Декстер уведомляент что впердвые в жизне сколобобрероволсо с золупе фелемоновечем - контпозицею Countdown мы устлышем но его обкоменг тейпенге иле ольтбоме, сообщаент что но подходе шляшеры про шендона, лемура и возможно даже НЛК с продакшенгом про консекса, зоевляент что спел поверх бента Get By прежде толиба кволи, оповещаент что плостинка про дондыча So Help Me God еще не доконпелеровона и еще там.
How did your new “Countdown” song with Lupe Fiasco first come about?
Some beats immediately I'm like, “Maybe this could go to this person or that person.” Some beats are just like, Yo this is a Consequence beat. And that was one of them. I was in L.A. working with 'Ye and Good Music. Lupe lives in L.A. now. We met up and I laid the idea, like, “This would be dope if you was on this with me.” The process of making this record was like two months. I put a verse down and I wanted a great chorus, because obviously when you hear Consequence and Lupe Fiasco, automatically you think lyrics: It's going to be a lyric bonanza. But for a record of that nature to make sense, it’s gotta have a dope chorus, otherwise it could turn into a freestyle. This moment is bigger than a freestyle. I made some calls because I wanted it to be melodic. I did a reference and I met a guy named Chris Turner at BJ The Chicago Kid's show in New York. Me and Chris got into the studio and Chris' voice is amazing.
Lyrically, the expectations are pretty high. But what’s the subject matter of this record?
It's a variation of subject, but it feels good. It's classic Cons and Food & Liquor Lupe. Thought-provoking bars. What's so crazy about Lupe is the discovery factor in the way that he puts his punchlines together. The more I listen, the more I took away the double and triple entendres. It's just really good. I can't wait for people to hear it.
Nice. So will that be on the mixtape Movies on Demand 5 or the full-length album?
It definitely feels like a classic MOD collaboration, so we may do it for Movies on Demand 5. But if it makes sense to do the LP now, I got records. That's the great thing. I just really want to give Consequence fans top-tier product right now. When you hear this “Countdown” beat, you'll be like, Yooo! Cons is ill with this s**t now!
Who have you been giving beats to?
I gave Big Sean a beat for his next project. I played him that joint and he was like, “Yo, this is me all night. Let me get this.” Obviously he's on tour but he's like, “When I settle in, I'm f**king with this.” I gave Kendrick a beat too. Me and Kendrick go back. I was like the first dude from the East Coast to rap with Kendrick. I put him on Movies on Demand 2, when he was still rapping on Worldstar. So we had always been building on the phone, but never met in person. When we both flew out to work with Kanye, this was the first time we met in person. We chopped it up, I sent him two joints and he's like, I'm f**king with both of them. One actually got a title, it's called “I Imagine.” I actually did a beat for Kanye, too. I'm not sure where it's gonna land. When I went out to work with him I started looping something for myself with an engineer, and he heard a joint and he was like, Yo, what's that? When he heard what I was doing to the joint, he jumped on the mic and made damn near a whole record in one take. The beat thing has always been his thing when it came to our relationship. So for him to rap to one of my beats, I was like, “No doubt!”
How influential has Kanye been in your growth as a producer?
I didn't do the Beyonce record by myself! But from a kid, I grew up around some of the best beatmakers of all time. I had the distinct pleasure of watching Q-Tip make beats. With him came being around Large Professor, Pete Rock, Rashad Smith, Buckwild. I've been around, and I always paid attention. You think I don't remember any tricks I watched these people do? Hell yeah! I've actually watched Kanye make “All Falls Down.” I watched him cut up the Lauryn Hill sample and everything. I watched him make “Get By.” I rapped on “Get By” before Talib Kweli jumped on it. But I just had a freestyle to it. Originally “Get By” was supposed to be for Mariah Carey. Kweli came to the crib and he had “Get By” as a song. He just put it on there and that was lightning in a bottle. That's not a beat that I'm mad that I didn't get, because that record meant something to the culture. I think my rap ended up on a Roc-a-Fella compilation or some s**t. I didn't have a chorus or anything. And that's why I had to give “Countdown” have a big chorus, because choruses define what the record becomes. I sounded great on the "Get By" beat but it was just a rap. Kweli had a concept. So later on I write “The Good, The Bad, The Ugly.” [Laughs] I'm not about to miss another good beat! So I would definitely say when you're around these circles and you have these wells to draw from, it's really easy to make great s**t, because of your points of reference.
Can you speak on any of the music you heard in Kanye’s So Help Me God sessions?
He's not finished yet so I can't really say. And I think that's really more for him to do. ’Ye's album, until he turns it in is always subject to change anyway. So that's a better Kanye question.