They set the mic up for me right where Waylon stood and everything, so it was just a whole other vibe. Just do you. Do what you want to do. I got the producers I wanted to use like Will Power. A lot of it is produced by Jody Stevens from right here in Nashville. We mixed country and hip-hop, but in the most authentic way that we could. My music was already authentic.
We just took a lot of Waylon Jennings some Johnny Cash, some of the older, what I felt was authentic country, outlaw country and mixed them together. The video just dropped.
Directed by Tyler Clinton from Do. A lot of great people came out and supported me on it. This album totally embodies that. I try to be lyrical on everyhting I write. I spend a long time crafting each verse. I like all my syllables to match. It takes me a while. It takes me a few hours to write one verse. I just try to retort back to when I was younger and partied and even now, and struggling. I just try and relate to everybody. Not just one group of people, something everyone can relate to.
How did you link up with him, and how did the mixtape project come about? He was DJing for Yelawolf. He said he was a fan. Then my manager told me he produced. One night at Tree Sound Studios he was there and played me some tracks. The tracks he played me was the shit I love. The tracks I still like, not a lot of producer make these days, a real soulful sound to it. I used to make beats, and I tried to make beats like that. It was like some meant-to-be type shit. Working with him was cool.
A lot of it was done through e-mail, sending me tracks. I like that. I like being on my own time and doing shit on my own. I kind of do it on my own. I record it and send it to them and go from there and make the track what it is. It was cool. The song is about straddling the rap game and a 9-to-5 job. Have you been able to quit your job as a cook?
Rittz: I just quit that job. It was weird. I was touring with the band Rehab and my boss was letting me off work on the weekends, cause all the tour dates were on the weekends.
He was about to get rid of me. But luckily I got a cool boss to try and solve the situation I was in. It kind of just happened gradually. Next thing you know I was barely even there. It literally just happened. I just quit my job in, I think it was August or the end of July.
It just happened. Nashville area rapper. Ramadan: It is all about change! Nothing stays the same, and with that neither does the fashion. Yes I could have just switched up the gear and kept the name, but it was more than that.
The new kind of man wants to look a certain way, no baggy jeans and extra large white t-shirts anymore. He wants to look like he has something to look good for, like he has purpose. He wants to feel a certain way when he puts on his clothes, he wants to feel important. He wants to feel Elite! All I will say is, I stay in my lame and I am an expert at what I do! Lines that are timeless in their approach to design and use of quality materials. When we sell a garment our customer can feel good knowing they got something of real quality that will last.
Ramadan: Sure. Those lines do well with or customers too. Ramadan: Just keeping Nashville and our customers fresh. We do it for our customers and they know when they leave Elite Clothing they look good. When was that? Low Pro: actually. I got into some legal problems. I kind of fell back to be honest. I kind of gave up on the rap game.
In I decided to give it one more try, and I started working on the Behind the Music album. I got Fate Eastwood on the album. DJ Dev has a track on the album. For the most part the homie from Louisville did most of the production for the album. Low Pro: I recorded it in Louisville. I am the coolest to do it hands down.
I tried to bring a little comedy to the visuals. I just tried to show them that in the video. I think everyone will enjoy it.
Check Behind the Music. You got to get the record. Malaki is another vet in the Nashville rap game with a hot new project titled All I Know. With a a few tracks produced by Nashville hit maker Rio, this project has a smooth sound that punctuates Malaki deep, raspy delivery. This joint has a classic Nashville feel, full of boom-tick beats and crunk hooks and verses. He gives you his best and his track record is proven. Low Pro should change his name to Flow Pro.
Somehow it works perfectly -SWAG- and sets a good tone. Tha Zone 8 Boys really put it down on this project. Make sure you check this one out. This is the newest mixtape project from young hitters Quan and T-Weezy. These cats are really growing as artists and showing progression from project to project. The beats are mostly industry tracks, but several are produced by WeWe, another Nashville product. Your boy can sing! This crew knocked this one out the park! Recently they have started releasing gems from their vaults.
All the beats are made in-house by Mike Vulcan who is also a well known DJ. Tracks are dark and dirty, full of subtle vinyl pops and cracks under unconventional samples and drum patterns. The lyrics match the dark beats and are anti-establishment.
We me t in Knoxville. Josh Walter Clark knew Dave. Basically we all met up in Atlanta through Dave. Actually you know him, Josh. See the different styles and made sure it meshed.
Then we immediately got to work. We were still just feeling each other out. Stanley: Gummy Soul is really a collective. Amerigo and Wally were already doing so many things. He had a great show with a wide listenership across Nashville. Stanley: I got a lot of things in the pipeline. The project is close to being done. We feel good about that length. How did it form? Wally Clark: Gummy Soul started when I started making beats.
And I used to go by Wally and The Champs, that was my fake band, just as a producer. I came up with the name Gummy Soul as like my fake record label. Then with Gummy Soul everyone just responded to that name.
I made the website Gummy Soul. Got my partner Yelawolf with' me What's up Yela? You know it's time to crank the club up Let's go! Yelawolf You ain't gotta lay down on your bed to know you already fucked up Lettin' me in the motherfuckin' game is lettin' me drunk-drivin' your truck When Yelawolf arrived in this club, already had five in my cup I done took another hit, I done ran into a bitch that's lookin' lifeless and stuck Baby, what's wrong with' you now?
What, you ain't happy with' red bottoms? With' Tom, Dick, and Harry But I got up in this bitch with' a tank top 'cause I spit so very darn quick and scary That's why they're so quick to compare me But fuck the critics with' a spiked dick when it can fit barely They probably think I'ma Limp Bizkit, their spit's jelly But I put 'em in the woods, I'm a redneck, I'm a hick, tell me Go ahead, what the fuck does it matter to me? Two bottles, shawty, two bitches waitin' Two tens, that's a win-win situation Happy birthday, I'm feelin' brand new Drinks on me, for me not you Up in the club, don't give a fuck Up in the club, don't give a fuck Up in the club, don't give a fuck Up in the club, still don't give a fuck I don't know what to say after that first verse, I mean, like, damn, I just killed it What the fuck am I supposed to do with this cow?
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