Song Exploder - Hit-Boy and Nipsey Hussle - Racks In the Middle (feat. Roddy Ricch and Hit-Boy)

Episode Date: January 14, 2026

Hit-Boy is an award-winning producer and rapper from LA. He’s one of my all-time favorite producers, from “Backseat Freestyle” by Kendrick Lamar, to “Sicko Mode” by Travis Scott, to tracks he’s made for Beyonce, Nas, and the Jay-Z & Kanye album Watch the Throne. So I was really excited to talk to him, and when I asked him which song from his incredible catalog he wanted to talk about, I was really moved by his choice. He picked “Racks in the Middle” by Nipsey Hussle, featuring Roddy Ricch. Nipsey Hussle was a rapper and community activist from LA whose career was cut short, tragically, when he was murdered in 2019. He’d released just one album, Victory Lap. “Racks in the Middle” was the last song released in Nipsey’s lifetime. It went platinum, and a year after his death, it won the Grammy for Best Rap Performance, in 2020. This episode features a few short clips from a video that Nipsey Hussle made for the website Genius, back in 2019. There’s a link to the full video that he made in the shownotes. But here in the studio, to tell the story, I spoke to Hit-Boy about how “Racks in the Middle” came together.To learn more, visit songexploder.net/hit-boy.

You're listening to Song Exploder, where musicians take apart their songs, and piece by piece, tell the story of how they were made. I'm Rishi Kesh Hirwe. This episode contains explicit language. Hip Boy is an award-winning producer and rapper from L.A. He's one of my all-time favorite producers, from Backseat Freestyle by Kendrick Lamar to Sigomode by Travis Scott, to tracks he's made for Beyonce, Nas, and the J-Z and Kanye album Watch the Throne. So I was really excited to talk to him, and when I was really excited to talk to him, and when I was made for him, he made for him to make sure. I asked him which song from his incredible catalog he wanted to talk about, I was really moved by his choice. He picked Racks in the Middle by Nipsey Hustle featuring Roddy Ridge.

Nipsey Hustle was a rapper and community activist from L.A., whose career was cut short, tragically, when he was murdered in 2019. He'd released just one album, Victory Lap. Racks in the middle was the last song released in Nipsey's lifetime. It went platinum, and a year after his death, it won the Grammy for Best Rap Performance in 2020. This episode features a few short clips from a video that Nipsey Hustle made for the website Genius back in 2019. There's a link to the full video that he made in the show notes. But here in the studio to tell the story, I spoke to Hip Boy about how racks in the middle came together. And I've been riding solo trying to rebuild. I was right around in the V-12 with the racks in the middle.

Had to pray to Almighty God they let my dog out to kill him. When you get it straight up by the mud, you can't imagine these shit. I've been pulling up in the drop tops with the baddest. Yeah, yeah, I go by the name of hit boy. I'm on YouTube a lot. That's why I discover a lot of new artists and just new music and what's going on. So, uh, Riding Rich, he had a song called Die Young. This is before he was signed or anything.

Like, he was just like an independent artist doing this thing. And I just kept playing Die Young every day at the studio. I would just come in, watch the video, show it to people, just share it. And I was just like, yo, this song was crazy. This kid is about to go, you know. insane in the industry. What about that song spoke to you so much? It was just raw.

It was just real, authentic, you know, and that's what I respected. So I had a homie named Knowledge who was doing some A&R work at Atlantic, so he knew that I was a fan of Roddy, and I was working at a studio called Chalice. That's in West Hollywood. And Knowledge told me that Roddy Rich would be at Chalice working with Future. I didn't know if I would meet him. But I was like, man, Roddy is over here. So let me just make a beat in that Roddy vein.

Just in case I get that moment where it's like we connect. Like, you know, I can play him a beat. That's like I know almost for certain that he'll like. When you're looking for the next thing that you're going to work on, how do you decide who you want to make a beat for? Man, honestly, a lot of my hits came from me not actually making the beat for anybody. You know, it's just like having fun with it. So I never even actually meant to be a producer.

Like, I just was, like, rapping. And the kid that I was in a group with made the beats. Set down at his laptop one day. And I'm like, yo, this is fun. Like, prior to I started making beats, I would play video games every day after school. And I look at production like a video game. The blocks looking like Tetris. That sound communication with the visual is like, it's a video game to me.

And it still is to this day. Just clicking these blocks. And it's like I just developed into me a visual. obsessing over it. So how did that change? Like, how does that work for you when you're, like, still trying to follow your own compass, but you also have an artist's time? So this is the thing.

I really get charged up, and I'm able to crank out a lot of beats when I know I have a specific artist coming. Like, if I know they're coming to see me, that puts a battery in my back. Like, it's just more inspiration when you know, like, oh, Jay-Z want me to come through, Kanye want me to come through Beyonce, whatever, you know. I knew Roddy Rich was across the way. So I'm like, let me make something that kind of feels like a progression of what Die Young is. You know what I mean?

I was such a fan of that song and a fan of him off of that song. I'm like, I would like to make something with him that I feel like could fit in that world. And so when you have that idea in mind, where did you start? So I started with shout to my boy Corbitt. I produced a lot of stuff with him. And he gave me that main choir that pretty much goes through the whole song. And it was at like a different pitch and a different tempo. I just took it, finessed this, you know, looped that up, and then just built off of that.

How did that original sound from Corbett come to you? Corbett just sends me packs hundreds of sounds, folders. It's like, I'll just wake up to a weed transfer, just a bunch of sounds, and, you know, I'll just kind of load them up. And as I'm cooking, sometimes I'll try to drop stuff in and see how I can finesse the music into what I'm doing. And that was just a loop that I had. And when I just felt that initial feeling, it's like the harmonies, the blend, how he did it, the reverb on it, like everything just felt haunting West Coast, but it just felt good at the same time. Then Corbett actually came and added some more, like this little pluck key synth thing.

Then my boy, G Dave, came in and did the bass line. We programmed the drums together. It was kind of like a co-production in a real way. You get a bounce on the drums, like all of them sounds, it's like a factory and everything is just working together beautifully. The counter lead, like got that wobbly sound to it, kind of pitchy.

That's like a synth out of omnosphere, keep the momentum up and keep the melody moving. What was your intention? What are you hoping to bring out with sounds like that? Just what sounds like it's still in pocket, but just sounds weird as possible, you know what I mean? Just like, let's just keep taking it into outer space.

One of the first things that we hear in the song is your hip-boy producer tag. I was just wondering if you could tell me more about that. Like, how did that come about? I had that tag maybe since like 2018. I was using my tag a lot at that time because I felt like I had spent so much time before that prior years to this song coming out and prior years to where I was at that time in life. I was just like giving away a lot of beats, basically made nothing off those beats.

And so, man, I was like, yo, I missed all them. years when I could have my tag on big beats, you know. That's so interesting. I mean, because I'm somebody who always looks at the liner notes. So I always, all my favorite songs I know who produced. So it's never occurred to me to think that you missed out on anything by not having a tag. Yeah, because that's where the game went, you know. Mike Will made it.

But DJ Mustard, Metro Boomin, they all started getting invited to festivals to DJ because they had songs on the radio. They had their tags on it. They started getting extra money because they had their, branding more out there and it's like, damn, I feel like I had missed that window. Because I used to be like, imagine the niggas in Paris had hit boy in the beginning. I probably, I don't even know where my life will be right now. You do I mean?

So the whole day goes by. It's maybe 12 a.m. 1 a.m., something like that is late. And my boy, knowledge, come knock at my door. He's like, yo, Roddy want to say what up? He about to head out, but he just wanted, you know, meet you. So he came in my room, just said, what's up? You know, I told him I was a fan and respect. He was doing and seeing his movement going crazy.

And before he dipped, he had his backpack on and everything. It was literally like the peace-out moment. I was like, let me play this beat. He was like, man, let me try something to it. Load it up. Did the hook? The same day. Right there on the spot.

I was right round in the V-12 with the racks in the middle. Had to pray the almighty God, they let my dog out to kill him. When you get it straight up by the mud, you can't imagine these shits. I've been pulling up in the door. Drop tops with the baddest bitch. Young nigga been focused on my check. Got a new coop wrap around my neck. Trying to put the water on my patake.

I got killers to the left of me. How did that feel in that moment to have the artist come in and record something great right away? Following my intuition is led to most of my success. And that one was like jackpot, you know? So he laid the hook. He did a whole verse to it, actually. The next day, I'm playing a song.

Everybody's going crazy. My whole team, we're like, yo, I was thinking about putting out a producer album, kind of like a Khalid-esque lame, just creating collaborations. So I was like, this could be hit boy featuring Roddy Rich. And let's possibly get somebody else on it. I was thinking about who it could be, thought about Nipsey, and it just so happened that Nipsey wanted to get in with me anyway. It had been a while since me and Nip connected,

because we worked on other songs. I worked on mailbox money. I did a song. with him and Rick Ross called a hundred a show. And we always had a rapport, had a respect for each other. He had rapped on one of my songs called Alert back in, like, 2013. And I'm like, man, I got to take advantage of this relationship, man. I got to get this dude a real bangor, a real hit, you know.

Do you remember how you two first connected the very first time? It was a song called Thugging. I think this might have been in 2008, 2009, something like that. But yeah, once we reconnected, I'm like, yo, man, I just had a point to prove at that point just for myself. Like, I just wanted to make as many bangers as possible for all the artists that wanted to work with me. So we linked up. I played Nipsey, Racks in the Middle.

He was like, yo, run that back. I played it for him again. He was like, bro, I need this song for my next album post-Victory Lap because he was working on that for years. Like, yeah, I was his only album. And he was like, this song Racks in the Middle can help me usher in my new wave, my next moment leading it up to the new album, you know. So I just, you know, on the spot, I'm like, cool, let's do it. The story of racks in the middle continues after this. I have a new album of my own coming out on April 24th.

It's been about 15 years since I last put out of full length. And this is the first one that'll be out under my own name, Rishy Keish Her Way. I started making Song Exploder when I was feeling lost in my own music career. And then for over a decade, I've gotten to have these incredible conversations about the process of making music, talking to other artists. and it made me completely rethink my relationship to music and my way of writing songs. And this album is the product of all of that. It features contributions from some of my favorite artists, including some folks that you may have heard on this podcast,

like Iron and Wine, Kevin Morby, Vagabon, Fenlily, and the producer Phil Wine Robe. I'm going to be on tour playing in cities across the U.S. starting in April, and I'm trying to bring the spirit of the podcast with me. So every show that I'm playing will begin with a conversation about the album with a different amazing guest moderator in each city, like Adam Scott, Samin Nasrat, Jason Manzukas, Josh Molina, Minjin Lee, Ken Jennings, John Roderick, Austin Cleon, and more. They're all going to be my conversation partners on stage,

and then I'll play with my band. The album is called In The Last Hour of Light, and the first couple songs are out now. You can listen to the music and get tickets for the shows on my website, Rishikash.co, or just go to SongExploder.net, slash live. That's songexploter.net slash live. Thanks. Nipsey and Roddy was already cool, you know what I mean? So they have respect for each other and everything just made sense. Here's Nipsey Hustle talking about when he first heard what hit boy

and Roddy Richard made. Just the way it dropped, it sounds new, but it was banging. I got killers to the left of me. Then when I heard what he was saying, I had a song in my head for it already. I know the story he's telling and, you know, the place he represented, I know about that place, so I understand it. So he muted Roddy's verse and he kept the Roddy hook and he ended up putting three verses on it. We was lurking on her. They show no mercy on her. We just going back to back. We put a curfew on her. It was dark clouds on us, but that was perfect for us. We know you always crash and burn, but it was working for us. Nipsey was one of the realist's a guy.

guys I ever met, very authentic, very gangster. Hold up, let the beat bill. See me in the street still. I've been fighting battles up a steep hill. He did express to me that he wanted people to know, like, he's more than a rapper. Like, he's a great songwriter, you know, and that's the people I connect with the most. You know, some people can rap. They can go on a radio on freestyle for 20, 30 minutes, and it could be amazing.

But you put them in the studio, they can't make an interesting song, they can't pick the right beat, whatever it may be. Man, I feel like you gotta have some producer in you, man. Like, you gotta be able to pick the right beat, the right pocket, the right tempo, understand melody. It's not just about, like, let me just get on here and say the dopest punch lines. And you know, that does work for some people. It could work, but to have a song with replay value that you want to start over as soon as it ends, like, it gotta be something that catches your ear from the time it comes on until it goes off.

And some people just like, you know, don't know how to do that. Under no condition, would you ever catch me slipping? Motorcade and shoot him plus the Mayback chauffeur driven. If they catch me with it, don't send me off to prison. Judge ain't sympathizing. Court don't show forgiveness. As Nipsey was recording his parts, what were you thinking about while you're listening?

Were you thinking about his vocal delivery or the music? What were you focused on? Like how to elevate the production to where the song is going, you know what I mean? It was a lot of post-production, especially, tours once the song starts to progress. I love that little transition, that little reverse guitar. And I love the part in the verse when the drums change. The drums are there, but they're filtered and just like what he was saying on that part.

I just wanted people to hear him, you know what I mean, instead of being distracted by with the hi-hats or the drums are doing it, just like take the highs out of the whole drum track and just let his voice be the main cadence for that part. When he talked about his friend Fats dying. I wish my nigger Fats was here. How you died 30-something after banging all of them years. He was in my studio. H hoodie wrapped up, tied up around his head.

He had tears coming down his face as he was writing the first. Fats, you know, that's one of my best friend. One of the people that really believe that we could do something else beside Gang Bang. I feel terrible that I can't. I'm the one that just get to feel it. Fats don't get to feel it. Grab me nominated in the sign of shedding tears. All this money power of fame.

I can't make you reappear, but I don't wipe them, though. We just embrace the only life we know. I was really emotional rapping them layers. That's why I said, but I don't wipe them, no, because that shit was running down my face as I'm rapping. I'm in the studio with Hit Boy. I felt embarrassed to be tearful in front of people, but then I reassure myself because that's really from the heart, you know what I'm saying?

That moment, just like when I think about it, I get the chills. It's like him losing his life not long after talking about his friend, losing his life, unbelievable, man. Man, I definitely go back into that time. I see everything, the mixing session, the recording session, him with the hoodie wrapped around his head, him sleep in the car. I feel everything. How long were you two working on the song together,

and how long did it take for it to come out? This wasn't just made in the day. It was maybe like an eight-day process of him, like, coming, starting the first verse, didn't finish it, boom, come back the next. next day. Tell me he's going to come back the third day. Don't show up. The fourth day, he doesn't tell me he's coming. Did he shows up? It was just a process of us really turning this song out and just taking our time. He took his time to really put those three verses together masterfully. We dropped the artwork for this song right after the Grammy. So he was

nominated for Victory lap at the Grammys and he lost to Cardi B. And then the song, I was a part of that year, Cicomo was nominated, and that did not win either. And so basically, somehow we like both leaving the venue, Staple Center, boom, we meet up. He right here, I'm right here. It's like, damn, that's crazy. He's like, man, let's drop this artwork. We're going to drop the song like tomorrow or a couple of days, whatever it was, and let's go crazy. I knew that the record was going to be powerful. And so I think we put this song out first week of February, something like that. Not much time went by after that song, drop and he was murdered.

A lot of hearts are heavy today because Grammy-nominated hip-hop artist Nipsey Hustle was fatally shot yesterday outside of his clothing store. Fast forward the next year at the Grammys, we win, but he's not there. So it's like super bittersweet. And now here's Racks in the Middle by Nipsey Hustle featuring Hip Boy and Roddy Rich in its entirety. Yeah, yeah, yeah. I was right around in the V12 with the racks in a middle. I was riding round in a V12 with the racks in a middle. Wow. Yeah, yeah, yeah, yeah. Yeah. I was right around in the V12 with the rack's in a middle. Had a pray to Almighty God

They let my dog out to kill him When you get it straight A bind the mud, you can't imagine these shit I've been pulling up in the drop tops With the baddest bitch Young nigger been focused on my check Mm-hmm Got a new coop wrap around my neck

Trying to put the water On my potato I got killers to the left of me Where's lurking on her They show no mercy on her We's going back to back We put a curfew on her It was dark clouds on us

But that's perfect for us We know you're always crashing burn, but it was working force. Lemont tip to V-12, double-check the details. Got to cross my tears and die my eyes or I can't sleep well. Millions off of retail, once again I prevailed. Knew that shit was over from the day I dropped my pre-sail. Hold up let the B-bill. See me in the street still.

I've been fighting battles up a steep hill. They gave my road door 12, it was a sweet deal. And I've been riding solo trying to rebuild. Look, I was right around in the B-12. with the rags in the middle. Had to pray the almighty God they let my dog out to kill him. When you get it straight

to buy the mud, you can't imagine these shit. I've been pulling up in the drop tops with the baddest bitch. Young nigga been focused on my check. Got a new coop wrap around my neck. Trying to put the water on my potato. I got killers to the left of me. Yeah, look, under no condition.

But you ever catch me slipping? Motor cater shooters plus the Maybacked chauffeur driven. They catch me with it. Don't send me off to prison. Judge ain't sympathizing. Court don't show forgiveness. Engine in the Lambo, drowning out the music. Silt Björ with the flowers, five gold cubas.

Champagne while I shop, hope I splurge foolish. Closing escrow twice this month, both commercial units. Damn, I wish my nigger Fass was here. How you died 30-something after banging all them years. Grab me nominated in the sign of shedding tears. All this money pie of fame and I can't make you reappear. But I don't wipe them, though. We just embraced the only life we know.

If it was me, I'd tell you, nigger, lay your life and grow. I tell you finish what we started, reach them heights, you know. Gas the V-12 to the pipe and smoke. I was right around in the V-12 with the rags in the middle. Had to pray the almighty God, they let my dog out to kill them. When you get it straight up by the mud, you can't imagine these shies. I've been pulling up in the drop tops with the baddest bitch. Young nigger been focused on my chicks.

Got a new kook wrap around my neck. Mm-hmm Trying to put the water on my potato Mm-hmm I got killers to the left of me Another million dollar bill That's just some regular shit See my granny on a jet

Some shit I never forget Next day we flew to Vegas With my boomer connects You break bread We ain't knew the success Blade music invests Enterprise take lucrative steps Cold game but I knew it was chess

As a youth in the set Learn the game, you're a student at best But it's a couple things you can expect Just like money, no money, niggas shooters respect Other shooters, we were both doing my crew on your neck I'm on the freeway in the drop, it got me losing my breath Do the dash with the blues on the deck To learn more, visit songexplor.net.

You'll find links to buy or stream racks in the middle, and you can watch the music video. There's also the video that I mentioned earlier from Genius where Nipsey Hustle breaks down the lyrics of Racks in the Middle. This episode was produced by me, Craig Ely, Mary Dolan, and Kathleen Smith, with production assistance from Tiger Biscop. The episode artwork is by Carlos Lerma, and I made the show's theme music and logo. Special thanks to Alon Zecre for his help with this episode.

Song Exploder is a proud member of Radiotopia from PRX, a network of independent, listener-supported, artist-owned podcasts. You can learn more about our shows at Radiotopia.fm. If you'd like to hear more from me, I write a newsletter where I write about the making of some of these episodes and about music, and film and the creative process. You can find a link to the newsletter on the Song Exploder website. You can also get a Song Exploder shirt at SongExploder.net slash shirt.

I'm Rishi-Kesh Hereway. Thanks for listening. Radiotopia.