Emile: ďI went out to Detroit to work with Em. Iíve done shit for Obie; Iíve worked with Proof; Iíve worked with Royce; Iíve done some stuff with D12; Iíve met Eminem a number of times and co-produced songs with him, but I never got the opportunity to have my name on an Eminem album. And he is truly my favorite rapper ever. I listen to The Slim Shady LP all the time.
ďEmís always been pretty self-contained. Heís a phenomenal producer and does his own beats, and generally, if heís not doing the beat, Dr. Dre is doing the beat. Itís kind of hard to get in there with producers at that level. They donít need anybody.
Emís always been pretty self-contained. Heís a phenomenal producer and does his own beats, and generally, if heís not doing the beat, Dr. Dre is doing the beat. Itís kind of hard to get in there with producers at that level. They donít need anybody.
ďI think on this album, he didnít want to do all the production. He wanted to focus moreso on writing, rather than getting that deep into the production side and making the beats. Em has been in the game now for a long time and managed to stay ahead of the curve in terms of what new artists are doing. Heís past that ten-year mark, and heís still ahead of the times.
ďI was lucky enough to get the phone call to go to Detroit and get in the studio for a few days and work with him. They take making music very seriously. Emís not just going to rap on a beat and call it a day. Heís really going to work on the production and arrangement of the song. Heís a producer to the core.
ďSo I was there, working on ideas. I didnít come with a bunch of ideas planned out. It was kind of like, ĎLet me set up my equipment and talk to Marshall and see what he is going for, and just try to make stuff, and hopefully make something that inspires him that he wants to rap on and turn into a song.í
ďI made a lot of beats, a lot of hard, up-tempo stuff, and he kept saying, ĎMan, I really want to do like a classic rock kind of vibe. Like a classic rock sample. Something that I might have listened to when I was a kid on the rock radio station.í So I always had that in my head, but I didnít have any records or anything like that with me.
ďSo one morning I got up a little earlier and went digging in Detroit. I got a car to take me around, and I went to all these record stores, just buying classic í70s rock records. I was at Peopleís Records in downtown Detroit, which is a great record store, and [Eminemís manager] Paul Rosenberg called me like, ĎWhere the fuck are you? Emís about to be at the studio and youíre not here.í
I was at Peopleís Records in downtown Detroit, which is a great record store, and [Eminemís manager] Paul Rosenberg called me like, ĎWhere the fuck are you? Emís about to be at the studio and youíre not here.í
ďAnd I tried to explain, ĎIím buying records.í And I was far from the studio in downtown Detroit. So I grabbed a pile of Ď70s rock records, like a crate of 75, and rushed back to the studio.
ďSo I was flipping through them and Em would be in the studio doing his own thing writing. And I remember dropping the needle on Black Sabbath ĎGoing Through Changes,í and he walked in the room right as I dropped the needle. And it started playing, and we both looked at each other like, ĎThat could be the one.í
ďďAnd he obviously liked the Black Sabbath song [and was familiar with it], and he gave me the look like he was into it. There wasnít a lot of communication, but he definitely had the eyebrow raise like, ĎThat could be something!í
ďI went to work and started chopping it up and arranging the song. I came up with the chorus and the verses and some drums, but not the final drums. Mike Strange, whoís Emís engineer and also a great guitar player, played some guitars on it. So we had the core of the music set, and I left Detroit.
Proof gave me my start in the business. Fast forward to when we did that record last year, itís like Iím in the studio with Em, and heís writing a really heavy record and talking about Proof on the song.
ďEm didnít do the song yet, but he was into it. He seemed to gravitate to that more than the other stuff I had been working on. Like Royce, Em picks up on different stuff in the beat to rap along to. He called me about the drums, and I remember I tried a few different drum ideas. I kept doing them and sending them and sending them [until] he was comfortable with them, and he ended up writing the song.
ďItís another special record for me, because of the history I have with those dudes and that camp, and Proof giving me my start in the business. Fast forward to when we did that record last year, itís like Iím in the studio with Em, and heís writing a really heavy record and talking about Proof on the song.
ďThereís no one else like that for me in the business. This is a part of me. It wasnít like me just cutting some song. I have a loyalty and allegiance to Em and Proof and that crew. I got my start with these dudes. A song like that, and how it came to lifeóit was full circle for me.
ďIíve known those guys for years, theyíre all my friends. And finally having that record on this Eminem album, this amazing new album, with my favorite rapper in the game, one of the best to ever do it, it was like, ĎHere it is. I got my Eminem record.í It was a big, big deal for me. Seriously.Ē
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