll fresh pulling up. Yes. Oh, wow. he made beats for bankroll fresh before. That's fair. Didn't know that. Yeah, in LA. So obviously, Post and Travis are to this day, like two of the biggest artists in the world, right? Like, just look at the numbers, it's it's facts. Um, what do you think like the similarities are between them, right? For those that want to understand like what superstars, like are there are there some commonalities between those two, for example?

Because they are operating at the highest level, so it's it's interesting to know if you, as someone who's worked closely with both, if there was something that like they both did, or like you know what I mean, that was kind of unique to them. Good question. Um, I feel like I feel like they both have, even though they're they're artists, they have that producer inside of them a little bit too. Oh, it's crazy you said that. Yeah, because you talk most people don't even know, so yeah, because it's crazy how you talked about Travis took drugs you should try it, and almost like oh no, yeah, yeah. He definitely turned it up and took it to the next level. Yeah, and you and a producer could do that, like exactly. Yeah, and that's like that's where I think even like a Billie Eilish, bro. Like, she's borderline, like producing herself. I mean, she is. I think even if you're not in the program doing the things, it's about like hearing and it's having the vision really for the song and knowing what you want and and really like fleshing it out. Even if you have someone press the buttons for you, it's the people that are taking the time to really have a vision for the song as a whole, conceptually, structurally, all the above. Yeah, but is that just natural born, or how can people develop that if they can?

All five artists and producers, like the good ones with taste, studied the greats. Yeah, like you gotta study the grapes, bro. I hate when people don't study the greats, and it's so easy to now. We got YouTube and right Apple Music and Spotify, you could type in whatever, so it's like you ain't got no excuse. I don't care how old you are, like that's the dumbest excuse ever. The kids like saying, like, I just want to be the rawest version of me, you know what I mean? And that's a good I kind of understand it, but like that's a point, but you better be insane. You can't be like it. If you you can say that if you are just like that one, you know what I mean, with everything like a magical mythical creature born on planet Earth. like just an insane artists, you know that they're everybody know that they're fine. like everybody know, like you can say shit like that, but wow. majority should the majority should study the greats, yeah, yeah. Man.

Kind of think so too. I d I do think that's maybe what's missing from some of this like newer generation. And once again, there's exceptions to this like generalization that I'm making, but like I do think that attitude of not like thinking it's corny, thinking it's copying, thinking it's whatever, not cool to study the greats. That is something I hear a lot from artists that are, you know, coming up this day, you know, the in this day. And I do think maybe that's what's attributing to some of this. It's just a classic, like every generation thinks their music was the best. So I think kids get tired of older generations talking about how great shit used to be, you know, and they just want to make their own shit, you know. But back to YouTube and everything, you don't even have to listen to shit that was on the hot 100. You can find some off the wall shit or something that you just you like, like from the past. Like, you know what I mean? And just you just hear an older producer or older artist, I'm like, damn, this is kind of cool. I want to look it up and listen to some of the like random shit that wasn't really really wasn't promoted.

Like, you can go find it anything. deep cuts. Oh man. See, that's that's a fire take on this subject, right? Because I think most people hear, because we've kind of touched on this topic before. Most people hear it of like, hey, go study what was popular through every era of music. It's like, no, go just have it just sound like it would be fun. Like, just me as a music lover, I like to do this. I love to just like search up random fucking like, you know, big band music and folk shit and like old country and you know, old school hip hop, RB, etc., and just find little pockets of like greatness. Because to your point, it's all at your disposal now, bro. You don't have to go spend your hard-earned cash on like this random CD that might have zero songs that you like on it. You know what I mean? Like you're not taking any gamble that you already haven't taken by paying your $7.99, $9.99 a month to whatever, you know, or free to YouTube. 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 fing 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 a quick Wikipedia search will tell you that you refer to yourself as the Black Diplo. And so when I was doing my research, I'm not gonna lie, I I hit the Wikipedia page. I always, you know, take it with a grain of salt.

Sure. And and I was like, there's no way this is true. And then I scroll through his feed and he rest assured, put black diplo in like multiple captions, like, you know, a year plus ago. Yeah. So it's verified, y'all. what do you mean by that? Like, yeah, like for those who have no idea what you're talking about. That's my dog, man. Okay. That's my dog, man. Known Diplo for a minute. Yeah, known him for a minute. I met him at MJQ a long ass time ago. At MJQ, yeah, yeah. He was DJing in there. And me and my partner Rich performed. And um, we had dropped a mixtape and everything. But fast forward, Black Diplo. Right. Where's that come from? So I'm black. Wait, really? Great start. Great start. Yeah, yeah. For those that are just listening to the podcast, if you're on audio. I'll make it. He is indeed black. Confirmed. And I literally just travel the world and make music. And yeah, that's what I do. I travel the world and make music.

But this thing that happens, like when I go into meetings and stuff, like I'm going into meeting trying to explain, like, hey, y'all, this is what's going on, bro. I got the test for y'all. If we taking the test, you just gotta cheat off my test. Just go turn it in. Here's the answers. They be confused. They be like, but you're from Atlanta. Like, this isn't rap. Like, or like, and it is rap. Like, I'm just blending all kind of shit in. But this is like, what? No, you have to do this. I'm like, oh my God, what are y'all talking about? Like, bro, I travel the world and make music, whether it's Tokyo, whether it's Brazil, whether it's UK, whether it's anywhere, bro. The DR. Put me anywhere as long as it's a laptop and Wi-Fi, we rocking some speakers. We can make that shit happen, bro. We can make that shit fucking happen. Now do that shit worldwide. But yeah, so you've had like ties with the EDM space over your years. So you mentioned like what was your connection with Diplo?

He told us to come to MJQ and perform, and we performed the song. Oh don't look at me. Heroes and villains. Yeah, oh Heroes and villains, HXV. There you go. Yeah. You were just talking about it. I was just talking about Heroes and villains. Yeah. Yeah. Jesus Christ. We made it. Yeah. Yeah. He linked us. Yeah. Because we all did the it was uh Heroes and Villains, Mayhem, Diplo, and us, FKI. And we all like made a collaborative project. And we performed one of he told us to pull up and perform one of the songs at MJQ. And that's how we first linked. And then we went to patchwork after that. He showed me all this cool shit, this new uh new cool like shit he was making music with, like VST. I'm like, oh shit, this dude pretty cool, bro. He ain't have to do this. I fuck with it, bro. And then fast forward, I ended up signing to Matt Decent, and that's where I like first started putting out music. Like as an artist or a producer, or what? As an artist, as an artist and producer. Okay.

My own music. Yeah. Yeah, yeah. Cause he because bro was like, bro, you have a lot of fucking music on your computer, bro. Drop that shit. And he gave me outlet to drop it. Wow. And so what have been some of the other like EDM collaborations that you've done over the years? Man, I worked with Borgor, Flosh, Floss. Um, who, oh yeah, right now I'm working with Skrillex, bro. Man, shout out to Sunny, man. Sunny. Sunny and Aisha, bro. My homie, she's from um, she's from Bombay, she's from India. Yeah. And yeah, me and Skrillex, like worked on her whole project. Like, we uh we put that shit together. Did you go to India? No, no, no, no, no. We the plan is to go to India and go to India to shoot videos. Okay. But for right now, no, we were just working at his studio, just putting all the music together, and he's insane. Yeah, tell us about working with him. Like, what what's his creative process like versus yours? And how have you guys kind of met, you know, to create something with this with this artist? Naisha linked us up, and like the first day we started working, like he could just pull up to your computer and turn that shit up.

No if you're on FL, even on MPC or especially if you're in Ableton, though. He would just pull up, he does not need his computer. Yeah. He would just pull up on yours, start moving shit around, turning shit up, putting effects on shit, delays and all that. I'm like, wow. Okay, that's how you work. You are insane. He's a nerd. We're like, we'll start another song. He'll take that. I'll walk in the room a couple minutes later and be like, what the fuck? How do I what the fuck? Like, you know what I mean? Cause like I'll go back trying to help her do something. Like, cause we it's it's kind of like we work together, but it it's kind of split too. Like once we get our like our own ideas, we can go just work on them in our own space, and then we'll come together. But yeah, we'll go back in this room like 20 minutes later and an insane masterpiece. Like that's with the vocals, the beat, the arrangement, everything. I'm like, wow. So what is this music gonna sound like? Is it like trap EDM? Is there some dubstep in it?

Is it hip hop? Like, what is this about to be? You know, is it all that? I know you're a big blender kind of guy. Definitely a big blender. Skrillex and FKI and Indian girl, so you just gotta take that how you want it. I don't know. right? Sounds like the three amigos. I don't know. The three Musketeers. But I swear it is so fine. Yeah, so tasteful. Do we have uh can we have a release date or anything we can expect? Not yet. Not yet, man. She's yeah, she she's fine tuning, but for sure. Yeah, she's amazing. Shout out to Naisha, man. How do you work with artists, right? Cause I think, you know, even just having OG Parker on here, um, he doesn't seem to be one that really like needs to challenge an artist and say, like, try this this way or something. He seemed a little bit more like hands off in that sense. And sorry, OG Parker, if I'm like generalizing and that's not true. That's just the vibe that I got from our conversation. What's your relationship like with an artist that you're working with, right? Like, how involved are you in what they're doing?

I mean, for the most part, with me, with the artists in the studio, I'm not gonna lie, I'm pretty quiet, like for the most part, especially if we're first meeting. Like, like we'll talk about a couple things. I'll try to ask them a couple of like questions, you know. what I mean, just get in touch with each other and just trying to see where our brains are at, where we're going. But um I'm quiet for the most part until like the third meeting, and then and then I'll start saying more. But there's some artists where it doesn't matter, like 2 Chainz and that shit don't matter. Like, Brooke called me Marcus Hill. Like, we cool in the studio, man. We just be vibing out, we can say whatever. But he did, but he did make me realize something. He was like, Sometimes you might the reason why I am quiet, sometimes I could jump ahead of an idea. Yeah, before they've fleshed it out. Before the person's not done. you don't want to do that. But so have you ever been like, hey, Chainz, like that bar ain't it? Um nah, nah, nah, nah, nah, nah.

Or like try it one more time, you know what I'm saying? The only bars I correct people on, I don't correct people on bars. Only thing I do, if they talk about like death or like them dying or something, I'd be like, nah, you gotta change that. That's for anybody. Just because negativity. I'm like, yeah, bro, not on this song, bro. But you worked with Uzi. You worked with Uzi. All my friends are dead. I just made that song. That's true. True. True. That song is amazing, though. That is about me. But me, I just always try to do that. So have you really had to tell someone? Yeah, yeah. Nah, we're not. keep that energy? and they're not even thinking about it like that. They just freestyling. Yeah, uh, yeah. I'm like, ah man, don't uh we don't need to and just flip it real quick. We don't need the energy. Yeah, yeah, I can see that. Interesting. How does energy play into it? But I started doing that over time though. From shit that I've seen, like from artists and shit. I'm just like, what the fuck? And that could just be a fight or anything. Like, I learned early about just putting shit on, the song, putting your words on a song, like what it can do, the power of it. Yeah.

It's just too, it's just too strong, bro. Yeah. And I've seen it on funny levels, like, for example, with Travis Porter, when we were in the studio. The first time I knew it was possible, it was like, holy shit. I'm like, damn, people are saying what we said. Like, it's dumb, but like swing your hair, hit a broke hole with it. Oh, hey, ladies, okay, now, ladies. Yeah. Yeah. No, you bet. So that was like the first time I helped somebody with a line, and then everybody screamed it. And I'm like, what the fuck? Damn, they're screaming that because we wrote it kind of. And I know it seems simple, but to me, I never experienced. And I used to go on the road with them sometimes. I'm like, yo, this is crazy. Did it weigh on you? It fucked with me a lot. Not in a bad way. I was just like, whoa. Yeah. Whoa. Okay. so you- get Shit out of my brain. Yeah. Yeah. People can scream it. And that shit fucked with me. Like, yeah, that is a trip. I thought it'll change your songwriting process, maybe. It'll fuck with me, bro. Yeah.

Do you think about like performing songs and what it'll be like when you're writing songs now? Oh, yeah, yeah. Like if I'm helping somebody with a song or something. What's this gonna be like on stage in an arena? I say that all the time. Oh, yeah, this is going to sound crazy. I like out loud even shit, going to sound crazy in the strip club. Yeah. From the smallest venues to the biggest venues. Yes. What's something recently that you like worked on that you know is gonna be perfect for a live setting, right? And just give us an example of something that you just know will hit in front of a crowd. Something I fuck with that I did was that child, the child song with Bryson Tiller. Yeah. I like to break down on that, even though it throws some people off. I don't give a fuck though. How's it go? Like doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, just A lot of shit. Kind of electronic, kind of like an EDM almost. Yeah, yeah. Oh, yeah. People don't even understand. I throw EDM shit all the time, even on Make It Rain. Yeah. Bro, Make it rain got a whole little break, like breakdown. Yeah.

Hey man. I love that. Spring sprinkle a little bit. Were you into EDM as like a listener? I always listen to I always listen to house music and shit. House music, dubstep. Well, you know, dubstep came later, but definitely house music in UK, like Grime. I love Grime. Grime always been hard to me. Like that shit is and then trap, EDM trap, like popped off. That was a whole fun way of sp. I think that was kind of a bridge for people that liked hip hop to really start liking EDM. It was a nice blend. see, I think that's huge for people who are trying to make something that's different. But you know what I mean? Like, all you gotta do is be a fan of something else, too, right? Because it's like if if all you listen to is some like niche of hip hop, for example, right? And then you want to produce within that niche of hip hop, the odds are that you're just gonna replicate whatever it is that already exists. It's harder to cut through the noise.

Yeah, it seems like maybe some of the like cheat code to some of your like uniqueness as a producer and like why you've like sustained a lot of success. I think is maybe some of that like being open to other genres and then like channeling those once again, not like in the most obvious senses, because I mean shit. When you were even doing the rap TV beat breakdown of um of drugs you should try it by Travis, there were just people in the comment section being like, I didn't even know half those sounds were in the song. Like you were literally, and I was like listening to these sounds you were describing. I was like, what the fuck even is that? Like, and then I heard the song again, and I was like, whoa, I was like blown away. And to your point, like just some of the EDM type shit that's happening, it's subtle, and we don't really think of it until then we're like, oh wait, maybe that's why it sounds so different. Yeah, do you think that that's been a huge Yeah? I I think so. And was that intentional, even or was that just like happenstance? Bro, I just think I was just making it be, I don't know.

I just felt like turning it freaky on their part. But the crazy thing about EDM music though is like a lot of my friends are scared of it. Like a lot of my partners are scared of that shit. So it's like, even if I do want to use it in some, I gotta sneak that shit on the beat or sneak it. Like, you ever ask the homies to like come to a rave? Shit, we back in the day when it back in um when heroes and villains and um and mayhem was going crazy all over Atlanta, quiet and all them spots. Yes, definitely used to bring my friend, my partner. Well, not all my partners, but right, they won't now come. I bought my Jamaican partners there. They was like, what the they bro, they were they break well, they were so confused. They had fun though. They had fun. Yeah, yeah, yeah. Probably had Molly at that time. Yeah, you're bound to have fun then doing nothing and so definitely at a rave. I'm curious, you mentioned uh uh the strip club. Like, should people be trying to get their records spun in strip clubs now? Is it as important as it used to be, really? I feel like it'll always be important, especially in Atlanta. Like, it will always be important because those girls request songs, and I don't know.

We're in Atlanta. We always go to the strip club. I can't speak for every single person. I know in Florida they go to the strip club. Strip club sucks and they suck in other places. Like, bro, I just went to a strip club in Nashville. Oh my god. It was bad. It was bad. It was horrible, bruh. Really? I left with all my money. Like, I'm out of it. Oh no. Bruh, it was bruh. It was this. Anyway, back to Atlanta. Back to Atlanta. Yeah, no. Nah, you should've got to. I mean it's valuable information for our audience. stay away from Nashville strip clubs. Hey, you can't say we don't give you game. One more time, puckers. Doesn't even matter though. Strip clubs around America, the girls make requests. Yeah. I think we had Mr. Hankey on, and he said that. The girls make requests everywhere. Even if it's a weird strip club, the girls still make requests. So it's like was it Mr. Hankey that said like strippers can be like the best ARs? Just best promo team. That's your street team. Yeah, he was like, basically, if you can befriend aka pay enough strippers to, you know, appreciate your input, right? To then pass it on to the DJs.

If They like it. They like it. Yeah, they're going to push this shit. to give the opportunity for them to like it, but they then they have to actually like it. But um, but I'm telling you, some songs they would like years ago. A stripper put me on Rylo Rodriguez. Never forgot that. She's like, you don't know Rylo? And she started playing Like, I don't, I think a song was playing. She was like, Yeah, this is the one. Rylo gave me his whole history. And now you're a Rylo fan. Yeah, yeah. No, it was years ago. So yeah, they definitely they know. I feel like who's the latest. A stripper might have put me on a little shimmy. Okay. No, wait. Who did it? Who did it? Was it Peaches? Why do I immediately go to Peach? But yeah, nah, man. it's a Georgia stripper name. They're definitely ARs, though, bro. What? Yeah. What's the latest artist you think that's been popping in the strip clubs? In the strip club. I know boss man going crazy. Boss Man D-Lo. Shout out D-Lo, man. Boss Man probably all. the way. I know I hear it. I've heard it. Yeah. Boss Man in Strip Club.

Yeah. Damn. That's why I haven't tuned into Boss Man too much. It's been a while since I've gone to the club. Boss Man. At least as much as your wife is aware. No, it's - I mean, I'm playing. I was like, Henry's tried to get me to go play it. I was like, Henry's tried to get me to go. Once or twice, yeah. I gave up. So what do you think today, right? Because obviously, you know, you've had a long career so far. Um, like, what do you think the biggest disconnect between artists and producers is today? Right? Like, is there something that you think like there's like a a gap, right? That like if we could just solve for this, we'd like bring those two communities better together. I'll link with some younger artists on Instagram or whatever, yeah, and we'll try to get in the studio, but now I'm thinking about it. We don't ever get in the studio. Mm-hmm. Wow. So that that sounds like a problem. Like, well, just like rap rappers, like rap-wise, maybe. Mm-hmm. Why do you think it is? I'm like, I'm really brave? I'm thinking, I'm really thinking about it as I'm as

you're saying it. Like, yeah, they'd rather you just send the pack. Yeah. Send me the pack. What do you why do you think that is? And I don't know, social skills or something. I don't know. Yeah. Or lack thereof. Yeah. Bro, yeah. That's a good that's that's I think artists aren't being produced as much these days. And I I don't know. That's I think it's on both the artists and the producers, but there's not as much. I mean, yeah, they're definitely not. I mean, it's so easy to record a song now. Yeah. Like BandLab is fine. I ain't gonna lie. Yeah. It's fine. Get some good quality. Do you use it? Nah, I I downloaded it though. Yeah. But you played around with it? Yeah, I was playing around with it. I was trying to make like presets. and shit. Because, like there's been a couple of artists that use BandLab, and then they came to my studio, and I still let them use BandLab, but I let them use the C800, though. You know what I mean? Like Oh shit, BandLab with a C800. free app, $10,000 microphone. Right. Yeah. So I still because I don't want to fuck with the shit up that they got going. They got a little rhythm.

Yeah. So I'll just go and mess with the presets. Yeah. And on there and go in and like see what they got. And they got some pretty good, like little what it VSTs or effects on there. Yeah. You can make some shit. You change the ratio on your compressor hair a little bit. So like the young artists I have worked with, I don't block their cre like the way that they do it, whatever the word is. I don't, Yeah, like their workflow. Their workflow, yeah. I'm like, do you? I'll just I'll come in, I'll still do do what I gotta do. I might even add to the beat or whatever, but I'll just make sure the vocal is good. I think some of them you should block. See, no, see that that's it's a it's a good topic. Some of them need to get it. No, I do want to dive into this. I I think it's interesting, man, because I do think the the job of a producer is ultimately, of course, to get the best product possible, right? I think you already like alluded to that at the beginning of the episode. Like that's what your main mission is. I just want to make the artist's favorite song. That's it. Yeah. Well that's what people don't. That's all I want to do. They have to just trust you enough to let them let you try some shit to the where that might lead to their new to be their new favorite.

But but if he were to have said, like, yo, you don't need to use BandLab, bro. Like, we're gonna use this, that might break the trust, is my point. Is I think he what he gets at is that like if you block what they're used to, then maybe it fucks everything up. But to your point, sometimes challenging the way that they're doing things, maybe it's not maybe you could unlock some even better way of doing it. Like, yeah, the shit they've been making on BandLab is fine, but like what if Henry introduced them to whatever the fuck, you know what I mean? Logic Pro. Okay. Yeah. So yeah, I mean, like, how do you think about that? It's definitely a case by case situation. Yeah. But I don't know. You it's just it's something about a groove. Like, I've literally seen artists who like usually record themselves when I try to put them in the position, like have an engineer do everything for them. It they kind of get broken down, like in a way where they're like, ah, this is this is just not the way I do it. I know exactly what I want to say right here.

So I don't like to get in the way of those kind of things. Like, but it's like it's like this their voice is their instrument. Like, I'll come in and fine-tune and do what I gotta do, but do you do you? Because if you're fine, like see, I feel like I'm not at the stage anymore where I'm like working with the horrible people still. You know what I mean? Like, yeah, then you gotta definitely gotta help and coach like the whole way. But I like when someone has their own, they're they're just secure about what they're doing. And like they'll ask for help when they need it, but they can go in there and get the job done. and you trying to change that might even lose some of the magic of what they do. Right, right, right. It's interesting. I feel like it definitely would in the short term. I a hundred percent think that, like, if you do introduce something new to someone, it's ultimately gonna kind of suck at first, right? Like they're not gonna be as comfortable, right? It's gonna take them out of their comfort zone. But I've just heard so many times, like time and time again, that like being uncomfortable or being comfortable with the uncomfortable, right? And like kind of growing through that, like may I don't know.

Like, I just wonder what would happen if we like gave it a little more time. Like, hey, I know you really like recording yourself, but I promise you, try this for a month. This fucking engineer is gonna change your fucking life, you know. What's crazy? Sometimes when the artist has like, if you give them a good vocal chain, a good mic and everything, sometimes they're hearing their voice clear as fuck for the first time. Yeah, like compressing all that shit. Sometimes they don't like it. Just because they're not, it's that it's literally literally their first time hearing their voice, like loud, loud. Like, you know what I mean? Yes, we're punching it and everything, embodying it and everything. So it's like sometimes I've literally seen it scare people. Like, yo, I don't sound like this, bro. I don't sound like I'm like, bruh. It's your voice. I swear. I swear to God, that shit, bro. now you can start doing some different things to change it now. Cause but that's what you really sound like. Yeah, yeah, bro. That's hilarious. Well, first, we've been in the final segment of the podcast, my friend. That's so funny.

This has been fun as hell. No, like literally hearing your I mean, dude, I even remember like early on podcast days of like, oh my god, like that's what I look like on camera. That's what I sound like on headphones. I was like, oh, and like I still hate it, but it's just like whatever. It's just what it is. It's the thing. Yeah, I still hate how you sound as well. Anyway, this is the final part of the podcast. That's why I don't let you talk much until this fucking time. So go ahead, dude. I allow you to uh lead it to the beginning. Anyway, this is the rapid fire rampage first. There'll be three parts. Real simple. We'll start with just some short answer questions. Let's get into it. Starting with. What are three common signs of a weak track? Right when it starts. No ugly face. Um if you don't do stank face, yeah. You gotta have stank face, bro. You gotta have a stank face. I'm always going for stank face when I'm like, if you're like, maybe this will be good. That's why it's already bad. It's not good. When I make some shit and I don't see the stank face, bro, I'd be so sad, bro.

It's some internal shit. I'd be sad as fuck. Like, oh my god, I don't fuck with it. Lack of stank face. All right, no, number one. Great first one. For sure. Lack of stank face. Just, um, them bars ain't barring. Just weak punch lines. Nothing, math. No bars. Just like, bro, just like, bro. Just saying shit to say shit. Yeah, bruh. Putting words together just to do it. Like, come on, man. Just try. Just try. It's the lack of trying out there. You don't have to be a scholar. You don't have to be a scholar at all. But come on, bruh. Yeah. One more. Okay, the bars aren't barring. Yeah, yeah, yeah. This is a three-parter here. I'm gonna go with a bad mix. Ooh. Don't get a mix out there. Even though there are some bad good mixes out there. True. Yeah. Some bad good mixes. I don't know what you mean. Yeah. You're really confusing people now. Oh, yeah. Probably fucking them up.

But exactly what you mean. I don't know what he means. Let me give an example. Let me give an example. Okay, please, please. Yeah, what's bad good? Shit, the nah, that shit was horrible. But the extent, not the song, the mix, the extension song, but I feel like it helped it. Oh, absolutely. And those old smoke purping uh little pump songs. Yep. What that is. Bad good. The bass is just crushing the mix. Yeah, yeah, yeah. But those are like those are like two bad mixes. Farty 808s. Bad good. Bad good. They were bad good. Bad good. I want to shout out Montel Fish, who's an artist I really like started fucking with in the last year. His who like will loop a guitar part and it like clicks and you can hear where it loops and the vocals like muddy, but like it creates this insane like mood and vibe. So there are ways that I know what you mean by that for sure. So shout out Montel. I feel like Montel Fish, every time I come in here, it's like super like cinematic and shit, bro. Cinematic? I don't know. Or like just ethereal and shit. I don't know. I don't know.

Like dreamy and shit. Yeah, that's close. That's close. That's close. I know. If you haven't heard of Montel Fish, he put me on and I was like, oh man, I dig this. I'm big fan. Next one. What is your best advice for artists trying to get beats from their favorite producers? Just have at least two, two or three, five things on your page. Like whatever them first three videos is. Because it's like, because I've definitely run into a lot of instrumentalists, all kind of people that I'm that I wanna that I want to link with, or even artists or whatever. And whether it's them playing piano or just singing or just doing something, like showing what they do. I mean, you good. So your social media. You gotta kind of show what you do. Bro. Your social media is your resume. It's the fucking resume, y'all. It's a resume, man. Like you're not cool with no, like if you're a singer and I can't find a video of you singing in the first scroll, like it is unbelievable. But what's crazy, that's my problem online. Nobody knows what I do on like on Instagram. Yeah, you kind of are the It's insane.

You're literally the pot calling the kettle black right now. It's actually insane. Insane, bro. Like, bro, there's so many artists I've tried to link with. They're just they I mean, they just don't know who like the songs I produce or anything. They just think I'm a random guy, like just a random rap rapper, and I'm just hitting them up. Oh my god. It's crazy. Yeah, I mean only they knew. And bro, So many artists over the years, like I really wanted to work with, and some didn't even make it. That's the even crazier part. I'm like, probably some artists that haven't been on Billboard don't even know who they bro. Thank fucking with. Thank God you have days before rodeo like high up now. Right. I mean, because if you didn't put oh my god, I would have killed you first. No, no, no, that's up there. That's up there. Thank God. Moving on. How do you know when a track is finished? You actually don't. I'm a maniac when it comes to songs. That's why you got remember those five to six people, seven people. You need their because if it's just me alone, I'll work on that song forever. I've been working on some songs for three, four years, bro.

Maybe even longer. There's some songs I've been working on that long, bro. What are you still doing to them? Just tweaking. Tweaking, bruh. You are tweaking. Every year. You're tweaking, bro. You're not tweaking the songs, you're tweaking, bro. You're right. Both ways. But look, let me tell you everything is drums, bro. Like, I always try to tell everybody. Like, yes. If you have a good melody, you can change the drums every year, bro. But you don't even need to. I know, but the melody's the most important part of the song. There needs to be someone. I I know I have to have somebody around, like, yo, that shit done, bro. Yeah. You tripping. I have to, because I will keep trying to make that. I will keep working on it. Send me the songs, bro. I'll tell you they're done. I don't even have to listen. I'm gonna just immediately reply they're done. Done or not. I saw a clip recently, and I'm I can't believe I don't remember the producer, but I loved his answer. He was like, uh, the the second that I feel emotional at all. Any bit of emotion from what I made, that's when I it's done. Yeah, but that's so vague.

But it's not, though. so many emotions you can feel. No, wait, say it again. You don't know because you don't make the shit. Yeah, well. As soon as you feel emotional, like you catch yourself like listening to it and feeling like that feeling, you know, that you made something tight. Like that when the first time you get that feeling is when it should be done. I thought that was kind of cool. We've had so many people say that they like didn't even like some song that then went like multi-platinum and shit. So, like, I don't know. That's even an ass like approach. I mean, I I would say just whatever works for you, probably is always the cop out, and the music industry. More people than not work on shit too long. When then there's so many opportunities to go to the next song. I agree. Definitely put that shit out. Yes, yeah, but playing around it though, but put that shit out. Put that shit out, right? Yeah, but they might be searching for that emotional feeling for fucking four years, bro. Yeah. I mean, if it's been four hours and I don't really think that it's like move on, probably anyway. Let's let's keep going.

What is one thing about the music industry you think every aspiring musician should know? As someone who's really in it, you gotta learn how to split those emotions up, like those emotions and being sensitive, and there's nothing wrong with being sensitive, like you, especially when you make music is a good thing. You know what I mean? You got you gotta have the emotion side on you, but when it comes to agreements, contracts, the business is the business, you gotta separate, read yeah, separate it and redoing contracts and redlining and all that, you cannot be sensitive and emotional. Everything can be negotiated and fixed. I've seen I've done it. Almost crashed out because of what something said the first time. Everybody's trying to get the best deal on each side. Mhmm. You everything can be redlined and everything can be negotiated or challenged. You don't just have to go with the first thing that's there or let that first thing make you angry. Because let me tell you what people do, and I've done it before too.

Lowball at first. It's not even that. They get something. First thing And everybody's seen all those behind the music episodes, all that crazy shit. They'll take it to their cousin or friend. Yo, look what this says. This says blah, blah, blah, blah, blah. Their friend has no idea either. He's gonna tell you some shit that he saw on Drink Champs or Behind the Music or one of them shows. Like, ah, bruh, that ain't it, dog. That ain't it. Yeah. These people trying to screw you, bro. Like, I'm telling you, there isn't, like, not even knowing the situation, not even knowing, like I keep saying, everything can be negotiated. I wish that was the embedded in my brain earlier. And so yeah, but for the most part, I'm good on that. But I just seen a lot of people crash out on those moments. Last one on the short answer. What is your favorite curse word? Fuck. It is. Part one. Another vote for fuck. Another podcast, another vote for fuck.

Fuck can do a lot of shit. It is Fuck can do a lot of shit. It can. No, you're not wrong. I'm wrong. I just look at where my shit people at, man. Like, can you book some people that if you don't make a compilation video of these soon, I'm literally gonna edit this question out. It's like you don't edit anything. Well, I will. I can I can get into YouTube and actually I can literally edit this just one part out of YouTube. You could. I can do it right now. I think I like. Hold on. He's not rapping, bro. Nah, it's just fuck. It's fucked. Yeah, it is. All right, Moving on anyway. Yeah, anyways. Part two is of this or that. I'm gonna give you two choices. You just pick one. Super simple. Let's get into it. Starting with great beats or great lyrics. Great beats. Sampling or all original. This ain't fair. That's what you know I'm trying to get good ones. Oh sampling.

Keys or strings. Keys. 130 BPM or 160 BPM. 130. J Diller or Dr. Dre? Dr. Dre. Master one sound or spread your wings. Oh, this is where this is the problem I'm having in my career. We know. Yep. Yep. Spread them wings, though. Let it fly. 3 p.m. session or 10 p.m. session. Oh, 10 p.m. Singles or projects. Projects. Kendrick or Drake. In the battle? I didn't in your life. Y'all not getting me mixed up one of this. Fuck up my future money. No, there's no. No, no, no, no. No, no. Just however you know, interpret it. Kendrick went crazy. But um Drake, just hit me up, bruh. Bruh, tell you, bruh.

Just cool out, bro. Let's get some bad bitches, go to an island, get a studio set up. Hit Turks. You know what I mean? Chill. You probably already got the music, but just chill. Let's make some more, bro. Hit me up, bro. Just chill. Just chill out, bro. Just go just go go. Just pop pop back. There it is. And finally, become a full-time engineer or leave the music industry forever. Freelance. You can structure your business however you want. Yeah, sure. Engineer, bro. Yeah, it's gotta, he's he's gotta be in there somehow. Gotta be a part of it, man. You can sneak some production into the engineering game. People give up too early, bro. They do. Yeah, no, for sure. That's how we feel about the podcast. We just haven't quit yet. Way too early. Just haven't quit. The last part is the word association first. I'm going to just say one word, and then you're going to give me the first word you think of right back off the top of your head, whatever it may be. There are no correct answers.

You are only judged on speed. Starting with music. Everything. Tempo. 140. Instagram. Ass shake. Hurricane. Key. 808. Man, shout out to the mafia, man. There it is. AI. Terminator. Pants. Huh? Pants. I got the coolest pants, but I know that's one, not one word. That's why. We'll take a phrase. Yeah. Done. EDM. Detroit House. Spotify. Dominicans and Mexicans need to get paid the same price everybody, the same everybody else does for songs. Okay. I didn't even know that was Exactly. That's a stance. not a thing. But that needs to be worldwide with everything.

Yeah, she's crazy. Okay. Frog. Eyes. I'm going to tell you why later. It's a It's a Birdman song. So he always talks about frog eyes. The frog eyes on the whip. Yeah, yeah. Only a few more here. Content. That shit key. Lil Boosie. Good. Gas. Gasolina. Would have also accepted good job. Yeah, good job, first. This has been FKI First. As always, please like, comment, and subscribe. Follow us on Spotify Podcast. Follow us on Apple podcast. We are here. Whenever the fuck We have an interesting enough episode for you guys. I like that. We're trying to free ourselves from the pressures of weekly releases because we don't want to just give you guys any fucking Joe Schmo off the street. We're doing that for three and a half years. We're gonna wait till we get someone like first now. Exactly. You guys are going to love it. So we'll see you next time. Yeah, when y'all first started, it was going to be like who the hell is that?

Yeah, thanks, first. God damn it. Until next time, Henry, what are we doing? We're getting out of here. We're not here. Peace, y'all.