Kanye West-Can't Tell Me Nothing Full Single CD Quality

[Minkaveli]

http://www.zshare.net/audio/kanye_west-cant_tell_me_nothing-mp3.html


It's a grower.   

[Meho]

Dope track, I still have my doubts its the 1st official single, probably just a warm up track.

Whats up with Jeezy adlibs lol.

[T-Dogg]

Maybe it'll grow on me. It doesn't really do it to me right away.

[es-jay]

sounds dope to me, i wouldn't call it a grower... bring on sept. 18th, or 2 weeks before

[Makaveli's Food & Liquor]

Songs dope, but if Kanye releases this as his first single he's either gonna:

1) Flop and end up pushing his album back until it becomes an Urban legend like Detox (uno the shit that scares lil kids at night)
2) Pull a 'Ludacris' and have all the baby mommas and loyal backpacking fans set up camp at the the local best buys, then sell a shit load

Personally i like this song even tho' i hate kanye (he's conceited, overratted and arrogant), but i don't think this is his first single and also why has his album single dropped 3 and a half months early? cos there's no way his album moving forward, itll only b pushed back. Can't wait for theee album but i gurantee itll b the biggest dissappoinment for like 5 years.

O yea DJ TOOMP is a fucking beast!! Why is this guy sooooooooo underratted?

[Lunatic]

props

[R-Tistic]

Props....I'll check it right now

[--Vance--]

Props, lookin forward for the graduation

[Lunatic]

Damn finally gave it a listen after downloading it a few days ago, and the song is FIRE. I LOVE this beat.

[The "Untouchable" DJR]

Props downloading now...

[MontrealCity's Most]

Song is pretty good.

[ITIZWHATITIZ]

thanx dope song anyone got the unedited version

[hey hey hey hey smoke weed everyday]

O yea DJ TOOMP is a fucking beast!! Why is this guy sooooooooo underratted?

hes a great producer. i like almost everything hes doing

[Lunatic]

O yea DJ TOOMP is a fucking beast!! Why is this guy sooooooooo underratted?

hes a great producer. i like almost everything hes doing

yea man, he's a fucking beast. He best be producin on T.I.'s new LP

[Meho]

T.I. and Toomp aint best buds anymore:

 “I’ma keep flossing and popping as long as Toomp is on the beat” were the lines coming out of the ‘King of the South’s’ mouth on his single ‘You Don’t Know Me’, the street orientated “brass sound influenced” single ironically produced by DJ Toomp. His contribution doesn’t end there, as some of T.I’s greatest pieces of work have been crafted by the magic fingers of the ATL native, including ‘24’s’, ‘ASAP’ and the Grammy winning ‘What You Know’. Having worked with T.I on every album the ‘Grand Hustle’ records CEO has released in his career, times have changed and Toomp has moved to step away from the limelight of being “T.I.P’s executive producer”.

Having put in work for the likes of Pitbull, Ludacris, Lil Jon, Rick Ross, and of course the smash single ‘I Luv It’ off Young Jeezy’s sophomore album, Toomp is gearing up for an eventful 2007. With his work found on albums coming up from Young Buck, Kanye West and Mariah Carey, like Biggie Smalls said, the “sky is the limit”. Yo! Raps sat down with the experienced producer to talk about why he didn’t oversee T.I’s current albums, ghost producers and weight loss.

Can you tell us about your upbringing?

I was born in ATL, raised in a household with my sister, my mom and dad. My dad was in a group called the ‘MVPS’ in the early 70’s, so I learned a lot about harmonies and melodies, from seeing them. I had done a lot of singing, listening to a lot of older music back then, and wanted to be like Michael Jackson [laughs]. Around 78-79 I was learning the words of rap music, and in 1982, I was DJing, which led onto production

How is the “trap” different to any other hood across USA?

Well, we call it that, because down here, it’s a lot of woody areas with forests and roads and some dead end streets, whereas in the city, there’s a lot of housing areas and buildings. So people know for example, you have to drive down a particular road to get some weed or drugs, and the guy will come out the woods with a bag of potato chips selling weed saying “What you want”, so we call it the trap because it was the “weed trap” basically. The wooded area was a good getaway from the police.

Your break into the game came essentially through T.I. How did you meet him?

I met him through my friend Toop, who is T.I’s cousin. Toop is deceased now, and was mentioned on ‘Live In The Sky and ‘Rubberband Man’.

What was your first perception of T.I and what surprised you about him?

Honestly, when he was walking up my driveway to my door, I noticed his whole swagger. He was cutting hair in a barber with no license, and was concerned about where his next cheque was coming from. He had that mentality of a star and that swagger. So when I heard him rap, because I was looking for artists for a while, I wanted to work with him from there.

Some of my favourite records you produced include ‘Motivation’, ‘U Don’t Know Me’ and ‘What You Know’. How did it work back then in terms of selection?

For the first two album’s, it wasn’t like that. On ‘I’m Serious’ and ‘Trap Muzik’, I would work in the studio with him, having full sessions. After these albums, I would just submit beats. I got to admit, I liked the earlier days with T.I.

How come things changed with T.I.?

Well, a few things changed. On the first two albums, I was executive producing those albums, but after the deal with Atlantic Record, him and Jason Geter (manager and executive at Grand Hustle Entertainment) decided to do it without me. That’s when I put more energy into my situation, and my relationship got funny with T.I and Jason.

Can you elaborate on that?

Well, it’s funny because I introduced Jason and T.I and brought them into the game, and it was meant to be a three man thing. But, as things changed and with different meeting, I fell to a producer title rather than an executive producer on his albums, and wasn’t a partner anymore, so I really focused on my own imprint. We still do business though.

Was it easy to change your sounds from the mellow sounds on ‘Be Easy’ to the trap street influenced sounds on ‘24s’?

It´s different ways I approach my studio. Sometimes I feel like I want to have an R&B feel, but sometimes, I want to do something crazy. It depends how I feel, and sometimes it’s based on the equipment I use. Sometimes I might use the ASR-10 and sometimes I might use my computer, and that creates different sounds. It takes me 15-20 minutes to lay the track down, and then an additional 20-30 minutes to edit, such as format the chorus, the verse and the turn-around.

How did you meet Jason Geter?

Well he was an intern at Patch studios back in 1997-98. Every time I went through there to work with artists, I would walk through the office or lobby and speak to everyone. I noticed, every time I walked through, there was a guy reading, so I asked “Why you always reading? Are you a rapper or a producer?” He said he wanted to get into management and he just moved. I was like “well you just got a new friend. I have an artist I can introduce you to who can be your first client.” That of course was T.I and the rest is history.

If you could pinpoint one or two things that have changed throughout T.I’s personality since his debut album to now, what would it be?

First of all, everyone changes or grows. He is mature now, and he was a bit wilder at the younger stages. When he realized he had a thing in the music industry, he calmed down. If you do something at a big scale when younger, you will still do it when you’re older and established, so I’m sure he has that wild side still in him now.

A majority of records for artists you have produced are from the South. Have you produced for East and West Coast artists recently?

Yeah, I’m on Mariah Carey next album, after I sent my tracks, I sent like 3 tracks. I’ve also got 3 tracks on Kanye West’s new album coming up.

What are your thoughts on the Scott Storch/Timbaland feud, and do you feel, it is a problem, with many well known producers having protégée producers doing a lot of work for them?

Yeah that’s wild. Where I come from, I’ve always been a producer and if you sit me in a room, I’m doing everything from the keyboard to drums. It’s shocking to find out some of these major producers can’t work the keyboard or can’t work the drum sequencers, so they will hire people to come in and do that. If you have someone that has put together everything for that track while you overlooked it, he should get credit or co-credit. However, if you have hired someone just to play the keys or the arrangement, they should get credit such as the “Additional Keyboards played by whomever”, but they shouldn’t need to get the main credit. But I think when producers do not get credit for crafting a beat for a super-producer, that’s cheating really.

Do you feel Timbaland is cheating by being alleged to have done this with his protégée Danjahandz?

If that’s true, that’s not fair. You have to have something for your kids to show in the future and something to leave behind, and most important, you have to establish yourself. No one will know you at all if you “ghost” produced for people.

So if you were hired to produce for Dr. Dre or P. Diddy or someone, and that happened, what would you do?

Well, I’d either want to get a percentage, or co-production. I would never take money under the table to get no credit.

How did the hook up come for Young Jeezy´s single ‘I Luv It’?

Due to our conflicting work schedules for his first album, we didn’t work together for that, but we managed to hook up again for his second album. He came to chill with me for 3-4 days, and created music, like me and T.I. used to do. He is cool to work with, he is always open to try and rhyme over different beats, and would take the risk of jumping on something different to his usual style.

I heard Young Jeezy’s lost 35 pounds since the release of his first and second album as well?

Yeah, Young Jeezy lost some weight. It’s always been a problem in the South, as there is a lot of nice, but fatty food down here like Chicken and Pork, so a lot of people are health conscious nowadays. So a lot of people like Jeezy have changed their diets, and so have I.

What has yours and Young Jeezy’s work out routine been like?

Yeah, Young Jeezy hit the gym, doing a lot of weights and he was on the treadmill, doing a lot of running. I’m doing the gym, hitting the punching bag. I just did a 7 day fast as well. I can’t be worrying about heart attacks and ulcers, so I want to keep off the excess weight. A lot of young cats out here, under 30 year old, are getting major health problems with that.

Do you feel more rappers and producers who are overweight should be looking to do that, with the money they have to hire trainers?

Yeah, I’ve gotten in a few cats ears encouraging them to lose weight. Killer Mike lost a lot of weight, and he’s slowly getting into martial arts, and that’s an exercise for the body and mind. Last time I saw Jazze Pha, I wasn’t sure whether he was trying to take something off. I always try to encourage my team to stay healthy.

What was it like working with Kanye West, and why wasn’t he on the final version of ‘I Got Money’ off the new Young Jeezy album?

He did another version, kept my drums and kept the hook. We may use that version on that new album. His version was a real remix off ‘I Got Money’. Jeezy wasn’t really feeling Kanye’s version so it didn’t make the album. Me and Kanye are under the same publishing, EMI, so our representative Big Jon said Kanye wants to work in the studio with you. We first worked in New York, and we were working 4 days straight. He is very open and the first idea he would have, he would take that to the booth and record. He wouldn’t sit around thinking whether people would accept it. Whatever he likes at that point in his head, he does that. He doesn’t write his rhymes down as well.

Which artists in the near future, would you love to collaborate with, and would suit your sound?

I would love to do something with LL Cool J. I almost got on Jay-Z’s last album. We sat and talked, and he even record stuff on my beat. He rapped two verses for me over two beats. I also met with Beyonce over that. I don’t know why my tracks didn’t make Jay’s album, but Kanye fell in love with them.

From any artist you worked with, who surprised you the most, in terms of their work ethic or personality?

Young Jeezy! Even though I have two records on his album, he recorded 6 of my tracks, and got enough of them done, to put them on future albums.

Do you feel he is the best the South has to offer?

No, still to this day, the top artists in the South include T.I, Lil Wayne, Andre from Outkast, Killer Mike, Twisted Black, Trick Daddy and Ludacris.

Tell me about your new imprint N-Zone Entertainment?

First I started ‘Zone Boy’ productions, and reaching to a lot of producers. N-Zone Entertainment is a record label/entertainment, and I’ve sponsored a lot of events. We have started to promote artists, and we have our own artist by the name of Suga-Suga. If I produce a record, it’s ‘Zone Boy Productions’, but if we release a record, it’s part of ‘N-Zone’.

What are things you look for in a producer’s beat in judging whether it’s hot?

Well first, they have to possess uniqueness with a melody. Also the beat may be very track driven, with drums. A good track should have thorough drums and maybe a crazy introduction- something which isn’t wack, but stands out. I’m slowly trying to change up my style.

What is your advice to aspiring producers out there for getting into the game?

Become good at your craft and get good at what you do, but if you want to get into the music game, please, get a book. A lot of artists are good at what they do, but don’t know anything about the music industry, and are waiting really to be fucked over through publishing or whatever. The main thing is, to find an artist, and create a strong chemistry with that artist, so your artist is representing your music. Like, Missy and Aaliyah brought the best out of Timbaland, and T.I brought the best out of me. The Neptunes were hot, but after N.O.R.E done that ‘Super Thug’ produced by them, they become hotter and everyone wanted their beats.

Which artists can we expect you on?

Slim Thug, 8Ball & MJG, Famlay, Smallworld on DTP, Young Buck and a few I can’t think of any. I might be working with Nas soon, and around Christmas, I spent time with Busta Rhymes working on some tracks. I was able to chill with him so that was cool.

You are friendly with a lot of the artists, but if there’s one artist you had to deal with on a business relationship, due a personality clash, who would it be?

I had to do that with T.I. We started homeboys, and after the death of his cousin I’d say, things changed, because me, Toop (his cousin) and T.I were all tight as a unit. I decided we need to keep it business now, because everyone used to know, I would take them everywhere back in the days, and the public realised, something isn’t right.

Would you say it was people getting in his ear, and will you be working with him in the near future?

Yeah, it may have been his attorney or Jason Geter’s attorney, saying “you don’t need Toomp as an executive on Grand Hustle Entertainment, or you don’t need him to executive produce your albums” and they felt that was a benefiting move. Right now, I’m focusing on work coming from Interscope Records and Def Jam Records, which I’m getting a lot of. I haven’t focused on working on T.I’s future projects at the moment.