He was singing all crazy with weird melodies that no one really does.ĭeezle: We recorded it and we were listening back to it after. The way he used it, he did some neat sh*t with it. So Wayne’s not just singing through some thing and it makes his voice sound perfect. We used auto-tune, but with auto-tune, you can’t just sing through it. Static met up with Wayne and played it for him. It was probably about 30 minutes he laid the hook and then they came out with the “juicy for you” part and then I sampled their vocals: “Sh-sh-she lick me like a…” I sampled the little parts in the MPC drum machine and then I sampled the “Call me” and just made it like I was scratching and it was done. He had the melody already down and he laid it. He had the melody within, like, 15 minutes. He was working at my studio with Pleasure P from Pretty Ricky.
They passed on the record, and I went over and played it for Static. Jim Jonsin: I originally made the track in a session for Danity Kane. Static Major (produced by Jim Jonsin co-produced by Deezle) I think when his album started leaking was after I quit working for him and he started going to different engineers. I’d record everything to the drive when we were in separate studios and I was the only person who had it. When he was working with me nothing leaked because I carried my own personal drive. When we were on his tour bus going from venues he’d be in there jamming that record. He’s a huge Robin Thicke fan, and it was so deep to him, and he’s talking about Katrina.
He was smoking a blunt, and he’s like, “Yo just play it all the way through and I’m-a get all three verses in one shot.” He really felt attached to that record. Wayne heard it and was like, “Man, I love this, I need to use this for something.” I’m actually surprised that record never leaked cuz that is the oldest record on Tha Carter III. It was probably recorded like October 2005 at Circle House. I don’t even think Tha Carter II came out when we recorded it if I’m not mistaken. Robin Thicke (produced by Robin Thicke)ĭrew: That record is extremely old. So he was like, “F*ck it, they can’t have it.” But I’m more of the business head, like, “Nah, it’s Carter III and we’re going to get this single.”, Fabian Marasciullo, did a great job on the record. Skillz is such a music guy that he doesn’t care about the money, he cares about the situation. Wayne doesn’t let you come unless he has personal relationship with you, which we didn’t. Then we couldn’t come to the mixing or the mastering, which we were upset about. Then, one day, I got it on my iPhone with Wayne and T-Pain’s vocals on the actual track. November, T-Pain’s manager reached out to me, telling me Wayne wanted it. So we started shopping it, but nobody took it. Play: Pitbull was gonna use it, but T-Pain didn’t finish the hook in time. So we had to come back the next day and redo the whole track. Skillz: We did the track in New York and right before we were gonna dump the track into the computer, the engineer stepped on the plug accidentally and turned off the MPC. Busta Rhymes hit me not too long ago and said he did five verses to the beat and it “rebirthed him.” He was talking to me like I did this amazing reincarnation for him like, “I sound like a newborn baby!” Every time I turn on Rap City, they in the booth rapping to the beat. And it’s the hottest beat in hip-hop right now. A n*gg* went in, freestyled, and that sh*t’s all over the radio. That right there makes me like that sh*t, because it’s against the grain and it’s working. He switched it up and tried to make it “ill.” If that was somebody else, it wouldn’t be on the radio. It’s saying, “A milli.” He needs to pop about being a millionaire. If it was going on the mixtape, it’s cool, but not on no album or single. I just thought he would make more of a song out of it, honestly. But I wasn’t around, so what he felt, he put on there. Bangladesh: This girl I produced for, Shanell, got it to him.
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