I’ve always been someone they could call to do whatever. I’mma keep it real with you: I always know. We went through a whole lot of nerd processes to make it sound as amazing as possible.ĭescribe to me the moment you knew for certain you were on Tha Carter V. Once all the music was recorded, then we recorded to quarter-inch tape, then we recorded it back in. To the point where every reverb on the piece was replaced with a plate reverb. The amount of work that went into this production is more than I’ve done for anything.
We replaced the plug-in pianos with real pianos. We built the new production around that theme. The main melody of the beat that’s playing in the background and the synth sounds, those are from the original beat. I believe he heard the final version-unless Wayne sent it to him beforehand-I think he heard his verse the way everybody else had, a couple days ago. Kendrick’s entire verse is completely reworked from he recorded to. How different is the beat we hear today from the one you sent over? That’s like To Pimp a Butterfly-era Kendrick. When did Kendrick Lamar get on the track? Years went by of maybe it’s coming out, maybe it’s not. Before we even got a chance to touch the record, everything just got put on pause. And then that’s where the lawsuit happened. Wayne played me the whole thing, and it was a whole different ball game.
I know Wayne and Kendrick linked up in the studio, and I wasn’t invited, which bummed me out.Ī couple days later, I heard Kendrick’s verse. Everybody was kinda like, “Maybe Nas would be crazy because it’s a storytelling song.” Omar was the one who said, “Kendrick would be cool.” Boom. Wayne was talking about trying to get a feature on the song. I heard it and I was like, “Oh, shit, this is crazy.” Then he did a second verse and at the time, his engineer was a dude named Omar Loya. He started writing to the beat, and it turned into the story.
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