Another One To Get Jealous Of

The dude Jermaine Dupri used to dance for Whodini, you pop tarts. Fix your face and show some respect.

Until now, you and Jay-Z hadn’t worked together since “Money Ain’t A Thang.” Why is that?
I know when two people get together and make a record and then they just leave it alone people think it wasn’t no magic there. I felt like “Money Aint A Thang” was like magic. I’ve been telling Jay like, “Let me do your album, you’ll sell way more records than you ever sold.” I kept pushing it. We’re going to the club and every time we in the club, they play that record and I remind him—10 years later and they still playing that song, so I guess it kinda got embedded in his mind. He called me to work on this record.
Think a lot of people are shocked about the type of records you contributed to the album. Especially “Fallin’”?
Yeah, I don’t know why. If you listened to Life in 1472, that’s what that album sounded like my records sounded like that type of music. But people pay more attention to the production on Usher and the more pop R&B records that I do than that type of stuff, so I guess that’s what it is. But what I did was, I went to the studio and he played me a lot of his records. I couldn’t really duplicate what he already had going on and I really wanted to be on the album so I had to figure out my role.
Did you know right away that you nailed it? Did you try different concepts first?
Nah, you never know as a producer whether you got it or not. But that [“Fallin’”] was the one I’d been working on the hardest. I was in the studio all night—and I just start coming up with the hook. Once I came up with the hook, I kinda felt like I was going to fight the issue if he didn’t really like it. But you got to understand, it wasn’t a fight with him. He knew the story—everybody know the story. You can’t be a gangster without the excitement of the fall. The rise is crazy, but it’s the fall that’s big. If you see the headlines it’s always the “Rise and Fall” so I felt like the “Fallin’” part—that’s it. Perfect. The hook and everything. It just let you know what the story was about and where he’s about to go.
How does the hook go again?
“I know, I shouldn’t have did that/I know it’s going to come right back/It’s probably going to destroy everything I made/It’s going to probably get your boy sent away/But this the game we play it ain’t no way to fix it/It’s inevitable, I’m ‘Fallin’.” The mindset of it was when you are a gangster, it’s one thing you always do—they make one bad move and your life is finished. And I don’t care what it is. Especially when I watched the movie, in the movie, Frank wore that fur and that was the beginning of the end and that’s where I wanted Jay to start his verse from. Once he saw where I was going with it, it was easy.
So it was like you was helping Jay tell the whole story. You helped the sequence of it—
Well, that’s pretty much how I work as a producer. I always tell people like I make suits for people as opposed to just making beats. I make custom made suits. What I made was the ending part of his story. I wouldn’t have made that if I didn’t listen to the records though. I don’t believe that.
What’d you think about the Puffy/Hitmen stuff?
I thought it was great and it definitely put me in a mind set of where I wanted to be. “Roc Boys”—that’s the song I left the studio singing. I left the studio with that song embedded in my head. Like, just all—every part of the song. When I left the studio the first night we got there, I pretty much had a clear vision of what I needed to make in order to make this album.
You’re used to controlling your sessions, but here you were going into a different environment.
Yeah it was a little weird ‘cause I work in my own studio all the time, so for me to go to New York and then to be in the studio where everything’s going on. There was like three people making beats in the studio at one time. That never happens around me. It was my crew, No I.D. is a So So Def producer and L-Rock so all three of us came to New York to work on one record. And then we just started separating. No I.D. got in a corner and start making a beat on his computer. I was in my headphones—and we all had to put our headphones on because we was in the same room where Jay was basically playing music for everybody that came by the studio. So it’s like Lebron and his crew was in there and they were getting a listening session at the same time we was making beats. Jay kept asking me if he was interrupting me or was he—or was I able to concentrate—of course I said no ‘cause I didn’t want to stop what he was doing, but it was awkward for me. Still it put the pressure on me to make the record I made.
How did the relationship develop between you and No I.D.?
He came to me as a person and was just like I wanna learn how to become more involved in projects. I think he felt that ‘cause he found like Kanye and Lupe—them people from Chicago all came from No I.D. basement. I think the one thing I talked to him about was just him learning how to take control of that. because you cant get nothing from telling people, “I found Kanye.” You can’t win by that. That’s cool you found him, but why you ain’t keep him? That’s the question I had and that’s the question everyone else had. So when he came around me, I just started showing him how to build his situation as well as getting him on projects and making sure people respect who he is ‘cause dude is definitely one of the realest producers out there and he got more knowledge in the game than damn near everybody. He taught a lot of producers how to make beats, but at the end of the day he didn’t get the credit for it and a lot of the artists didn’t even know. He’s a quiet dude, but I try to bring him out as much as I can. No I.D. be going on an island sometime hiding. But I try to keep him out and keep him in the mix as much as possible and keep him working ‘cause he got a lot of crazy beats.
The “Success” joint is going to shake a lot of people up.
I’m a give you the play by play of what happened when we was in the studio. That session came from when we was making “Fallin’.” I played that song for Jay and it was like a joke in the room, who else had something. So then No I.D. was like, “Yo I got something” and Jay was like, “You ain’t got nothing!” Then Guru listened to it through the headphones and listened to what No I.D. had and his face started to crinkle up. I was happy ‘cause that was a bright moment for No I.D. to really let these people know who he is ‘cause he does this all time. Like I’m not surprised you came up with a beat like this, you got a hundred beats like this. People don’t know him and I believe after this record people are going to be like, I need No I.D. on my album.
So that’s really your producing partner-in-crime?
What I do, I provide the vision for him. Like when we did the Bow Wow record, “Let Me Hold You,” I gave him the type of vision I wanted and we put that record together. That was the beginning of our relationship and from then on, we’ve been making records. So when me and him go in the studio, I provide what were looking for and the ear for it and he’ll definitely go find it and put it together and the whole movie comes together like that.

  • http://wmdeez.wordpress.com nation

    how did this gremlin bag Janet Jackson. how crazy, delusional or depressed can one fine piece of ass possibly be

  • http://www.myspace.com/shawnlawrencejames Shawn Lawrence James

    yo holler at me

  • john

    why aint you ask him why he beatjack ski? everyone saying fallin dont sound like a jd track. thats cause it isnt.

    say thats not the truth.

  • Colron

    That was a real ass interview. J.D. do stay winning. More like Puff than Dre, but he stay winning.

  • N.O. 4 life

    XXL MAG also known as the official american gangster fan site

  • dronkmunk

    All these articles and hullabaloo and then album aint even all that good…

  • HATERADE

    @ NATION, MAN I WAS THINKIN THE SAME THING, HOW THIS LEPRCHAUN,SHIT STAIN LIP, MUTHAFUCKA GOT MS. JACKSON….FUCK IT IM HATING, HE COULD HAVE ANY OTHER BITCH I WOULDN’T CARE, BUT JANET, HELL NAW…AND 2 ANY OTHER FUCKA SHE WOULD HAVE KICK IT WIT, OH YEAH, MY COUSIN SHOULD HAVE BEAT YO ASS IN LENNOX MALL’S PARKING LOT, BUT U DIDN’T WANNA STEP NO WAY, JUST STOOD THERE LOOKIN STUPID, BITCH

  • Bmore

    Elliott,

    Though i like these in-depth, undercover looks at the making of albums – I wish you would do this for an album that is actually worth the coverage. I’ve heard American Gangster and guess what…? It’s not that good. It’s just not. It’s another avergage album that happens to be made by a legendary artist. Why don’t you do an in-depth piece on an up and coming artist that has a buzz and needs the extra coverage? Actually i know why…because that won’t move units, will it? But i thought that you were a real journalist? Are you? You seem to only care about who you think will sell you a few more copies. And at the end of the day i realize that is what it’s all about, but don’t you get a bit tired of being pimped by Harris Pub? Guess not. I guess you’ve resigned yourself to being just like the industry you cover and jumping on anything that you think will get you ahead, regardless if you truly believe in it or not. At least i know where you stand.

  • Ty

    YN, good job with the “softball” type questions.

  • Pingback: THE PRODUCERS ON AMERICAN GANGSTER « MY HANGOVER

  • Pingback: Nah Right » Blog Archive » No I.D. & Jermaine Dupri Talk American Gangster

  • oh yeh

    yo every one listen to track 11 say hello on american gangster, then listen to track 07 on playaz circle – supply and demand, and tell me if jay is jackin beatz or producers selling same beatz.

  • H-LO

    Thanks a lot for this making of series!

    (or maybe I should wait with saying this, cause a year ago you guys got my mouth watered on the Kingdom Come album, too and everybody knows how it came – ok, to be fair, the just blaze tracks still do it for me , but still)

  • bongolock

    thanks a lot for this. i like the behind the scenes moments. thats what brian colemans books and scratch are/were good for.

    peace

  • Elliott’s an asshole

    fuck this site for censoring my comments.

  • Tyler

    Yea’, good jump off cuz’.
    SolutionsGlobalMedia.com aka SGM7.com
    Love it or Hate it, Tell a Friend.

  • G!

    WAKE UP!!! stop sleeping on J.D.! That man done put the work in. His book is good so far too. READ A BOOK MUFFUCKA, READ A BOOK!

  • sfasfd

    dfsaaaaaaaaaadfsfd

  • http://www.myspace.com/deandresurrellthegreat deandrethegreat{deepeastoakland}

    yo j.d. u got all dis money,buyin all dese cars…y u csnt go buy some braces?…..u should have a sign in yo mouth that say’s ”’next tooth 1 mile”’……

    getame……

    http://www.myspace.com/deandresurrellthegreat

    wait,wait,wait,…….these jus words right?