Producer(s): Karbine
This is “the one for the ladies.”
Yeah, yeah.
So, talk about the concept of the song.
This is funny how this s—t came about. So, I met Karbine at the gym, right? He might’ve been like 17 at the time. And he was a fan of mine and he wanted buy a verse off me. He had bought a verse off me before, and I was like, “I don’t really wanna charge this kid.” But he was like, “I got the money, bro. I really want to do it.” Because he makes albums himself.
Okay, so he wanted to put you on a compilation that he was making beats for?
Yeah, that’s how our relationship started. So, one day he hit me up and wanted to buy another verse for me. I’m like, “Alright,” and he was like, “Yo, bro, I’m paying you, alright.” [Laughs.] So, I goes over there, he plays this beat, and at first, I just had a verse in my phone, but I felt like my verse didn’t really match with what the beat was actually like. I could really do some fly s—t to this beat.
It reminds me of a ’90s summer kind of beat.
That’s the type of s—t he makes. All his beats sound New York Undercoverish.
[Laughs.] That’s a good way of putting it.
At first, I didn’t really have an idea. I swear to God, I was just playing around. I was not being serious at all. I was just f—king around when I made the hook. All the little singy parts that you hear even in the beginning, that’s just me being stupid. I was not being serious. This s—t was a joke. But then I’m like, “Oh, this s—t sound fire. This s—t is really dope. Keep this.”
Because, at first, all I had was the hook and the little singy part in the beginning, and I’m like, “You know what? I’m gonna make a song to this.” So, I wrote that song on the spot and was like, “You know what, bro? You ain’t even gotta pay me for this.”
You challenged yourself.
I’m like, “You don’t even have to pay me for this. I wanna keep this and put this on my album.
Was it for this album?
This was before I even started making this. It was just a song, but I knew I had to work on a new album eventually. This was like at the end of Trainspotting. This was like last summer. I’m like, “Yeah. Whatever the next album I’m working on is, this is a song that’s going on.
Was this one of the first of his beats that made it onto one of your projects?
Yeah, because the last project I made before I met him was the s—t with Conductor, so I really wasn’t making albums with multiple producers on them at once. But after that, I was like, “F—k it, let’s keep making more s—t,” and now he’s part of my team, he’s one of my BadInfluenyce producers or whatever. It’s so crazy because he made that beat when he was like 15. He’s like, “Yo, I made this beat mad long ago. This s—t is hard,” and I was like, “Watch. This song’s gonna be crack.” And it’s a song that everybody loves.
Me and him got so much more s—t. There was another song that I made that was supposed to be on the album too, but we didn’t put it on because his sound is so unique that you don’t actually need to hear it twice. It stands out way more like that because if you you put two on the same project, then iyou’re gonna give people something to compare it to. So, now they’ll be ready for when we drop more because we’ve got tons of music that made already.
It stood out like the West Coast song you made for Trainspotting. I think it was “10 Toes” with Jay Worthy.
Yup. That’s literally how the song came about. Now he’s my DJ and we make music all the time.
So, talk about the theme of this song. It sounds like a radio single.
Just because of what I said on the hook, and it was literally something that I was going, through. Now that I’m like becoming famous and s—t, it’s always chicks trying to holla at me. So, if I’m already dealing with someone, it kinda puts a strain on my relationship with a girl because it’s like, “Damn, you got mad bitches that like you,” and it’s like, “Yo, I don’t know these hoes, but they know me.” I can’t control who likes me at this point. I’m a public figure. So, I was kinda going through that s—t in real life. That’s where that hook came from because I was just f—king around saying it.
She couldn’t deal with it.
It’s not that she couldn’t deal with it. It just that it takes some getting used to. Real s—t.
Talk about the misconception that bad b–ches don’t like bars.
Oh, nah, they love it. I’ll show you some s—t in my phone right now of some chick bumping “.22,” talking about, “Yo, when I heard this I cried.” You understand what I’m sayin’? That ain’t no f—kin’ love song. They like the rhymes, bro. I’m telling you. Obviously, they like the girl s—t too, but they’re into rap. They’re not listening to Rome Streetz just for that one song. Okay, the song, just the song that you make for the girls, I like. But personally, I always try to throw something on most of my albums for the ladies.
