CL - Till I Die (Produced By Id Labs) Off The Logic Dropping Soon

Yeah man. I had promised myself I wouldn't drop any new material or even contemplate about even doing another mixtape till 2010, but here I am lol. Three weeks after i dropped Maybe Tomorrow, I'm already a few tracks in for my new joint titled The Logic. Maybe Tomorrow is a teaser compared to this new project. This one will be deeper. I'm definitely going to give you all a sense of where my head is at, and how i function with the pen and pad. Here's a new track which will be on The Logic titled Till I Die produced by ID Labs.

The Logic Coming Soon!

Galactic Love

She's At a Disadvantage Because She Managed To Break My Heart From Another Planet...She's Venus I'm Mars...Her Zenith By Far...Is Directing Her Back To Me...She Already Home, So Naturally...She Following The Blueprint...But I'm On To The Next One, This Is More Than Music...We Were More Than Average...Day & Night I Suffered, Yeah With All The Damage...The Man On The Moon Was Consumed By The Lies...Realized The Sky Might Fall When I Looked In Her Eyes...But Surprise, I'm Magically Still Alive..Still How Could She Be So Heartless, I'm Paranoid Till I Die..

HipHopGame.Com: KRS-One & Buckshot Interview

Sidebar: “If yall niggas want to be pussies, then I’m going to be the Dickhead, and that’s it.” KRS-One & Buckshot do everything, but, bite their tongues when expressing their displeasure for the game, their album being the best of the year, Jay-Z, and addressing the pussies in this insightful, yet entertaining interview.


HHG: I know you guys worked with a ton of artists in your careers. How was it working together?

KRS: That shit was hot. That shit was crazy hot. It was actually a dream come true. You could imagine what it’s like to record with somebody you always wanted to record with. That’s a dream come true. It was brilliant. You see, what’s Survival Skills is going to do as an album is really show what the excitement is about in Hip-Hop with us coming together. When you come together with certain artists, they don’t have the same appeal. Like it was a good project—it was cool, but it didn’t show you anything different from what you already knew. This project I think with its international appeal, with its street-toned yet conscious lyrics, the amount of producers, guest appearances--who grew up with us, really made it dope. It really made it creative.

HHG: Now this question is directed to you Buck. How did the album for you come about?

BS: I like the concept of reminding everybody that the rhymes don’t play a part. I mean we could sit here, and take all the credit, but we’re not. I’m sitting here and learning more and more each day that it’s really a thing of believing in yourself, believing in the creator, and believing in like things like this will happen. It really is that powerful. I wouldn’t sit here and say, “Yeah, me and Chris were thinking about getting on the stage to put together this album, represent what we do together on stage, and give the people what they want.” But, all these things were already in the works of the creator. We’ve been receiving messages, and we’ve fine-tuned that. You know what I’m saying? And we put that together in the form of an album. This is something that people are going to appreciate. This is gonna change the world man. It really is. It’s gonna change the world because the buzz of the album is dangerous. You know, it’s there because it’s unifying both fan bases, both cultures, both everything. Oh my goodness man. (Laughs)

HHG: What was the recording process like?

BS: Crazy.

KRS: Quick, pumped.

BS: (laughs) Man Chris (KRS) is a genius. We did a song called the “Clean Up”.

HHG: I heard that.

KRS: Were you able to hear the album yet?

HHG: I heard half of it. It was pretty dope. I heard the “Clean Up”, and the joint you have with Mary. I heard pretty much heard the first half.

KRS: No doubt. The reason I asked is because as you listen to the album itself, it really is a thirst quencher in every true sense of the word. We went from Mary J Blige, to Knaan, to even us like KRS-One &Buckshot. When you listen to the album itself, I don’t miss anybody. Everybody is where they’re supposed to be. Everybody is coming exactly in where they were supposed to come in at. Like what Buck was saying just now about the most high, a lot of times we get in our own way. A lot of groups man—get in their own way of trying to think their way through instead of allowing themselves to be guided; to ground themselves, and to be led through the process. This is an album that we allowed ourselves to go express our soul. There wasn’t no A&R person on our back. There wasn’t no set of pressures that we had to meet. When it comes to recording, any artist will tell you, when you get the chance to go in and record, and represent the minds of the people, you draw fans. You know, this is one of the better projects I must say. I must say of this year, this is the hardest project out.

BS: Word, word. You know all the artists heard that. (laughs)

HHG: Speaking of “The Clean Up” track Buck, do you think it’s possible that you two collectively can clean the game up yourselves, or, do you need a strong effort from everybody to bring the essence back to the game?

BS: Man, we need an effort from everybody.

KRS: That’s exactly what I was going to say. It’s really everybody’s responsibility. I mean if you want to walk around dirty—not saying they do—but go for it. But now, there’s a Clean Up crew. Everybody knows Hip-Hop needs a little cleaning every now and then. It’s funny because only a few dudes pick up the responsibility of cleaning up. So really, all day we could talk about this album, and with that said, a few other Clean Up Crews have come to mind as well, like Redman & Meth, and Slaughterhouse. Those are Clean Up Crews too. You listen to their albums, and they’re trying to keep a traditional lodge as well. But, you have solo artists as well that are coming. Like, for instance, Erykau Badu is part of the Clean Up Crew. It’s for people who are concerned about Hip-Hop’s state. Hip-Hop is about what it means, how we use it, and how we gotta go. Now, that’s reserved for a group of people, and that’s always been the case. It’s either you’re a civilization builder or you are not. We’re all walking around to be civilizations, but, only a few of us are walking around and are actually building civilizations. In one breath, it’s easily the responsibility of everyone, but there’s only a certain people that are going to wise up, and take that responsibility. That’s why I think that song “Robot” was so timely as a subject matter because we needed a song that went against the grain, against the entire strain of what’s going on, and only Buckshot & KRS could have put that record out. I don’t think anybody else—even Jay-Z—I don’t think he could have initiated that kind of discussion. He probably did think it—no doubt—but to actually come out with it, and be like “This is my lead. This is what my album is going to sound like. This is the subject matter we’re dealing with, so fuck you, and that commercial bullshit.” Now, to come out like that, you gotta either be real with your shit, or you gotta be crazy. And you could take your pick. (laughs) There’s only a certain group of people that even have the heart to do it, because it’s not even heart, it’s true. You should have the courage to stand back and put out the songs that people feel. They need that people music, struggle music, and survival music. That’s why we called it Survival Skills. That’s what it is today. Twelve million people are out of work. We’re talking survival skills. Other cats are trying to take people who are unemployed to rescind their debts. This shit makes no fucking sense. This album is TIMELESS, and matter fact, TIMELY. That joint with Mary J on it, singing about the working class, that’s that subway music right there. These are the things you gotta hear.

HHG: It’s funny because people don’t know this, but you guys were the first to knock the Autotune record with the track “Robot”.

BS: Man once again, Chris did that years ago. Chris’ foundation is like “Yo. Get out of here.” (laughs). Like yo, I remember I walked into the club, and I don’t remember who got on that, but I, personally, Buckshot, saw when he blew people off the stage. I was there, in the club. I was right there. It was just crazy for me because once again, I was like “Son is an extremist, like me man”. And the one thing you have with extremists man is that everything we do, we’re going to take it to the facts. We’re extremists, and that means we’re extremely good. If we’re warriors, then we’re going to be extremely warrioristic, and shit. When we’re mad, we’re going to be extremely mad. If you don’t get the not so positive sidebars, then you’re going to get it extreme.

KRS: That’s really the level right there. Do you take your craft to the extreme? We’re all doing half-assed, mediocre shit. We’re just trying to get over—one more mortgage payment, one more cell phone payment. We’re just doing the mediocre, trying to get over. That shit need to come to an end for real. I mean that’s on some American politics shit--and to bring it over to Hip-Hop? Come on man. Cats are putting out mediocre albums. Not to diss anybody’s art, but there’s a standard. There’s a standard. We know what Boom Bap is. We have records out that will show you the standards. Here’s what everybody says that’s Hip-Hop. But nope, cats want to experiment, go off the deep end, do shit, and then call it Hip-Hop. Then, they’ll be mad when you say “No. It’s not.” And then, you got a problem, because now, you’re considered bitter and old school. I should just sit back, and let you fuck up the culture, because you’re not saying nothing. And, I’m allowed to be mediocre and average with something that was never mediocre and average? And, I’m supposed to just do that, and you’re supposed to be like, “Well, those days are over.” But what I’m saying is, here we go again, with another one 1-2 punch. We keep putting songs out. We keep putting records out. You know, Buckshot was correct on the fact that my legacy was based off “Get the Fuck Out of Here”, and I will confirm that. No Doubt. I mean if Hip-Hop is going to turn to into a culture—pussy—then I’m going to be the one dickhead running around.

BS: (laughs) I like that shit.

KRS: If yall niggas want to be pussies, then I’m going to be the Dickhead, and that’s it. We’re saying it in your face like, “Yall niggas is wack.” No, we’re like, “How you going to the club, saying “Yeah nigga yeah”, but we here.” Like, how did that happen father? How that happen? Lets really dig in on that for real.
This is what Hip-Hop’s culture is about. It’s all about that extreme part, because extreme is extreme. If you’re extreme with your shit, then you’re not really reaching perfection. Mediocre is mediocre. But go ahead, and get your last question out.

HHG: Well I’m curious as to why do you think a lot people confuse you guys’ concern for the love of Hip-Hop as being a form of resentment?

KRS: Because they’re pussies man. There’s no other explanation for it. There’s no information for it. They’re PUSSIES. When I say they’re pussies, I mean, they’re weak, they’re faggots, they’re punks, and they have nothing to do with Hip-Hop. Even if they have a hit record out, and they’re playing it everyday on the radio, and they’re rapping, they still ain’t have nothing to do with Hip-Hop! We stand up, and say the radio is bullshit. Now if anyone says “Yo. You bullshit, the radio is dope.” That’s your opinion, and you ain’t down with us. We know that there’s a couple of millions of people that agree. The radio is bullshit. Now there’s a few radios that won’t agree. Clear channels won’t agree. Like, “How could we be bullshit? Nooo!” But there’s a couple of millions of people, and you gotta decide, which god you’re going to serve. Are you going to serve the Corporate God, or the Cultural God? That’s what opinion matters. If you’re serving the Corporate God, then get with your program, and serve that god. Serve that god well, and he will serve you well. That’s your corporate life. Now there it is. But, if you’re a cultural person like we are, if you’re down with the struggle, if you come from the lines of the African Bambatta, Kool Herc, Grandmaster Flash, and all the way back down to Malcolm X, Marcus Garvey, and even Harriet Tubman blah blah blah blah blah. Then, you take that shit even further back to Moses, and you’re shit comes from there…then these corporate niggas are motherfucking faggots. Their opinion are irrelevant.

I'm So Secure

She Claims I'm Playing Mind Games, Checking My Phone, Reading My Aim...

Pleading, Believing I'm Mislead Her With Games...

I See The, Tears Streaming Down, As I Try To Feed Her The Names...

Of Who, or What, Is Consuming Her Mind...

She Says Who?...I Said No One. Stop Losin' Ya Mind...

She Says Dude, Nah Hold Up. You Abusing My Time...

I Said, If You Trust Me, You'd Know Better Than That

Bitch Checking Facebook, I Should Dead Her For That

Relying On The Internet To Address The Issue

Never Lied, Never Cheated, Unless I Did You,

The Way That You Did Me...

Never Lied, Never Cheated, Don't Thank Me

Would Never Hide Any Secrets, Don't Blame Me...

Because Baby Girl I'm So Secure With Me

Only One Whose Been Through Hell and Back Baby Was Me...

CL - Maybe Tomorrow Mixtape/Prequel Waiting For Tomorrow Mixtape

It's finally here. My mixtape is finally here. I feel a sense of accomplishment and entitlement with this tape. I personally think this tape is an exceptional body of work, and I understand everyone is entitled to their opinion, but i feel with this tape,it will really open the eyes of many. I've banged this mixtape out in a matter of 2 months, and I really treated this mixtape as if this was an album considering i used original beats, and concepts. I've had people from Labels, Websites, and even PRs give the boy props. If you wanna hate, by all means, feel free to. Otherwise, listen to the tape, and enjoy. All feedback is appreciated. Without further adieu, here's my mixtape Maybe Tomorrow.

Shout Outs to Ballerstatus.com...HipHopGame.com...WeGoinin.Com...

Link for CL - Maybe Tomorrow Mixtape

http://www.megaupload.com/?d=UH4Y71A7

Link for CL - Prequel Waiting For Tomorrow Mixtape(Premixtape For Maybe Tomorrow)

http://www.megaupload.com/?d=36IBTXQJ

CL - I'm Down Freestyle (Maybe Tomorrow September 1st)

Ballerstatus.com: Trey Songz Interview: Ready For Takeover

Tremaine Neverson. Trey Songz. The man is a rare commodity in this insipid game. He’s like the sprinkles to your vanilla ice cream, the 24 inches to your new ride. How would I know? Ask every teenage girl whose estrogen level is bursting with furor every time the man’s name is uttered through the TV set. Rather than remix songs in a languid manner, Songz has vivaciously enlightened people with his impressive catalog of tracks ranging from Jamie Foxx’s “Blame It”, to T-Pain’s “Can’t Believe It”, to Jasmine Sullivan’s “Busting Windows.”

He might not have received the accolades. He might not have gone diamond, but, Songz has undeniably provided his listeners reasons as to why he was chosen as Ballerstatus’ “Hottest R&B Artist in The Game” this past July.

His latest endeavor entitled Anticipation sparked the attention of men and women alike. Tracks like “Yo Side of the Bed, & “Scratching Me Up” gave fans of Songz a good reason to be patient, and await his highly anticipated--no pun intended—release album Ready, scheduled to drop September 1st.

Ballerstatus was able to sit down with Songz, as he discussed being crowned the top singer in the game, if there’s a difference between Trey Songz & Tremaine Neverson, a Best of Both Worlds album with Drake, and more in this exclusive interview.


BS: A while ago Ballerstatus named you the "Hottest R&B Singer in the Game.”Does that title provide additional pressure for you to really follow through on this album?

TS: Oh most definitely. For the fact that Ballerstatus has a big following and a lot of people—a lot of people around the world too--agreeing with that—made me feel real good. You know at this point, the pressure is on period. You know, whether they named me number one or number ten, it’s going to be the same pressure for me because I put that pressure on myself to be the best.

BS: Normally when a person receives accolades, they tend to relax. How do you remain hungry and maintain that grind that got you to where you’re at?

TS: Ah man, it’s the will to be great. It’s my desire to be the best at what I do. I actually love my job. I love making music, and I love proving to people that I’m worthy of being mentioned with the best, with the elite. It’s always been a goal of mine just to make sure within myself I stay persistent, and to never let myself down. With that being said, I go hard. That’s the only way for me to go.

BS: A lot of people said since you didn’t have the awards to back you up, that you shouldn’t have been the top dude in the game? Do you feel awards should be accounted for a person’s success or quality of music?

TS: I think it’s definitely quality of the music. I think awards play a part of what’s peoples’ perception of what success is you know? You know I think I was named number one by Ballerstatus this year because it’s apparent that I’ve worked harder than any other R&B artist out this year. I’ve been consistent. Awards and things of that nature are things that the public plays on occupation, and entertainment to show. You know what I mean? I would love to get these awards, and I feel that I will. But, I don’t think they determine the quality of an artist truthfully.

BS: Anticipation was a big release considering hardly any R&B cats provide their fans with mixtapes. Do you think R&B artists should consider doing mixtapes like rappers do for their fans?

TS: I mean, I think they should do what works for them. I have a hip-hop mind state. I think like a rapper. You know Anticipation is pretty much an album that sets the mood for love making and things of that nature. But, it’s still the marketing nature of a rapper because rappers never worry about how much music comes out. If you think about Wayne when he first came out, people thought he was crazy because he probably had so many songs out that you were like “Yo, he’s gonna kill himself.” And still to this day, he’s good. (Laughs) You know what I mean? Some artists still put samplers out. They still put samples of their album out. Anticipation is the sampler for me, which happened to be an album within itself. Like I said really, quality and persistence is definitely the key to win people over.

BS: You slightly just touched on this, but because you have the ability to rap, and sing, how much of a threat do you feel you pose on your fellow peers?

TS: I think I’m quite of a threat myself. (Laughs) As an artist you’re supposed to think so. If you’re an artist and you don’t think of yourself as a threat to anyone, then you’re not a real artist. If you’re an artist, and you don’t have that competitive spirit, then you won’t be a threat to this man, or the next man. It’s like what are you competing for? I think other people are threats as well though you know what I mean? I just focus on my lane, and work on perfecting my lane. I like to think of myself in a lot of cases as a horse in a race. When horses race they have blinders on. They can’t see the horses next to them. So I don’t focus on what’s going on with anyone else. I stay in that lane, and I run as hard as I can.

BS: You know Ne-Yo surprised people when he did freestyle on “A Milli”. In a freestyle battle, who do you think would take it one on one, you or Ne-Yo?

TS: Me.

BS: Why’s that?

TS: Just cuz I’m me and he’s him. I’m sure he’d think he would win. You’re supposed to think you would win. I don’t think I’d lose.

BS: Matter fact, give me a percentage of rappers you think you could rip today in a battle?

TS: The percentage of rappers I could rip in the game? Most of them, I’ll say that. There’s a lot of rappers out there. You know, even in my mixtapes, I ain’t rapping. I’m actually putting lyricism to melodies. I think of myself being pretty witty and clever. I know a lot of rappers who could put words together, but I’m singer man. (Laughs) So I don’t even play with those antics. (Laughs)

BS: Nah I dig it. Since you’re big on doing remixes on a lot of records, I’m curious, which song in particular was your personal favorite to do?

TS: A favorite remix of my own? Ah man. A personal favorite of mine is actually Kanye’s “Bad Newz”. I actually rapped on that record. I mean most of the records I’m singing on. I sing and rap, but I actually sang on the Kanye parts of that record, and rap at the end of it. I think that record means a lot to me from what I was talking about at that point of my life. At that point I was going through stuff.

BS: Another track I know you remixed but decided to put on the album was Drake’s “Successful” record. What made you decide to remix “Successful” and put it on the album?

TS: Well actually Drake came and hit me up about it man. He said he wasn’t putting it on his album Thank Me Later. It’s actually going on the retail version of So Far Gone; which is actually coming out in a couple of weeks. But, he wasn’t going to use it for his album. A lot of my fans would hit me up telling me; Man, that’s what I love about twitter. Just to give you a sidebar. You could hear directly from the fans, and what they want. You could give music directly to them, and if anything goes wrong, you could talk to them directly. But, a lot of my fans would come and tell me “You should put a verse on “Successful. Why haven’t you done “Successful “over?” I was like, “That’s my homie’s song.” Then initially, Drake came up to me with the idea like “Nah dog. That’s your song. I’m not putting it on my album. So it’s going to be a waste. So it’s going to be a big record with no one to go retrieve it.” So we put the verse on there just to give me a little more presence on the record for it to be on my album. You know we actually just shot the video for that verse as well.

BS: Because you and Drake have such chemistry together, do you think there’s a possibility that you two could do a Best of Both Worlds album in the future?

TS: It’s crazy because on the first record we actually did, on Drake’s last verse he says, “Since Jay {Z} and Kels {R. Kelly} aren’t doing the thang no more, I guess me and Songz are the replacements.” Back then, it was wild to hear him say that. Now it’s crazy cuz’ people are begging us to do an album together. It’s very possible man. I could see that in the realm of possibility. He has to put his album out, which he’s focused on right now, and I’m focused on Ready right now. Whenever the time for that permits, I’m sure that’ll happen.

BS: Speaking of Ready, a lot of people fell in love with Trey Day. Did you follow the same approach when you were making Ready as when you made Trey Day?

TS: Well this album was good for me once again you know because of the internet, I’ve been able to show that I know what people I like from me. And then, I know what I’m doing musically to my label, you know what I mean? Because with Trey Day actually; all albums have been a joint effort. With my two albums prior, it’s been more a tussle with the label to do exactly what I wanted to do. With this album, it’s been more; I always had a good amount of creative control, and I’ve been in a position where I wouldn’t do things that I absolutely would not wanna do. It’s a compromise when you work with a label because it’s a partnership. So I think, what the internet did for me, what Anticipation did for me, what the mixtapes did for me, and what the popularity of me growing throughout the internet without the label having any say on the music being made, I think made them listen to me more in a musical arena. I think the difference is throughout the time span that we’ve been working on the album, it probably changed like four or five times. Initially when I thought of the concept for Ready, I knew I was going to cut my hair. I knew I was going to get in the gym. I knew that this was my third album. I’ve had two before. So everyone who I knew I’ve came in the game with surpassed me as far as accolades and things of that nature that we spoke about earlier. I think Ready was stating that I was ready for things in that nature. Now, I think we actually worked to the point where the definition of Ready is for the world, because everybody is just as ready as I am for the album to come.

BS: Definitely. You brought up the issues with the label, and I was wondering, was the album being pushed back because of the label or did you want provide the fans with different sounds for the album?

TS: Well this album actually, every time it’s been pushed back, has been a decision made from myself, my management, and the label jointed. There’s nothing I ever been against as far as pushing the album back. Initially, when the first decision was made, I was making more music. I had actually turned ready in way back in probably May. Like I said, the album changed up like four times. I think I turned the album in, in May. Then I think we had a June 30th date. Yeah June 30th was the first date. That’s when I started making a lot of the music that was on Anticipation. After I turned the album in, I went back in the studio that week and kept creating music. It was already in my mind to release a mixtape before an album came out. When I started making music, it eventually became Anticipation. It was different from what we’ve had, and it’s what was missing from Ready. You know, I was in the creative space where I wanted more time to make more music. I was still feeling like I had hotter stuff within me. So it was pushed back from June 30th to August 4th. The push back from August 4th to September 1st was actually because of me being a business man. “I Need a Girl” was at a certain point. You know back in the day, the logic was that you get a record, and you try to time when it gets number 1. That was when you would probably have the most audience, and because of that you want to drop then. However, we’re in a different world now. On August 4th, I think “I Need a Girl” was at number four. I think it peaked actually at number four on the urban charts. Audience is very important when trying to sell a record. What an audience is; is the amount of people that actually hear your record. Whether it be from video spins, whether it be from radio spins, it’s whatever. That’s the audience. An artist of pretty good numbers usually has pretty good numbers. For example, his numbers his last album out, he had about 60 million in audience, and then did 125. At the time, “I Need a Girl” was only at 30 million in audience. So as a businessman, I figured with a month more I’d get “I Need a Girl” a bigger audience. Within that month, not even a month now, it’s been three weeks since that original release date, I’ve had four songs in rotation. Now had I released on August 4th, “Successful” wouldn’t have been on the album. “LOL (Smiley Face)” wouldn’t have been getting as many spins as its getting right now. “Invented Sex” definitely wouldn’t have been added to 15 radio stations. So right now, versus one record on the charts, I have a mixtape, four records on the radio, and I have three records in the top 20.

BS: Wow. That was smart. Good move. (Laughs)

TS: (laughs)

BS: I want to go a little different now if you don’t mind?

TS: Sure.

BS: Let’s play a word association game. Whatever I say, you just have to tell me the first thing that comes to mind.

TS: Fa Sho’

BS: Anticipation.

TS: Pre-album.

BS: R.Kelly.

TS: Legend.

BS: “Best I Ever Had” video.

TS: Kanye West.

BS: Lauren London.

TS: Great girl.

BS: Tremaine Neverson.

TS: A great guy.

BS: I was trying to see if you would bite on the R.Kelly one, but that’s all good.

TS: (laughs)

BS: But jumping back to the “Best I Ever Had” video, what did you think about it? Do you feel the video was appropriate for the type of song he had originally?

TS: You know I think in all honesty, if it had been Drake four years ago, I think that video would have been cool. I think if Kanye West would have done that same video for that same song it would be, you know what I mean? He wouldn’t have been under such pressure as Drake, because you know that was his first video. Although he is almost instantly a superstar this year, he has to make sure of his connections with the fans, because that video didn’t mesh. The song made women feel special. The video made women feel the opposite.

BS: Now as for your name, do you ever separate Trey Songz from Tremaine Neverson when you’re in the studio or do you bring them all in one?

TS: Umm in some respects. I mean in music, Tremaine Neverson is all there. Whether it’s a ballot, or whether it’s a mixtape record it’s all there. One thing about when I do music, it’s all me. There’s some situations where on the album yeah I may drop experience but, overall it’s me. The most you get out of me is actually on the stuff like “Yo Side of the Bed”. You know in a man, I mean everyman, there’s so many personalities to us. If you as a man wanted to release them throughout music, it wouldn’t be one beat. It wouldn’t be one key. It wouldn’t be one genre of music you know? So as a man, I release myself through music, and every which way I do, is a different part of me.

BS: I respect that. I know you’ve done a lot of features before, but let’s turn the tables a bit. Let’s say you had to do a record with somebody outside of the realm of Hip-Hop, R&b, and Rap, who would you want to do that track with and why?

TS: I’d probably roll with Maroon 5. I have both of their albums. I love their songwriting. Shout outs to Adam Levine. I love his voice. I think it would be great to work them.

BS: Now I got to ask you before we go, is there a possibility of you making a remix to the track “LOL”, and naming it “LMAO”?

TS: (Laughs) That’s a dope idea actually. I never really thought of that. I shouldn’t have actually told you I haven’t thought that, and I should have said yeah. (laughs). That was a dope idea. If not’s actually a part of the lyricism, it would be the actual remix. I think there’s going to be a remix for that song, because a lot of people dig it. A lot of people dig it. A lot of people have hit me up actually about it. That song is blowing up real fast man.

BS: Any ideas of who you would want on the remix?

TS: Well I actually spoke to Nikki Minaj, because we spoke about doing a record. I told her that I wanted it to be something sexy, something kind of dark and moody maybe. She wanted to do more of a commercial record, a cuter sex record. “LOL” was actually already done, but when she heard it, she hit me up, and said “I love that song. You’re a punk for not putting me on it.” She’ll definitely be on the remix.

BS: I’m curious about Nicki. Do you think people confuse her for simply being a person who’s purely just about sex?

TS: Most definitely. I mean I think she loves sex. I mean just listen to her music, and who’s to say that she doesn’t? (laughs) She’s a great lyricist. I think she’s eager to show that she has more to talk about, because she’s been given that platform to do so.

BS: Man to man, would you hit?

TS: Yeah I think damn right. (laughs)

BS: Since I got the idea for the remix just shout me out on the track. (Laughs)

TS: Yeah, I’ll make sure to shout out my man Carl at Ballerstatus. (Laughs)