If you look at the cover it doesn’t say anything but “Parental Advisory.” You know I’m one of those people who’s still into art and although people don’t actually have to buy a CD and open it up, I still enjoy the process of picking out dope art. I thought it was dope to have a picture of me with tats. I know what this project is to anyone who listens to it. I knew Kendrick was coming out the same day.
Were you pissed off that Kendrick dropped Untitled on the same day as Collegrove? But at the end of the day, the internet has made it to where you can search what you’re looking for. There’s so many levels to this stuff, bro, to where it’s hard to complain. You have festival rappers, you have rappers that only do intimate settings where they just have the largest underground fan base.
#BOUNCE 2 CHAINZ ALBUM COVER FREE#
OK, they don’t play in Magic City, but I just did Madison Square - or I’m in Magic City eating free wings, all the strippers love me, all the bitches love me, the lifestyle love me. I mean, but he sells out Madison Square Garden, so that’s the balance. Lyrical music isn’t carrying the same generational weight in a way. Cole who raps like crazy and sells a ridiculous amount of records still doesn’t get the same sort of respect in radio circles or in club circuit. I was just vibing on some Bryson, I wasn’t listening to no rapping-ass shit when I was just getting myself together.
I love the fact that we got melodic, I love the fact that we got the Auto-Tune, I love the fact that we got mumbles.… I mean, when I first got on the phone I was getting out the shower and I was jammin’ Bryson Tiller. I love that hip-hop is such a wide range, so universal. Right now the vibe is very much about melody and vibe and emotion. Lyrical-style rapping isn’t too hot these days. You want to hear some rapping you need to get ColleGrove, if you want to hear some rap shit? We made some rap shit. This album has very little melodic type vibes. This is not a place to come slump around. It just raises the bar for competition, like sharpening up your steel, for both of us.ĭid you get that competitive vibe when you were in there with Wayne At the end of the day, that is Lil Wayne. He went, I went, he went, I went, I suggested the hook, he went, I went, I put the hook back in, and I left, like stop. Was it a linear recording, basically recorded as you wrote it? Straight up.īlack Sabbath on the Making of 'Vol. This process was probably one of the best rap processes that I’ve ever been a part of. I come out the booth and this motherfucker goes back in and raps again! My chef, is just like, “Ohhhhhh, whatcha going to do now?” So I had to go back in.
He has a skate ramp in the booth so he goes skating - I don’t know he’s skatin’ or fuckin’ thinking of the verse…. I don’t even know how many bars is on this song, let’s just be clear.… Neither one of us writes, so our process of recording music is very similar, yet very different. We was in Miami, Hit Factory, it probably took about 12 hours to do the record. Yeah, that track was kind of the catapult for starting that project, that was one of the first tracks we recorded with having a purpose to it. On “Bounce,” you and Lil Wayne really went back and forth in that Run-DMC style, playing off each other… Rolling Stone caught up with trap-rap’s pun king about going Run-DMC with Weezy and why he had to “unlock his heart” for its emotional follow-up.
His long-rumored, word-heavy collaboration LP with Lil Wayne, ColleGrove, debuted at Number Four last month his brief and satisfying Felt Like Cappin mixtape continued a career rooted in independent hustle and he even promises that there’s more music on the way in the form of the proper follow-up to 2013’s B.O.A.T.S. Atlanta’s perennial prince of punchlines 2 Chainz is storming through 2016.
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