Lil Wayne Producer Deezle Talks Carter III

Given its strong contention for hip-hop  album of the year it was only right that Nodfactor speak with Cash Money’s inhouse production/engineering genius, Deezle, about some of the work he put in on Tha Carter III’s “Lollipop,” “Mrs. Officer” and “Let The Beat Build.” Click to listen.

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Lil Wayne Producer Bangladesh Speaks on “A Milli”

With every rapper under the sun jumping on the instrumental to Lil Wayne’s “A Milli” the producer of the track Shondre “Bangladesh” Crawford put out a video discussing his rise to prominence. Peep it.

Some folks will probably known the man as Shondrae who has been putting down beats for Ludacris and DTP for years. But “A Milli” is clearly the beat he’s known for right now.

Lil Wayne Jacks David Axelrod on Carter III

Lil Wayne’s much anticipated The Carter III has sprung a leak and one “drip” earning a lot of buzz is a track called “Dr. Carter” which features the New Orleans spitter prescribing cures for wack rappers over David Axelrod’s “Holy Thursday.” The track from his 1968 release Songs of Innocence has been sampled by everyone from The Beatnuts and Artifacts to Fat Joe and InI and is featured in the new Grand Theft Auto IV game. But what makes it striking is that he rhymes pretty much over the original record with very little manipulation. According to reports the cut is produced by Swizz Beatz. One can only speculate that with the cost of clearing that sample, Swizz decided to just take the whole thing and let it rock.

Listen to the track HERE

Wayne also made headlines recently making some unflattering comments about the DJ community. But according to a post on Allhiphop.com he called into DJ Drama’s radio show to attest that he was not disrespecting all DJs, only those who had been making money off of his name and music that he’d never met before in his life.

Lil Wayne’s The Carter III is in stores June 10th.

Bloggin 4 Beats: Project Mayhem

Opposites attract but sometimes for the wrong reasons. I was told by a trustworthy person that this beat was just too soft for the lyrics. When I started chopping Ronnie Laws’ “Stay Still(and Let Me Love You)” I didn’t imagine making an angry record. But I’m also pretty sure Da Beatminerz didn’t imagine Laws’ “Tidal Wave” would make a record like “Who Got The Props.” I blame it on the drums. This snare pattern sounded like an uzi going off and even though the song was full of flutes and other minor chords I rearranged them into something with way more energy, way more aggression. The chops sounded like glass shattering on the ground. Could this be an R&B record? Sure, but it’d be one really hard R&B record. [Read more]