One Song - Lil Wayne's “A Milli” with Bangladesh

Episode Date: July 10, 2025

Grammy-winning producer Bangladesh joins Diallo and LUXXURY to break down his iconic beat for Lil Wayne’s “A Milli” and his signature style behind hits like “What’s Your Fantasy,” “Diva,” and “Bossy.” Bangladesh dives into his unconventional approach to sampling, his melodic use of the 808, and the concepts woven into his production. Cancel your unwanted subscriptions and reach your financial goals faster with Rocket Money. Go to RocketMoney.com/onesong today. One Song Spotify Playlist: https://open.spotify.com/playlist/40SIOpVROmrxTjOtH7Q1yw?si=cd1d952c8c1a42f5 Songs Discussed: “A Milli” - Lil Wayne “Ho” - Ludacris “What’s Your Fantasy” - Ludacris feat. Shawna “Bossy” - Kelis feat. Too $hort “Cannon” - Lil Wayne, Dxtroit Red, Willie the Kid, Freeway & Juice “Lemonade” - Gucci Mane “I Left My Wallet in El Segundo (Vampire Mix)” - A Tribe Called Quest “6 Foot 7 Foot” - Lil Wayne feat. Corey Gunz “Hip Hop Hooray” - Naughty By Nature “Southernplayalisticadillacmuzik” - Outkast “Many Men (Wish Death)” - 50 Cent “Come Clean” - Jeru The Damaja Learn more about your ad choices. Visit megaphone.fm/adchoices

These sounds are great. Yeah, I like them sounds. I need to use them. And it's fun to know that you're on the track and no one else knows. Nobody knows it. But now everyone listen to the show knows. Today we're talking about a song that marked a new wave for hip-hop in the late 2000s. It's a track by one of the biggest rappers of all time.

And this is easily one of his most beloved songs. And today we have a very special guest, the man behind the beat of his Grammy-winning track. Super producer Bangladesh. That's right. We're talking one song, and that song is A Millie by Lil Wayne. I'm a writer-directoria, compared to your career because isn't fair. I'm a venerial disease. Like I'm intro. Me through the pencil and leak on the sheet of the tablet in my mind because I don't write shit because I... I'm actor, writer-director, and sometimes DJ Diallo Riddle.

whispers, interpolation. And this is one song. The show where we break down the stems and stories behind iconic songs across genres and tell you why they deserve one more listen. You will hear these songs like you've never heard them before. And if you want to watch one song, you can watch this full episode on YouTube and Spotify. And while you're there, please like and subscribe. Okay, so our guest today has worked with superstar talent across hip hop and pretty much every genre. If you don't know him by name, you definitely know his music. quite well. He's the man behind such classics as Beyonce's

diva ludicrous is What's Your Fantasy? Gucci Mains Lemonade. I'm going to go on and put a did it on him by Nicky Minaj on this list but this list is long. It goes on and on and on but for now let's show our love for Grammy award winning super producer

Bangladesh. Yay! That's what's up. That's what's up. What's up? How y'all doing? We're happier now because you're here. Like you provided a soundtrack for, you know, like I say sometimes DJ. Well, I used to be a full-time DJ. Okay.

And I DJed this one nightclub Boulevard 3. I DJed every Friday and Saturday night. I did all the big, you know, special events and every Friday, Saturday night from 2006 until about 2014, eight years. During that time, I was fully aware of just your dominance. Like as a DJ, we always thank the producers for making our jobs easier. So, you know, like when the new Sean Garrett came out, you know what I'm saying? With a Jamie Fox, speak French, came out like, whatever it was. I always felt like Bangladesh is going to hook this up.

I don't know what I'm going to play at midnight when the party has to go all the way to attend. But Bangladesh is going to release something this month and it's going to make my life easier. So to you, sir, I say thank you. Thank you, man. I appreciate that. You could do a whole Bangladesh set, like, you know, over the course of the night. And if you were in Atlanta, you know, because you were based in Atlanta, and continue to live there, you know, it's different.

You know, party in and clubbing in Atlanta is just a different thing because so many of the artists live there. So you might just be in the club and then, you know, especially back in that time, like Luda would just walk in. Or T.I and Tiny would walk in. Like, you know, they would just walk into this. Be the strip club and Gizi would be giving the DJ money and he debut a brand new Jeezy song. You know what I'm saying? L.A. is not like that. Like, you're really just going off of how popular is the song and will people dance to it?

And every single time, your tracks just got people to that dance for. Thank you. So can you tell us a little bit of how you got started in this business, like from your time in Iowa to first moving to Atlanta, to meeting some of these first superstars? Yeah, you know, I'm from Des Moines, Iowa. Ain't much going on, you know. No burgeoning rap scene out of Des Moines right now? No, there's no music scene.

Growing up, like, I knew of two rappers. I knew one was close to my family. And I knew another one. He went to school with my cousin, my older cousin. What about on the music making side? Were you a musician or did you have tools? I wasn't making music did. But a lot of my cousins, a lot of my uncles,

grandpa's play instruments, sing very well. So you're around music and creativity. Yeah, yeah, yeah. It's around. It's in the blood. But I didn't have what they had. You know what I'm saying? Like I feel like I'm the least talented.

Out of the ones that do music in the sense of like playing the guitars. Playing instruments and singing and stuff like that. Right, right, right. The least talented. You know, I was like I could hold a note and I could play with something. Right. You know what I'm saying? But I don't, I never really had the desire to like learn an instrument.

Like I always like wanted to, but I just never took a serious like I did the MPC, the beat machine, you know what I'm saying? Like something about that is just, it made me want to sequence and, because I wanted to go from this beat to that be like, that's all I wanted to figure out like, how I go from this to that, how I put sounds in here, how, you know what I'm saying? So that machine unlocked the creativity that was there. That was your, that was your instrument, was the MPC. Yeah, I would say I'm more creative, less talent. You know what I'm saying? Yeah. I mean, I just got to stop you there because I think that is a talent. I don't, No, it's a talent.

It's a talent. It's a different kind of. When I speak of talent, it's like more like God-given kind of like instrumentation, singing ability. That's the talent. I mean, a lot of talented people aren't created. Yeah, that's true. But if you have the best of both worlds,

but you can't write your own song. Yeah, if you have the best of both worlds, you're in a good space. You know what I'm saying? But, you know, it really don't really find too many of those, you know, there's not too many prints, princes in the world, you know what I'm saying? By the way, I just want to point out that we just did a parliament episode and George Clinton didn't play an instrument. But he had the vision. He had the creative vision.

The creativity is really the catalyst of it all to me. You know what I'm saying? I feel like the creative one is the hardest working one, you know. I've seen talented people work less. They take it for granted in a sense, you know what I'm saying? Like people that just come out the wound and can just naturally do stuff. and play. Things come to them so easily. And they're kind of like, uh, things you've done from birth, you don't have the passion, the fire kind of leaves a little bit.

You moved to Atlanta at what age? 16, 17. Okay. So when you get to Atlanta, because I'm so curious, because that's probably what, around like 92 or something like that. No, that was, uh, 95 I moved. Oh, 95. Okay. Yeah. So yeah. Right, right after Outcast came out.

Right. Tell us, how did you go from brand new kid in Atlanta to meeting ludicrous? I moved to college part, Georgia. The high school I went to is called Tri-Cities High School. Tri-Cities High School. I went to Mays. So, you know, we had a friendly rivalry. We won't fight today. So going to Tri-Cities, it was a magnet school. So my female cousins went to this school. And by the way, Outcast went to the school. Outcast, Summer 112.

some of Jagged Edge, TLC. Well, in all fairness, TLC and 112 also have Mays connections. Yes, yes. Keenan from Saturday Night Live. I went to school with him. You know, coming from where I'm from, I was listening to Outcats. Outcats had just came out. I fell in love with, you know, the production, organized noise.

Organized noise. We want to have on the show at some point. Yeah, so when I went to Tri-Cities, Rico Way's sister went there. Yeah. So I'm like, there's RICO ways. I'm like, and all I wanted to,

like, my whole idea, like, just thing is small, I'm, but big, I'm like, man,

I just want to be in Dungeon family. I just want to be a part of what they're doing, you know what I'm saying? And I'm not a type of person that likes to join things. I'm more of an individual. So me wanting to join something like,

I really like rock with it. You know what I'm saying? So. Yeah. So I'm going to Tri-Cities. First two weeks, I'm going to lunch. I'm just in there, you know, just sitting at the lunchroom table, you know, just killing time, just killing time for two weeks straight, two weeks straight. Sit at the same spot, same table.

Two weeks straight, another guy sitting at the same table crossed from me for two weeks straight. We never said a word to each other. Looking at each other, checking each other out, you know, after two weeks, we start talking to each other. Hey man, you know, we'll just spark up a conversation about something. Through the conversation, we kind of into the same things. We kind of like have the same type of demeanor, same type of swag, same type of ideas. So him and his cousin came and picked me up. Okay.

Like probably a weekend, we just was outside. Yeah. They come pick me up in a little neon, neon. I was just about that kind of car was. That little joint. Yeah, yeah, yeah. He and the passenger to see his cousins driving. And his cousin is Little Fate.

Little Fate is ludicrous hype man. There you go. But Little Fate was a rapper. Like he was a striving, you know, trying to pursue. But these are all high school students. You're talking to sophomore junior year. Yeah, we all in school. He's a sophomore.

Yeah, we all in school. 16, 17. Yes. And these are like hoop dreams, these rap dreams. You know what I'm saying? So every weekend we would just kick it. Like our thing was we'll get a hotel room. We'll chip in, get a hotel room.

just smoke, smoke weed, and have rap cyphers. Yeah, of course. So I would beat box or bang on the table and they'll rap. So probably after like five, six times I seen Chris. The Chris being Ludacris for those. Ludacris, yeah. So Chris came one time with fate. Yeah.

So we just all in the room. We're doing the same thing. I didn't know him like that was his friend. I didn't know him. They're in a rap group. Little Fate. I-20 ludicrous all in a rap group

Yeah 20 wow They did this song that made it on a compilation and it was a big deal so through that situation he started to want to go solo

or people tell him you should do your own thing make a solo project whatever me and Chris wasn't right at cool yet like we wasn't like

this is my boy you know what I'm saying Little Fate in I-20 lived in Chris condo Chris never wanted nobody over there when he wasn't home, which is understood. Little Fate would sneak me in there, though. He would sneak me in his house because he had an MPC.

So I would just play with his beat machine. And I eventually got my own. I saved up $2,500 of cutting hair. And I got an MPC now. I'm making beats. This tape. I got this tape. I said, come listen to my beats.

Took him to my car. He's sitting in a passenger seat. And like, soon as I hit play, he was like looking through the windshield. He was looking through the windshield. Next beat come on. He's just looking, four beats go by. And we get out the car, he's walking towards the shop. He says, what you doing with them beats?

He's like, can I get that? So I give him the beat take. Two weeks go by. See him again. He's like, man, I got a hook for that. I got hook for one of them beats. He's like, use a hole. Oh, use a.

So, like, I ain't like you. You know what I'm saying? It was corny to me. Because when I was making the beat, like, I'm thinking of something else. Like, I'm thinking of- Something deep. Nah, nothing deep, but, like, more, like, hood, like, some ghetto. You know what I'm saying?

So when he said that, I was like, all right, I ain't tell him that. I was like, okay, whatever. Wish of Fantasy was the last beat I gave him. Wow. When I gave him the beat and it came on like that. Yeah. Then it went into another beat. He was feeling that.

He's like, I like that part. Just make that the beat. So I went home. I put the high hat on it. Then I made the change. That's my favorite part of the song. I made the change. Let's hear a little bit of the song.

I love changes in Yes, the beginning of verse three Let's play right now I want to get you in the back seat Windows up That's the way you like the Clogged up Park alert

Rip the bands and rip the shirt Trust me the first time I heard that little What's surprising Yeah What instrument is that? What are you playing there? All this are staves I took From something I was listening to at the time It's either a Roots

Album The Roots? DeAngelo Project, the voodoo album. It's from voodoo. We literally just did the roots episode like last one. The pieces, chopped up pieces or as a full beat? No, chopped up. I would just take sounds.

Right. And just make my own beat. You took Quest's snare and you chopped it up. Oh, look at that. Quest is a big friend of the show. That's great to know. Can I also say my favorite parts are when you change up the beat right there. And it's also when Luda says,

eating fresh fruit! Add lyric for the sake and he says that I was like, this is a rapper with a sense of humor. I get down with this because there was no need for him to make. But he understood. Sometimes when you're, you know, having sex, fresh fruit is a great thing to have. I just like fresh fruit.

All right. Once your fantasy first came out, you could not go out in Atlanta. Like, it was like a parking lot thing. You know what I'm saying? Like, people would just blast that. You would hear it everywhere. I mean, we've talked a little bit about it in terms of what's your fantasy.

Could you say a little bit more about your process of sampling at this? point. Yeah, my process of sampling. I didn't look at it like sampling because I wasn't traditional sampling. When you think of sampling, you think of like taking a song and sampling a song. I was more into like taking sounds. Exactly. Taking hits, stabs, drum sounds. So you're talking, it's like less of a like a wholesale loop. It's less of like a looped entire thing. It's just the individual pieces. Yeah, piece it. So that's how you made your, you're just saying that's how you made the beat itself with the snare maybe from. Or request or something.

Exactly. And then you were also saying that the stab, that was like a moment that you grabbed. And then you pitch it up and down to change the tonality. The key. Put the, when you change the keys into the pad and I was just do, do, do, do. Right, right, right. I always make the analogy because people understand this. It's like, you remember the old barking dog Christmas songs.

Woof, woof, woof, woof, woof. It gets a little bit higher and thinner. But it's the same sample. just moved up and down the keyboard. You know, we're talking now, we're in the 2000s, and now you're producing for a lot of ours. I can do a whole episode about your work with A-Ball and MJG.

This is not the time, but I would love to, at a future time, talk about that. But at some point, you're producing beats, and you produce this classic beat from the 2000s. Let's hear a little bit of Bossie by Kalees. So good. So good. I think there's something specifically about Atlanta.

we are a car culture. When I was growing up in Atlanta, anytime a car went by, all you ever heard was that 808 coming out of cars. This is that 808 sound that you really appreciate more, not when it's all in your,

you know, because people in New York are walking. You know, they got on these headsets. They got on the Walkman speakers. But when you're in a car culture, everybody's gone to Allen Ed's Auto Sound and wherever else they, the mom and pop places.

And they've tricked it. The speakers are rattling. There was a point producing, in my stage of producing where 808s weren't even needed. It was just the kick drum. Right. I would say, to be honest,

and people tell me this, I think I started using the 808 to where it's like made it the driving point of production in today's time. I would use my 808s in melody form. Right. It would be the baseline. You know what I'm saying?

It's the base, for, for, for a milly, it's the only base content is the kick drum. But even like changing the nose, like, like, that's what I was trying to say about. Things like that, like, yeah, wasn't really being done. And, you know, people would tell me like, man, I remember I was working with, um, Mary Jay. I was making something. I was making a beat on spot. And her husband at the time, he was listening. He was listening to.

He was like, right. He's like, man, he's like, man, that ate away's like the best. I think people need to know that about your pioneering efforts with this because I got to tell you, all the hip hop that we've broken down, like everything from the juice world, from lucid dreams, we've had at least three or four episodes where more recent hip-hop has had the kick drum be the bass. It was also in Doja Cat, Paint the Town. We went to Beverly Hills High School. They were teaching the kids, and we heard all the beats the kids were making,

and they were making beats where the bass lines were 808 kicks. You've influenced a generation. It's the thing. I feel like at first, you know, you do, I do things unconsciously knowing. Like, some people know what they're doing like, man, I'm the first, man, I'm going to do this. But I'm doing things as I go unconsciously. It's just what I feel, you know what I'm saying? So it's not like a right or wrong.

Even when I started tagging the beat, I wasn't thinking like, this is what it is. Like, oh, I want people to know me. Because I wasn't, my name wasn't even Bangladesh when I was tagging the beat. That was my company. Okay. I'm like doing more of a presenting my company. So when I started tagging, people just started calling me that. Like, oh, Bangladesh, Bangladesh, they didn't know Sean Dre was Bangladesh.

They thought it was two different people. For those who don't know, how did you get the name? How did the name Bangladesh? Well, I was always in search of a name. But Bangladesh was a word that we were used, we would just say, we would describe cool stuff as that. Man, that's Bangladesh. We was on the road. We'd be like, man, let's take her to room, Bangladesh.

You know, we just used, I don't know what it came from. Like from banging? Like, it's just good. Man, it wasn't no really definition of why. It was just the word. It was just the word. It was just your word. Me and my friends used to be like, man, she looked like she's from Bangor, Maine.

And New or India. That's where my wife's are actually. It's just something we would use. And people always describe my beats as different. So I took the different, okay. Okay, Bangladesh being a foreign country, my beats foreign to the ear. It got banging it. I'm heavy on the 808.

I dig it. I will say it's a very hard term to Google sometimes. It is. That's the catch 22 of it, too. I'm competing with a whole country. Yes, you are. So it's like that people are. Lucky for you, their beats are terrible.

One man. Like, I made all these hits. People like, man, I've never seen you before. Man. People are like, man, that country is really talented. It's the man in the biff. Wow, it's really you. You're working with artists of all different genres,

but I feel like you're still, like, you do have a basis in the South. Like you have a, do you feel like you're part of the southern scene at this point, you know, given the artists that you're working with? I've never looked at myself as a Southern producer. I kind of don't like that. Okay. Good to know.

Because I'm more abroad than that. Yeah. I feel like that's one thing I, I came to realize I'm like, I'm glad I wasn't born in Atlanta. I'm glad I'm from where I'm from. Being from the Moines, whatever's popping is popping. Yeah. Like, you know, East Coast, I'm sure they listen to some West Coast,

but it wasn't as cool as listening to your own stuff. You know what I'm saying? They definitely wasn't listening to the South. Southerns wasn't listening to up north. Southerns wasn't, you know, when I first went to Atlanta, it was isolated. Like, my friends are from there. I'm coming out, I'm listening to Nause

I'm putting them on different stuff like, man, I don't know. And I'm playing for... I'm planning for them and they're like, man, Nyes is hard like Nyes. You know what I like this? I like that. See, I'm already on this stuff. I'm on everything, but not as hard as they are.

You know what I'm saying? It was a different grade scale for me. Like, no disrespect. Oh, here it comes, y'all. Because of disrespect. No difference. It was just a different. It was just a different grade scale.

Before Outcast came out, before there was a Southern hip-hop culture, organizing Outcast created Southern hip-hop. They really did. It wasn't like, I'm not talking about Southern music. We're not talking about booty shake. Because that's what Atlanta was known for. Miami is booty shake music.

That wasn't as respected in the music game. Like, it was like, oh, they're doing booty shake. Like, it's not, it's nothing. To me, it wasn't nothing that inspired me that fed my soul. It wasn't nothing that was teaching me nothing. You know what I'm saying? You know, being from the South, even Southern artists like Master P, you know, I would say that back in those days,

you either sounded East Coast or West Coast, Bay Area or Houston, specifically, Houston, Texas, right? Master P back in those days, he sounded like Scarface. He sounded like a Texas rapper, even though, he would just as often claim like Vallejo, you know, the Bay Area. But over time, artists like Outcasts sort of like to find a new sound for the South and people sort of followed that in. I want to point out that Masterpiece is successful.

And then along comes cash money records, which, you know, sort of, you know, applies. Louisiana, New Orleans specifically sort of starts creating their own unique sound. And there's a nine-year-old in the click. and that nine-year-old is Lil Wayne. And, you know, it's crazy to think that this guy was nine years old when he starts rap with cash money. But, you know, Lil Wayne was an interesting figure because I think that was the first time I realized

that the number one rapper was younger than me. You know what I mean? Like, that was like, you know, Jay-Z older than me. Obviously, Tupac and Biggie older than me. When Lil Wayne took the stage around like the fireman era, you know, like, I was just like, oh, this is about to, there's about to be another change. Like, they're about to pass it off to a new.

generation. And I will say, I think Wayne's run on the mixtapes during this era is one for the record books. Yeah, it set up everything for the future to come. It really did. It just set him up. You know, without that set up, a millie wouldn't be big like that. It didn't pop up in a vacuum. It wasn't just like pop, here I am. I mean, like, there was a time. I think Jay-Z called a mixtape Weezy. You know what I'm saying? I think some of those are dedication to, I don't know if it's just where I was in life at that time. But dedication, too, is like a classic mixtape. It's got that

DJ Drama Don Cannon remix on there. Like, hard-ass track. Yeah, have a few words with the... Canon. Yeah, tell it to my motherfucker Canon. Canon. Yeah, straight up, I ain't got no conversation for your

nigger talk to the... I have to ask you, before you worked with Wayne, what was your impression of Wayne? And was there a specific track that jumped out to you back then? No, I wasn't even listening to the Little Wayne. Wow. Like, I wasn't, I think anything like younger than me, I wasn't really like listening to it.

No, it's fair. Not because I ain't like it. I was aware of it. I could like you and not listen to your music. Yeah, I'm saying. I could think, like, you're- There's so many artists like that. Yeah, you're a great artist.

You know what I'm saying? But it's not something I'm just bumping all day. So how does Little Wayne get into your orbit as an artist that you, either aim to work for or you fall into it. Well, like I was kind of explaining, like, I ain't got to listen to your music to really be into you. There's a lot of artists out there that I feel like I would love to produce or work with,

that something about them intrigued me to where if we made a song, it'll be a different perspective. I totally understand that. And give the full landscape of all the possibilities, Right. Because a lot of people stay in their box. Being a producer, that's kind of like one of my goals is to, when I go in the studio, I want to create something that will create a new fan base for you.

I don't want to just give you the same stuff for your fans to listen to. I want to give you something that your fans will accept and will grab new ones because it's a little different than what you usually do. And I feel like that's a producer's job, to be honest. I don't want to do the same things. It's like lemonade. You know, lemonade is like... Lemonade by Gucci, man.

I think one of the absolute breakout hits for Gucci. Yeah, so Gucci is like one of them artists where you can be somewhere. and people don't like Gucci Man. You know what I'm saying? But I know Gucci is like really a great artist. Like he's really good, but you might not have heard what the possibilities of that is.

Right. So making lemonade to me was one of those records for Gucci that made the people that didn't like him before, like him. For real. Man, man, I love that song. It was a different side of Gucci that we hadn't seen up until then. Yeah. And to me, like, conceptually, like him coming up with yellow, he came up with that.

He's like, yellow everything. It just was an idea. And it was like, I don't know where he's going with this. He's like, yellow everything, bang. I'm like, what's so significant? I'm in my own head, like, so significant about yellow. Yellow, what? Yellow this.

He's like, your MP yellow, bang, the car be yellow, the cow is yellow. This yellow. And I'm like, why can't be blue or red? Like, I don't understand. That's not the vision. The vision is yellow. So I can hear Gucci saying that too. So everything fit perfectly as a song to where the way I like to make songs where the verses and the concept and the hook, everything go together.

Yeah. You know what I'm saying? I love those songs. You know what I'm saying? He's like, Chiquita. He's like, you can't bring. old yellow back. He's like, all this yel, everything. I'm like, man, this man

a genius. Gucci Maine is like Lauren Michaels. Anytime someone who's talked to him starts talking about what he said, they inevitably start doing an impression of the person. They are absolutely just like that. I want to bring it back to Wayne for just a second. You said that in a story that you, when you

first approached him, he was backstage and in his own and ignoring you. Little Wayne? Yeah. Yeah. Yeah. I'm like just curious, did you already have a vision, a specific vision? for him or were you too busy thinking about like, why does this dude not paying attention to me? This was in 03. This was in 03. Okay.

Millie came out in 06. So I seen Lil Wayne sitting there. Like, he's just sitting there. Now, mind you, I'm not like a people person. I'm not like a conversational person. I'm just a quiet person. So, and I know like people have good days, bad days. Of course.

People might be intoxicated, might be sober. So I'm aware of all this. So I never would be offended by how you treat me, but it might not make me, I might not just walk up on anybody. I just might see somebody and just let them be, you know what I'm saying? But for some reason, I was like, man, I just, I'm going to go over there and talk to him. You know what I'm saying? So I go over there, he's sitting in a chair just like this, just chilling.

I come right here. I see y'all, I'm Bangladesh, Sean Drey. My, Sean Dry, I did, I did A-Ballin MJG. I did, I did this, because I'm thinking, like, he knows A-Ball and M-J-G. Like, I know he knows them. I'm sure he look up to them. I'm sure he's inspired by this. Right.

So I used that. I was like, y'all did it because I had they single. So I did this woo, eight-balling MJG. He did me like this. He's like, you know, no, he's like. No reaction. He was like. He just shook his head at you.

He just nods. He's like, and just went back to... No words. Silence. But three years, three, four years later, he's on... I think I saw somewhere he had like literally 200 songs released during like 2007. Like him and T. Payne were on everything.

They were featured on everything for like two years. And now you get back in the studio with him. And then we're going to get into that. We're going to get into that when we get back. That's right. when we get back, we'll dive into the isolated stems of one of the most influential hip-hop songs of all time and get some insight into how a classic project like the Carter 3 came together. We'll be back right after this.

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Cancel your unwanted subscriptions and reach your financial goals faster with RocketMoney. Go to rocketmoney.com slash one song today. That's rocketmoney.com slash one song. Rocketmoney.com slash one song. Rocketmoney.com slash one song. Welcome back to One. song, we're here with Super Producer Bangladesh. All right, Bangladesh.

We're going to walk through your original beats from the original session for Amelia. This is so exciting for all this. Before we get into it, can you just give us a quick backstory to how you put the beat together the first time? Yeah, like what element of this came first? The vocal.

The Amili, Amelie, Amit, which a lot of us did not know that wasn't just Wayne himself saying the word Amelie and then pitched down, but that's not where that. It's a sample. That's right. Yes.

I want everybody to know that the track came with a concept. I like people to know this, you know, that a lot of the beats, the production, comes with concepts already. You know what I'm saying? A lot of people think that the writer or the artist came up with the top lines of things. You know what I'm saying? No, get into it. Like the Millie was on there.

So it's easy for a writer or a rapper. to have the concept. You know, say, oh, Millie. I'm a young money millionaire. Did you title the beat, a million even? Yeah, a Millie. That was your title even. You know, even Diva, Beyonce, like, that's on there.

You know what I'm saying? So Sean Gary, get it. Concepts are there. It's harder for a writer to come up with a concept to a beat that don't have melodies and stuff. Right. So it's like it'll be more difficult to come up with, I'm a diva.

Ooh, diva, let's talk about that. You know what I'm saying? because it's there, you know what I'm saying? That's so interesting. It kind of gives the... A starting point for the artist. Yeah, the starting point. And we, we're, you know, we ain't got to go through, you know, creative ideas.

Right. In the beginning, I wasn't thinking like a millie was the hook. I was still in a time where songs were structured with hooks. Yes. Like, it was a certain system, you know what I'm saying? A certain structure sequence. So I previously had. had wrote a, like a top line to a milly to compliment the vocal.

Wait a second. You know what I'm saying? Wait a second. Do you remember what that was? Can you tell us? Because we'd be dying to know what the original hook for a million was. I would have to hear it. It was like, it was dope, though.

Like, it was dope. Like, I really sequenced the song like a song. You know what I'm saying? So when I heard his version, I was kind of thrown off. I didn't like it. Right. I heard you say that there wasn't, you didn't hear a whole. hook. I didn't hear a hook. Even the rap song No Hooks has as a chorus, we don't need no hooks.

They couldn't even step out of the box that much. But they came, I know they came on with that because they didn't have it. Right. I know. I know. That's not I'm saying. Even a song called No Hooks has a hook. This song is amazing because it blew all the way up. And the chorus, if you want to call it that, is the bed of the entire song. You know, if I went into a studio with a writer, what a writer would have did. He would have muted the vocal to write it. In fact, you pitched this song to a rapper who basically said, hey, can you take that? Can you take those a meal?

I played this for Cassidy. I was in the studio in New York. I played him the beat. But every since I made the beat, I wanted Lil Wayne to have a beat. When I first created it in my basement in my studio, I said Lil Wayne. Wayne needs this beat. So I had the beat for a while. I've been like meetings with executives and I would play the beat.

Anybody I played the beat for love the, it was like the only beat that I ever played that everyone likes. And you said no. You said no every time. Everyone likes it. And I had a situation where a person was like, he was like, man, I want to buy it. And I said, I said, like, who you hear on it?

It don't matter. It's a hit. But it mattered. me. It matters to you. That was the wrong answer for you. Like, it matters to me. You know what I'm saying? Because, like, the money that you're going to give me for the beat that I ask for, it is really nothing compared to what I really see this as being. So, you know, I had to beat for a while before I actually pitched it to Wayne. And I actually had a inside source that walked it into Wayne. Listen, without any further ado, let's get into the stems, and we're going to talk about what I want to set up here is to the conversation we've just been happening. There are very few elements in this massive hit song. And part of why it matters is because the craftsmanship that went into it, the vision that you had, the selection of what is essentially, I think there are four sounds, if I'm not mistaken. But those four sounds are everything.

So let's listen, starting with the kick drum, that very specific 808 sound that you selected. And here's what it sounds like. And then we'll build up the beat from there. That's a big extended long decay. It's got a tonality to it. It sounds like the street I grew up on. It sounds like the cars you're driving in Atlanta you were talking about. And to that you added this clap.

That clap is crazy sounding. That clap slaps. I don't even look. I don't even really. It's not really a clap, though. What is it? It's more like a snare. It's a snare.

Okay. Yeah, do you know where you got it from? Because it's bottom heavy. Like, it's, yeah. It's not like a clap. It's definitely a main sound in there. Yeah. You know, like I put that snare in other songs that became hits too.

Yeah. Oh, that one shows up another production. Is that the same snare clap, the Sondiva? Yeah. And by its reuse, it becomes a distinctive part of your sound, of your sound palette. You're taking these otherwise, not off the rack, but these sounds that exist in other places, but together they become uniquely yours,

like when we add the kickback, so the beat becomes. And then this is the part of the drum stem, where we point out that that's one of just two beats that go every two bars. We swap from that beat to the snare. Every four. And then here's that second part of it with just the snare. And I never noticed before this.

I'm like, the ambiance in there. A little reverb. A little reverb. Mix engineer. I mean, again, I just hear Atlanta because I was in the drum line at Maze. You know what I'm saying? Like Atomic Thunder all day. You know, that to me that has that sort of like vibe of Friday night,

halftime, you know, just showing out, trying to be the Famu Rattlers, just hitting that drum, you know what I'm saying? Yeah. Yeah. You're right. I don't think of Atlanta, though, when I hear Amelia. Oh, man. We're going to go to war, man.

We got to go to war. Atlanta's great. It is. I just don't. I don't. I never thought about it, but you're so right. That high-pitched, is that from an 808? If it's not, it's very similar.

That's near there. Yeah, yeah. It's an 80-8. It's an 80-pitched out maybe, right? I mean, I'm utterly inspired by the simplicity. And one thing I want to say about it, or I ask you, really, because I've heard you talk about this is, I've heard you talk a little bit about how your process is that you sometimes start with more and then reduce. It's true sometimes.

Okay. But this was real simple. I made this beat real quick. It was just really a feeling beat, you know what I'm saying? So once I had the vocal, I hurried up and just I felt everything that I was doing. So once I completed it, then few sounds like I just felt like it was enough. You didn't have to do anything more. You knew that was enough.

Yeah. That to me is I admire that and envy that a little bit because I will keep going past when I should have stopped. And sometimes that's months and years. I can do that too sometimes. You know, sometimes when you add, keep adding. Yeah. It can turn into something. else. So the benefit of that, like, you can isolate things. You can make a whole new beat out

of something. You know what I'm saying? Like, oh, this don't need this. Let me take this and create something else out of it. Right. But it took that for it, for you to really hear what's going on. So you can multiply your production just in one beat. But this one particular, like, what you hear is just where I stopped. I just like, I was cool. This is it. This is the whole. You said that Amelia came first. Tell us a little bit about that sample and how that song came under, you know, your awareness to sample it. It's a sample from Elsa Gundo remix, Tramcoquist.

Left my wall in Elsa Gundo. Vampire Mixed. I was listening to it with somebody. I said, man, I said, what is that? And it just intrigued my ear. Stop right there because, like, that's the thing. I don't think people give enough respect to in this. game is what you're describing is not something that I doesn't have that that's not like a quote

unquote normal thing you noticed in a fraction of audio in the middle of an obscure you know remix it's not even the most well known the dance hall remix I mean I hadn't heard it I mean I know that record inside now and in that moment something grabbed you and you flipped it and it became this I think every producer that's the that's the brilliance of every producer yeah is there's something that they hear that intrigues them to push forward and create something. You know what I'm saying? Because something has to motivate you to actually start pursuing this as something

because it's time that goes into it. Every super producer, every creative producer, has something that intrigues them. Like, what intrigues me? It might not be the same for you. You know what I'm saying? Like you said, you heard that record before. But see, that's the thing.

You might hear stuff I don't hear. Right. But a through line in your careers, you're hearing fragments of sound that you grab and they have meaning to you. Yes, because my theory of it is like if I have a title, if I have a one word title and a vocal, something vocal that repeats, you already got the people. The mind works like that,

where it's like the simplest thing and a word. as powerful as a milly. We're in that society where money runs the world. So then on top of that, pitching a voice down, like the lower tone voices, women love.

All right. It's a science to this. Like, women, like, I noticed just observing women love low-tone vocal. They love it. It does something to them. And here's what it sounds like in the mix as a loop.

It's addictive. You just want to keep listening to that loop. That's so crazy. It's so good. And keep going back to the story you just told about hearing it go by in the song and then just having to go back to it and just having that be something you identified as having value to reuse in a new way.

That's crazy to me. I can't wrap my head around how your brain works. Thank you. No, I appreciate it. I mean, that's the point of producing to me. You know what I'm saying? Like, I'm fascinated by things that I hear that people sample. You know, I'm like, dang, you.

Like, my son, my oldest son, when he started making beats, and, you know, he's playing me to beat. And it's like, it's good. I'm like, man, we, we, we. you get that? Like, how'd you? You know, that's the intriguing part, you know what I'm saying? Like, the way people take things and mash it up. Before we get into Wayne's vocal, you pointed out that there's one thing I hadn't even

noticed, which is you. You're the, I guess, the fifth sound underneath Wayne on this track, or fourth sound. Yeah, I just sauced it up with some voice overdub, yelling, Oz and ooze and stuff. Let's hear some of those. This is Bangladesh. And here comes another one. Oh, oh, oh. I'll put it to the beat. Did you just go through the whole track

and make a different sound every few bars? These sounds are great. They add some flavor. Yeah, I like them sounds. I need to use them. And it's fun to know that you're on the track and no one else knows. Nobody knows it.

But now everyone listen to the show knows. And by the way, you showed some discretion because sometimes I always laugh when people put Airhorn on the studio version. Like it's always, it will forever be like a world premiere. I think I have Missy says, Do Keisha! It's like, it's always 20 years old now. But like, you know, you did not do that.

And I would like to give credit to Missy because, like, she, some of them ad lives is kind of influenced by her. Yeah, yeah, yeah. No, one of the absolute most influential people in hip hop. history just brought so much to it. Listen, we're talking about a millie. Let's talk about Wayne. Let's talk about the vocals that Wayne provided on this track. And let's just start, let's start at the beginning. A millionaire, I'm a young money, millionaire tougher than Nigerian hair. My criteria compared to your career just isn't fair. I'm a venereal disease like a minstrel. It's crazy that there's a song. It's just every, you know, you play this on to the state.

people know every single line. They know every single line of that verse. You know what I'm saying? I remember one of the first bonding experience I had with my eventual wife. I was at that nightclub. It was a really dead night. And she just happened to be hanging out in the DJ booth. We were just friends.

But I was playing that song because, you know, it's the Summer 08. Like, this song was every freaking where. Like, it was just, you could play it several times in one night. And we were just up in there, like, vibing out to the, and when you get to the part about the Maserati, we were just both of them just going like that. In the almighty power of that chichichia chappa sister, brother son, daughter for the motherfucker, coppa got the Maserati dancing on that bridge. And I was like, I might marry this lady.

I did not think that at the time. But it was an early, but you're the reason I'm married Bangladesh. That's cold. Connected. But yeah, seriously, you provided, you provided some fun times for a young couple. And you told us when you first heard this that there was no, to your ears, there was no hook. Is that right? Yeah.

I was kind of throwed off a little bit. As a producer, my expectation was something else. So your expectations, I learned over the years, like expectations can ruin something great. You can mess yourself up expecting something.

Right. You know what I'm saying? Or chasing that expectation too hard. Chasing it too hard or just expecting it. And you can be let down because it's not that is not good. It's just what you're, you expected is just overpowering what you're hearing or what you've seen, you know what I'm saying? So you can confuse yourself, you know what I'm saying?

So I think we're all let down with expectations, you know what I'm saying? Like it's a universal thing. So it's not that something is bad or good or like, you know, it didn't live up to what it should. It's just personal, you know what I'm saying? It's just different, right. It was different than what you had in my head. It's not what I had in my mind.

Right. So when I first heard it, you know what I was like, dang, like, where's the hook? You weren't in the room with Wayne, it sounds like that. No, I wasn't in the room with him. Yeah. He just took your track and worked with an engineer, came up with the, you know, wrote it, whatever, on the spot or whatever he did.

And then you got it, what, is it MP3, got emailed to you? To be honest, it got leaked is how I heard. I remember when this leaked. I didn't hear it coming from. them. They didn't say, here's the song I did. They didn't communicate that. I remember when this thing leaked, it was like on zip wire or

all those like things where, all those file sharing sites. It wasn't even, it was past that. It was like a period. It was like 06, right. Yeah, like you know, I think you were probably starting your blogger. This is 08. There's 08. This is O8. This is like SoundCloud, maybe.

SoundCloud, but they're, they're gone now, but there were like, you know, all these websites where when a song would come out, you could go on there and there was like a link and it would have like the title. It's definitely blogger. It's definitely big time blogger. Yeah. Yeah, I think hypebeats might have been around by this point.

Z share and link share. That's what I'm talking about. But it speaks to how important that mixtape period was for Wayne, when you could get a lot of those songs just straight from these kind of websites, that this album leaked online and it still sold a million in one week. You know what I mean? Like it speaks to where he's, was at, and then, like, it also, because on the strength of this song, you know, so many other good things happen, I don't even want to move on for the vocals yet. Can you play me a little bit of verse three? Because it has one of my favorite Wayne lines of all time.

They say, I'm rapping like Big J and two pack, Andre 3,000. Where is Erica by do act? Who da, who da, say they're going to be little wine. My name might be, but I keep that flame. That whole little part in there was always great to me. And by the way, this is at a point where he had started saying, I'm the greatest rapper alive, you know? And but, you know, where is there? To me, to me, I felt like he dumbed down his lyricability for this. Like, he...

Really? Yeah, it's not top tier. Lyricism. Lyricism. It's... Okay. Because, like, you know, when you're top tier lyricism, things go over your head.

I think the success of, of Millie is the kids can understand. Everybody can understand. You ain't got to be a rap fan to understand some of the things. He has, like, clever lyrics in there, but it's simple. You know, like, six foot, seven foot. He got more lyrical. But it fit the track is what it seems like.

Maybe this was the most appropriate. What he did for the track clearly was the right thing to the track. That's what I'm saying. So my expectations, weren't, I probably would, I probably would have ruined the song with. If you try to push him on the lyrics or the push him in, push him on the hook. Do it. You know what I'm saying?

I probably would have ruined the success of it. I think the way he approached it and the way he treated it created it created the success. You said in an interview, the song is what makes the beat makes sense, which is exactly what you're saying. Like, that's so philosophically, that's like profound. It's like the beat is the beat. You're making the beat. And then the vocalist, which may be a Beyonce or Loewain,

it could be a song, which is different from a rapper. But it comes together very specifically as the marriage of those things. Yeah. So I love that. I read somewhere in an interview where you said, you think Loewen still has his thriller inside him. You know, you said, do you think he's still got a thriller in him? Do you still feel that way?

Absolutely. Yeah. Only if the hunger's still there. Yeah. But as far as like the career and the projects he's put out, I don't feel like he's conceptually put a complete body of workout that has substance. A lot of it is like metaphors and bars.

Like we all say, oh, he's like the greatest rapper. Like he said this. But what is he saying? That's what you're saying? Like, what is he? Is he talking about something real? You know, that's, that's, you know, I think I was more into cadences and lyrics in my earlier days of life. Yeah.

The creative thing, oh, like how it bust around flipped the words, but, like, as I got older. You need substance. I need substance. Like, nobody telling you none. Like, when, when 50 cent. Get Richard Dye Trine came out. He's not like the top-tier lyricist. It's like Tupac.

You're not top-tier lyricist. Oh, I always say that. But they're like giving you substance. They're telling stories. They're making you feel it. You know what I'm saying? They're like it sounds real. It sounds like life situations or painting pictures of things.

Not really all the time storytelling, but it's, It's like something somebody went through or something you can feel. And it, you know, it could be hard for him to do this because he's been in the music business since nine. So he wasn't. He's tired. Wasn't outside. Yeah. What did he really live up till zero to nine, you know, to really talk about something?

You know what I'm saying? So I could be asking for too much from somebody that, you know, we talk about people that actually, you got to, people that can give you that actually live life. Well, don't forget, Michael Jackson got in the game pretty early too. So for that analogy. Yeah, but he had Quincy Jones. Yeah, he needs his country Jones. See a lot of, a lot of artists isolate themselves.

Like, he's going in there just him. Yeah, yeah, yeah. He's just picking the beats he wants and he's rapping over. You know what I'm saying? And rappers, and rappers, just like singers, they can make anything sound good because they rap good or they sing good but is it good?

That's the talent versus creative that you were saying earlier. Is there a message? Is there meaning? Is there substance like you're saying? Like how long is this going to last? Like it could be like intriguing for the first couple of listens

because you might not have heard that bar before or something like that. But does it connect emotionally? Yeah. Let me ask you, who do you think is putting out music like that right now? Who do you listen to when you want hear substance. For the

mainstream artists, I would say Kendrick Lamar. The album that people said was his worst album, Mr. Morale. I used to get chill bumps listening to that. My kids love that album. You know what I'm like? Like, the hair will raise up on my arms.

Just listening to the substance of it. Jay Cole has substance. I don't really listen to Jay Cole too much, but I feel Like, if I had a Jay Cole, if I had access to Jay Cole and could, like, present him with a track or some tracks that I feel like, man, just do this, it will go up.

It'll be as Quincy Jones. It'll go up, you know what I'm saying? Well, Jermaine Cole is listening. Open invitation. Sir, what do you think the legacy of Amelie is? It's really not what I think. I just I just watch what's happening.

I'm just observing what is doing. It just hit is 10 million mark. It's diamond. Diamond status, y'all. 10 million. That means 10 milly. Yeah, that's an accomplishment within itself.

Then I see people rank a million as like top five greatest hip-hop songs of all times. That's not me saying that. That's what I see. You know what I'm saying? So, you know, I don't really judge my own thing. I like everything I do.

I'm just biased to that. You come across as a very, like, in a good way, a very humble person. Yeah, yeah. I'm a humble person. You know, I do me and present it and where it falls and falls. And my whole career, I've been blessed to overachieve. Well, listen, before we end the show, we want to play a game with you. It's called What's One Song? Here are the Rules.

We'll ask you a question, and you'll give us a one-song answer. Answer as quickly as possible. Don't overthink it. It's just like, we'll ask the question and then just like throughout the first song that pops. Okay. So what's one song that reminds you of growing up in Iowa? Hip-hop parade. By naughty by nature.

Yeah, I think just because it was a pop record. KG made pop records. Yeah. He really made pop record. It was one of the first. Top 40 song, you know. What's one song that inspire you to make music? Outcast, Southern Play, Alicit, Cadillac music.

Great song. What's one song that you think changed hip hop? In a good way or bad way. Either way. In a bad way. In a bad way, in a bad way, I would say in a bad way, I would say there's a period of, there's a time period of Atlanta sound when a land. I had the way, like when they have, they still might have it.

The swag era. Okay. The wave, the swaggy. Are you about to say swag surf because we are going to wrestle? The swag rap. Swag rap? I feel like. Party like a rock star?

Those are anthems. I'm not going to put those in there. They're more like the SNAT era. That. Oh, man. Come on. That was a great era. I mean, we got

we got Shardy Lowe out of there. Shiloh was great. We went more street when he went solo, but Dano. Yeah. Yeah.

Great song. Day know he's a great song. Great song. But I feel like that era, I know like the ringtone era, too. People were not like what I'm saying.

But there was something about the beats. They was thin. And it was like, It's just a little cheesy for me. It was supposed to ring out on a Nokia phone. You know, that was the whole play. The songs weren't really about nothing. Like, it was just street dudes dancing.

It wasn't really... The big white tees? I just didn't understand. That's fair. So in a bad way, in a good way, I feel like a milly changed the game. I would agree. In a good way. What's one song you like to drive around to?

Mini Man, 50s. What's one song that always gets the party started to this day? A milly. That's true. The answer to all these questions is actually a milly. And finally, what's one song we have to break down on a future episode of this show, one song? DJ premiere, a song that he produced. I feel like premiere and Alchemist, right?

Back then, where the greatest hip-hop commercial, like, their songs will be on the radio. their songs be lead singles. Like, they had an era where they're really chopping and, like, going through the process of producing hip-hop records that actually are commercialized. So commercial, but so underground at the same time. So underground at the same time. I think my favorite DJ premiere, come clean, J. Rood.

survive, get locked, catching three. That's a good one. You don't see that one coming. Yeah. Thank you so much for coming through, man, playing our games, spending some time with us. What would you like to tell us about, you know, as far as, like, is there anything you want to plug?

Is there an artist that you got coming out? Like, what would you like to tell our listeners that they should keep an eye out? Yeah, just keep an eye out on my, I'm working on fashion. You know, I'm designing clothes. And to those watch on YouTube, you can see the man is decked out. I was asking, who made that jacket? Yeah, I have, I have clothes, I have a clothing line,

and I have merch. And to go with my merch, I have music. I have a body of work to, for the backdrop of my merchandise and my clothing line. This jacket, like you said, like the inside line is embroidered with my logo. This is my merchandise right here. This is a two chain with five Grammys on it because I got five Grammys. There you go. You know, and it's called Lopster Mango Vucci.

And what does that mean? What is that? So it's just something I came up with, but you know, the lobster is like a symbol of the bottom feeder, right? Mm-hmm. But it's a delicacy on earth, you know what I'm saying? So it's from the top to the bottom type thing, you know what I'm saying? Yeah, yeah. So the mango is just, you know, refreshinging for the body.

You know, I just threw that in there. And the vucci kind of sounded like a real meal, you know, lobster mango vuchi, you know what I'm saying? The vuchi just played off the Gucci. The V for the for the for the for the for the female you know so like I said like let me stand up. Um, you're going to get these jackets like this, but he's got pants. And I was going to wear the pants today, but I didn't want to do too much. I ain't want to do it perfect. You didn't do too much.

Not too little. It's the right amount. It's the right of suit. I got these in yellow. Yeah. And we can find all this on the website, right? Yeah. Give us the website.

You can go on my, um, my IG, bang. Bangladesh Productions. Okay. And go to my bio link, and the website will pull up. Okay. So Bangladesh Productions on Instagram. Yeah.

Link is in my bio. Link is in the bio, right to order some merch or some clothing. And we're going to be listening out for some new music as well. Absolutely. And I also have a song out with Kayling Castle. It's called Big Pressure. Big Pressure.

I remade the. the rhythm, showtime rhythm. I also have a song out called Doe, which is my song featuring Brea Biasi, new artist out of Atlanta. Okay. So, yeah, those are my personal records that I'm presenting to the world.

Very nice. All right. Well, thanks so much for coming on our show on one song. I too. Thank y'all. I appreciate you for having me. It was fun. We learned so much.

Oh, yeah. We learned a lot today. All right. And as always, you can find us on Instagram and TikTok. You can find me on Instagram at Diallo, D-I-A-L-O, and on TikTok at Diallo-R-R-Y. And you can find me on Instagram at L-U-X-X-U-S-U-R-Y and on TikTok at Luxury X-X. And you can also follow OneSong.

It's got his own Instagram account. It's at One-Song podcast on Instagram and TikTok for all that exclusive content. You can also watch full episodes of OneSong on YouTube and Spotify. Just search for One-Song podcast. We'd love it if you'd like and subscribe. Also, be sure to check out the One-Song Spotify playlist. for all the songs we discuss in our episodes. You can find the link in our episode description.

That's right. And if you've made it this far, we think that means you like this podcast. So please don't forget to give us five stars, leave a review, and share us with someone you think would like this show. It helps keep the show going. All right, luxury, help me on this thing.

I'm producer, DJ, songwriter, and musicologist luxury. And I'm after writer, director, sometimes DJ, Diala Rittle. And this is one song. We'll see you next time. This episode was produced by Melissa. Edwainez. Our video editor is Casey Simonson. Our associate producer is Jeremy Bimbo. Mixing by Michael Hartman and engineering by Eric Hicks. Production supervision by Razak Boykin. Additional production support from Z. Taylor. The show is executive produced by Kevin Hart, Mike Stein,

Brian Smiley, Eric Eddings, Eric Wael, and Leslie Guam in the heart of Hollywood, California.