Bangladesh spoke with Complex about making the “6 Foot 7 Foot” beat and finally getting paid for his work on “A Milli“:
Bangladesh on the making of “6 Foot 7 Foot”…
“It was a simple transaction man. I actually made the beat back in like the summer time and I had it for a minute, but I didn’t know who was worthy of the beat. My publisher, Juan Madrid, told me T.I was looking for something. But I’m kinda used to giving T.I music and not getting anything done out of it, so I wasn’t really feeling the idea but I sent it to [Atlantic Records executive] Gee Roberson anyway. He immediately hit me and said, ‘Wayne’ll kill this beat. This is Wayne.’ So I just let him navigate the situation and here we are. I think [Wayne] is at the top of his game. There could be a lot of other rappers on that beat that might not do it justice.
“I wasn’t in the mind state to [one-up ‘A Milli’]. Its just the sample made me do it. The song’s sample comes from Harry Belafonte’s [“Day-O (Banana Boat Song)”], you know, “Daylight come and me wanna go home.” It’s in there but it’s flipped a certain way. The, ‘Six foot, seven foot’ is the main part in that song. It took me a while just to get that right. Everything gotta be in pocket so even though it sounds simple, it takes a while to get the genius to marinate.
“I wouldn’t say ["6 Foot 7 Foot"] is better than ‘A Milli’ because ‘A Milli’ did so much to hip-hop. When he first did ‘A Milli,’ I didn’t see the vision. So, off the rip it gave my opinion about it not being what I thought it should be because of his approach. And I’m correct because he said in an interview, he didn’t even feel like it was a single. He just felt like it was like something to go in and rip, some mixtape shit. But it ended up being much more than I expected and much better because it didn’t have the typical elements of a song that you usually need to make a hit. I did my part, he did his. It all came together and it worked. I think because he seen what ‘A Milli’ did, it prepared him more for this so I could tell his writing was different.”
On getting paid for his work on “A Milli”…
“It’s like 75%-85% there but the good thing is it’s being handled. It’s happening through my appointed person. So nah, no direct [conversations with Wayne or Baby]. I got an appointed person that’s speaking with [Wayne and Baby] and my attorney. I’ve spoken [to them through him], but we ain’t really got on the phone. I mean, we can get on the phone but I think everything has to really lighten up and clear out all the way. Everything is being taken care of so we can move on to other business. Sometimes you have to go extra routes to get what you need. That’s why you have attorneys.
“I think the respect is there to know who you’re dealing with. I always knew Wayne was a different kinda dude. I knew he was not a political thinker. I think he’s a rap guy, he’s a rapper so he’ll eat beats. It doesn’t really matter who’s making the beats, if it intrigues him he’s gonna go in. Not, ‘Oh man I don’t fuck with this dude. I ain’t doing this and I ain’t doing that.’ I think he’s just a rapper, so he knows the value of getting on shit that he feels. With other rappers, there are a lot of political decisions that make them not do certain things and not the music and the feeling of it. I think that Wayne is definitely a feeler of the music.”
No comments:
Post a Comment