A Quote by Kenny Beats
At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.
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Every song that is a Hopsin song, I 100 percent made it. Nobody helped me. There was no producer to say, 'Hey, put the beat like this... ' It was all me. If the song was wack, then the song was wack. If it's dope, it is what it is.
The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.
There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art.
Part of my growth as a producer was not just about making beats but also helping in the process of inspiring the song and making the song the center.
I get total creative control when I'm in the studio now to do what I want to do. If I feel like doing a song I'll do a song. The buzz has been great, in fact a lot of people hit me up now, they're seein me on hiphopgame.com with the journal and I'm just telling people my ideas. All I want to do is make good music at the end of the day.
'So Icy' is always going to be one of my favorites because this is a song that blew my mind. I was just making beats for the fun of it. I went to the club and heard the song being played, so I asked the DJ to stop playing the song, and the whole club started rapping word for word.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
Sometimes I'll have a whole song done without having a beat - I'll just rap on an instrumental tempo and recreate a whole new song just around the lyrics.
I'm just like anybody else: I have stuff to do in the day, whether that's writing a song or recording a song. I try to treat everything I do as just work.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
For me, it's always just about playing the song and recording it and giving it what it needs as a song.
I don't try to approach things any differently, songwriting-wise, regardless of what I'm doing. I try to write whatever the best thing is that I'm doing that day. If I'm working on a pop song, I'm working on a pop song to the best of my ability. If I'm working on a bluegrass song, it's the same thing. They're not really different parts of the brain.
I'm the same guy at that podium preaching to the people on every single song. I'm not doing a dance for you on another song. It's all a direct assault.
The first rap I recorded was on Jeezy's 'White Girl' beat. One of my partners invited me to his studio, so I go. I wasn't planning on recording, we were just messing around. And I started recording a song, just a freestyle. Back then, Jeezy was going so hard, that's what everyone was on. That's what me and my partners in the trap would listen to.
I would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.
My first song was Hula Hoop Song, in 1955. It was a novelty song. I had to find someway to reach out and it was with a novelty song. Now, all of my recording obligations have been taken care of. I made 14 albums for Warner Brothers. Five for United Artist before that.
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