Tweet
From chart-topping records to serving time behind bars, Lil Wayne and T.I. have a lot in common. In fact, they were both set to lavish lyrics on what eventually became Weezy's latest joint, "6'7"."
Producer Bangladesh, who supplied the rumbling, insistent beat for Weezy's beastly 2008 banger "A Milli," recently revealed that Wayne's lead lyrical K.O. from Tha Carter IV was originally sent to Tip's camp.
"Due to the situation and the circumstances of the Cash Money situation, I really wasn't thinking about Wayne at that moment when I made it," he told BET.com about sidestepping Weezy's label due to static that cropped up when Bangladesh claimed Cash Money owed him some, well, cash money. "I just knew that the beat was a big track and I couldn't at the time think of nobody that could swag this out like that or was worthy enough of this beat really.
"I was actually sending the beat to Gee [Roberson, Atlantic Records executive] for T.I.," he added. "I mean, not that I think T.I. would sound good on the beat, they were just looking for a single and somebody said, 'Man, send that to Gee; T.I. need something.' "
Even though the producer sent over the track, he knew that Tip wasn't likely to latch on to the record. Instead, Roberson, who co-manages Weezy, insisted the beat was Carter IV material.
"I already dealt with T.I., I know how T.I. is. I knew he wouldn't really be rocking this beat right there, so I sent it anyway," he added. "And Gee just hit back talking about Wayne: 'Man, Wayne'll kill this, Wayne'll kill this,' so I had to really see if I wanted to do it or not, but they've been communicating, they've been reaching out."
Bangladesh told MTV news on Wednesday that when the beat finally reached Wayne, he attacked it with the same fervor he did the steely Carter III smash, but this time he focused that raw, freewheeling energy to turn out more slickly delivered bars.
"The overall wittiness is everything I was saying about 'A Milli' when it came to be," the producer explained. "He freestyled 'A Milli,' and before it was big and before we knew what it was gonna do, we all had our opinions of it. A lot of people loved it, but me being the creator of the art, I didn't see the vision that he had. I think he attacked it as a mixtape. And that was the genius of what he did and it became the biggest thing. The way he approached this one, was everything that I wanted him to do on 'A Milli.' I think he's really focusing on every, every line. It's like he's writing. It's different. It's a whole 'nother level of cleverness to it."
Producer Bangladesh, who supplied the rumbling, insistent beat for Weezy's beastly 2008 banger "A Milli," recently revealed that Wayne's lead lyrical K.O. from Tha Carter IV was originally sent to Tip's camp.
"Due to the situation and the circumstances of the Cash Money situation, I really wasn't thinking about Wayne at that moment when I made it," he told BET.com about sidestepping Weezy's label due to static that cropped up when Bangladesh claimed Cash Money owed him some, well, cash money. "I just knew that the beat was a big track and I couldn't at the time think of nobody that could swag this out like that or was worthy enough of this beat really.
"I was actually sending the beat to Gee [Roberson, Atlantic Records executive] for T.I.," he added. "I mean, not that I think T.I. would sound good on the beat, they were just looking for a single and somebody said, 'Man, send that to Gee; T.I. need something.' "
Even though the producer sent over the track, he knew that Tip wasn't likely to latch on to the record. Instead, Roberson, who co-manages Weezy, insisted the beat was Carter IV material.
"I already dealt with T.I., I know how T.I. is. I knew he wouldn't really be rocking this beat right there, so I sent it anyway," he added. "And Gee just hit back talking about Wayne: 'Man, Wayne'll kill this, Wayne'll kill this,' so I had to really see if I wanted to do it or not, but they've been communicating, they've been reaching out."
Bangladesh told MTV news on Wednesday that when the beat finally reached Wayne, he attacked it with the same fervor he did the steely Carter III smash, but this time he focused that raw, freewheeling energy to turn out more slickly delivered bars.
"The overall wittiness is everything I was saying about 'A Milli' when it came to be," the producer explained. "He freestyled 'A Milli,' and before it was big and before we knew what it was gonna do, we all had our opinions of it. A lot of people loved it, but me being the creator of the art, I didn't see the vision that he had. I think he attacked it as a mixtape. And that was the genius of what he did and it became the biggest thing. The way he approached this one, was everything that I wanted him to do on 'A Milli.' I think he's really focusing on every, every line. It's like he's writing. It's different. It's a whole 'nother level of cleverness to it."
Comment