Checking In With Hit-Boy

Summary

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New Rory & Mal – Checking In With Hit-Boy (September 18, 2025)

Episode Overview

In this rich, candid conversation, Rory and Mal check in with legendary producer Hit-Boy, who’s fresh off regaining his independence after 18 years tied to his first publishing deal. They dive deep into his hard-earned freedom, creative process, collaborations (notably with Nas), the ever-shifting music landscape, and trade war stories about the music business. They close with a fun, rapid-fire “this or that” session covering classic tracks Hit-Boy has produced and legendary albums he wishes he could’ve touched. The episode is packed with industry insights, laughs, and gems for both fans and up-and-coming producers.

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Key Discussion Points & Insights

Breaking Free: Hit-Boy’s Publishing Deal Journey

• Out of His Longstanding Deal:

  • Hit-Boy details finally becoming fully independent after 18 years in a restrictive publishing contract, originally signed at age 19.

    “I was one year out of high school. I signed up when I was 19.” (04:08)

• How It Began and Ended:

  • Discovered by Polow Da Don on MySpace.
  • The contract had outdated, open-ended terms; it required negotiation and advocacy—especially by Jay-Z and management—to create an end date, ultimately freeing him in July 2025.

• Mental Toll & Staying Creative:

  • The contract was “fucked up mentally” and at times “depressing,” causing creative blocks but not stopping his drive.

    “Plenty of times…couldn’t think of nothing, felt like I exhausted myself…making no real progress.” (07:45)

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Advice for Younger Producers

• On Signing Deals:

  “Number one is if you are gonna sign a deal, make sure you got an end date…find the right fit.” (07:04)

  • Warns about the dangers of indefinitely binding contracts.
  • Pushes patience, self-worth, and understanding leverage as a producer.

• New Platform Opportunities:

  • Notes the explosion of “new big producers every day” through social media and streaming (TikTok, IG).

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Life and Work Post-Deal

• Real Independence:

  • Hit-Boy can now “move his percentage around” as he pleases and only takes projects if the business and creative fit.

    “From here out, you know, the plays are serious…real dollar signs and some real business being done.” (08:27)

• His Insane Work Rate:

  • Despite the contract, he’s released huge volumes (“80 songs in three years” with Nas).
  • “We emptied the clip, bro…dropped damn near everything we made.” (09:08)

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The Hip-Hop Creative Process

• Learning from Nas (and others):

  • Working closely with Nas for multiple albums was not just productive, but artistically formative for Hit-Boy as a rapper.

    “That was just an opportunity for me to grow, be around an elite MC…and I got to grow through that whole process.” (09:08)

• Project Teases:

  • Four projects on the way, including:
    • Joint album with Alchemist (Nov 2025)
    • Collaboration with Spank Nitty (“Yeast Talkin’”)
    • More “Half-A-Mil” records with Dom Kennedy pending.

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Stories from the Studio

• Most Eccentric Collaborator:

  “Jay Electronica…might FaceTime you at 3 in the morning from the jungle…” (11:08)

  • Also mentions Tzo Touchdown's unique desire to record with a handheld mic.

• West Coast Energy Shift:

  • Discusses how Kendrick Lamar’s high-profile beef and 'pop out' event inspired a new wave of seriousness among LA MCs.

    “He gave a lot of people opportunities…a lot of people [are] like ‘I gotta take my shit more serious.’” (12:49)

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Music Biz Real Talk

• Producer Collabs and Verses Battles:

  • Reflects on his Verzuz battle with Boi-1da and how Drake records were “stinging me…but once I start coming with the New Nip and new Nas…it started to even out.” (14:40)
  • Wishes these kinds of battles were live for full effect.

• Industry Shifts:

  • The “Big Three era” (Drake, Cole, Kendrick) is possibly over; the game lacks clear newer superstars.

    “I don’t think this game is what it used to be…the world ain’t what it used to be. None of this shit is the same, bro.” (15:58)

• Producer A-List Status:

  • Pushes back on only working with major artists—he finds inspiration working with those who make him “laugh and think.”

• Sample/Copyright Nightmares:

  • Recounts losing his songwriter fee for Rihanna’s “Woo” because of a disputed guitar sample, illustrating a common modern producer struggle.

    “I had to give this dude the whole 45 bands for the beat, you know what I mean? It was ugly.” (38:02)

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Frank Ocean, Creative Patience, and Release Cycles

• On Rare and Elusive Artists:

  • Wonders why certain dream collaborations (like an album with Frank Ocean) never happen.

    “Why wouldn’t he just come with me, do a whole project? But…guys like Frank, they’re in their own stratosphere.” (18:45)

• How Audiences Consume Music Now:

  • Observes how quickly people judge new releases:

    “You don’t even take two hours. It’s five minutes…It’s so trash, garbage.” (19:41)

• Consistency Versus Legacy:

  • Argues for the value of dropping lots of music, referencing Virgil Abloh's advice—people remember your hits, not the misses.

    “Stuff you put out that’s bad…nobody gonna remember that anyway…Keep shooting.” (21:32)

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Touring, Trap Clubs, and Regional Vibes

• New York vs. LA Nightlife:

  “I never seen that many superstars in one building…New York…they be just super fly, take pride in how they present themselves.” (25:29)

  • Notes differences in strip club culture (Starlets in NY, Crazy Girls/Sam’s in LA, and wild Atlanta clubs from his beginnings with Polow Da Don).

• Hint at Potential NY Move:

  “Man, I’m finna look at some real estate.” (23:59)

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The “This or That” Producer Showdown (32:27+)

A fun, rapid-fire game where Hit-Boy chooses between classic tracks and albums—many of which he produced:

| Matchup | His Pick & Reason | Timestamp | |----------------|-----------------------|---------------| | “Paris” vs “Clique” | “Paris” – the reaction live in Vegas is unmatched. | 32:46 | | “Goldie” vs “Trophies” | “Goldie” – signaled ASAP Rocky’s major intro. | 34:15 | | “Backseat Freestyle” vs “Racks in the Middle” | “Racks in the Middle”—deep personal connection, won Grammy, originally his record. | 34:41 | | “Woo” (Rihanna) vs “Sicko Mode” (Travis Scott) | “Sicko Mode”—despite wild sample drama on “Woo” | 37:44/39:31 | | “Sorry” vs “Flawless” (Beyoncé) | “Flawless”—spawned the remix and “Feeling Myself.” | 40:10 | | “Cold” (Kanye) vs “One Train” (ASAP Rocky) | “One Train”—symbolic of an era in hip-hop. | 40:28 | | Nas: Magic vs King’s Disease series | Can’t choose—Magic’s more mixtape, KD more conceptual. | 41:15 | | Reasonable Doubt vs Illmatic | “Reasonable Doubt”—“dope boy talk, we’d have made some.” | 42:17 | | Chronic vs Doggystyle | “Chronic”—but acknowledges “Doggystyle” was LA leveled up. | 42:56 | | Ready to Die vs All Eyez on Me | “All Eyes on Me”—but producing for Big would be a dream. | 43:30 | | Miseducation vs One in a Million | “Miseducation”—for the songwriting range. | 43:54 | | D’Angelo Brown Sugar vs Sade Love Deluxe | Wants more on “Lovers Rock” (Sade), but gives both love. | 44:11 |

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Memorable Quotes & Moments

• Hit-Boy on His Contract:

  “There was no ending date because of terminology in the contract…outdated stuff still being upheld.” (04:35)

• On Influence of Nas:

  “Watching this n**** write verse and freestyle hooks…I got to grow through that whole process.” (09:08)

• On Jay Electronica:

  “He might FaceTime you at 3 in the morning from the jungle.” (11:08)

• On Sample Drama (Rihanna’s “Woo”):

  “I chopped that beat in front of The Weeknd, Travis was there, Ty Dolla $ign…dude was like, ‘Nah, you stole my sounds.’” (38:02)

• On Consistency in Art:

  “Just keep shooting…the good stuff is gonna stand out.” (21:32)

• On Streaming Era:

  “You put out a great project, people might not go back to it in three weeks…so much shit is out.” (19:46)

• On Artists’ Motivation Today:

  “What’s inspiring him to do it?...I just don’t understand where the artists are as far as things that go on in the industry, how people consume music, how long they live with it.” (19:46)

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Upcoming & Unreleased Projects

• Album with Spank Nitty (“Yeast Talkin’”) – drops October 3rd
• Album with Alchemist – coming in November
• Hints at more Half-A-Mil (with Dom Kennedy)
• Mentions a possible tour with Alchemist

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Final Wrap Up

The conversation ends on high energy, as Hit-Boy and the hosts riff about music, industry grind, and the “therapy” of nightlife and creative spaces. Hit-Boy is invigorated in his independence, ready to drop multiple projects and continue collaborating across genres and regions—with a reminder that, whether in LA or New York, the creative hustle never stops.

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For aspiring producers or longtime fans, this episode is a goldmine of both warnings and motivation—full of stories about the music biz, the thrill (and frustration) of collaboration, and what it means to stay inspired amidst chaos.

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Notable Episode Timestamps

• 03:02 – Hit-Boy on finally being independent and free of his publishing deal
• 04:08 – The origin of the 18-year deal
• 07:04 – Advice to new producers
• 08:27 – The meaning of producer independence
• 09:08 – On emptying the clip with Nas: 80 songs in three years
• 11:08 – Funniest/strangest artists to record with (Jay Electronica)
• 14:40 – Hit-Boy’s take on his Verzuz with Boi-1da
• 18:45 – Why a Frank Ocean x Hit-Boy album hasn’t happened
• 21:32 – Virgil Abloh's advice: Make a lot, hits rise above
• 25:29 – New York vs LA creative energy post-pandemic
• 32:27 – “This or that” production game begins
• 41:15 – King’s Disease vs Magic (Nas albums)
• 44:43 – On losing out on album placements (Jay & Beyoncé “Everything Is Love”)
• 46:28 – New projects and tour plans

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“I’m on some straight art at this point.” — Hit-Boy (15:58)

Transcript

[Hit-Boy]

This is an iHeart podcast.

[Rob Gronkowski]

This is Rob Gronkowski and Julian Edelman. We invited some familiar friends to hang out with us at the Boston Nut House. Thanks to Duncan. Here is a sneak peek at some.

[Julian Edelman]

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[Rory]

Like look guys, stop screwing around.

[Rob Gronkowski]

We are joined by Matthew Light. Ladies and gentlemen.

[Hit-Boy]

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[Rory]

You're going to love him. Will Campbell not into eating hot dogs?

[Julian Edelman]

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[Rory]

Being able to play the wide three technique.

[Rob Gronkowski]

Tackle full episodes of Dudes on Dudes and Games with names presented by Dunkin. Tune in to iHeart podcast or wherever you listen to your podcast. Thanks to Dunkin' for a great time.

[Announcer/Advertiser]

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[Julian Edelman]

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[Advertiser]

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[Julian Edelman]

Equivalent to 15 per month required new.

[Hit-Boy]

Customer offer for first 3 months only.

[Advertiser]

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[Hit-Boy]

Busy, taxes and fees extra.

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[Hit-Boy]

The volume no warrior now.

[Rory]

All right, Rory, we are back. Today we are joined by a friend of the show family. Was actually one of our first guests, man, ever. Yeah, we sat down with him in LA a few years ago and since.

[Julian Edelman]

Then he is live show, too.

[Rory]

Live show.

[Hit-Boy]

Yeah.

[Rory]

Shouts to big hit performed at the live show in la. Obviously somebody we're very familiar with has been doing legendary for years, is continuing on that pace, not slowing up. One of the hardest working guys in the industry, one of my favorite people in the industry, Hit boy.

[Hit-Boy]

My God.

[Julian Edelman]

What's up, man?

[Hit-Boy]

And most important, we're back for another one.

[Rory]

Exactly.

[Julian Edelman]

Most importantly, the independent hit boy.

[Rory]

The independent hit boy.

[Hit-Boy]

I really feel like I just.

[Rory]

Now we just got a free big hit.

[Julian Edelman]

Yeah.

[Rory]

You know what I'm saying?

[Hit-Boy]

You know what I mean? It's the real hit. Free.

[Rory]

How you feeling, man?

[Hit-Boy]

Great, bro.

[Rory]

Now that you know, it's completely in the clear.

[Hit-Boy]

Yeah. New man, bro. I just, like, you know, had a lot of dark times during them days. But, you know, now I got shit in retrospect, and I could just see, like, everything was needed. It had to happen the way it had to happen just to get me to this place. And I'm moving, like, with a just way more sharp vision now.

[Rory]

Now for the people that don't know, you're completely out of your original deal that you were stuck for.

[Hit-Boy]

For 18 years.

[Rory]

For 18 years.

[Hit-Boy]

I was one year out of high school. I signed up was when I was 19.

[Rory]

Damn.

[Julian Edelman]

How'd you get that deal?

[Hit-Boy]

I got that deal on MySpace. I met Paulo de Donna on MySpace and he was like, you know, I just was a fan of his music. He was like, man, you know, I'm more than just a producer. I could really, like, help guide you through your career and, you know, put some plays together for you. So when we linked, he ended up giving me the publishing deal. Yeah.

[Julian Edelman]

Can you explain what a pub deal is? Just to the, you know, average.

[Hit-Boy]

Listen, it's like, you know, it's a company that collects money on your behalf, you know, and they take a percentage for that. And my particular situation was like, there was no ending date because of, you know, terminology in the contract and whatever you want to call it. Oh, ancient terminology. Stuff that just got outdated that was still being upheld in my contract. So I just got stuck in it, you know. But at the end of the day, bro. Like, it went down. How it went down? I'm happy now for sure.

[Julian Edelman]

Because I assumed you recouped what they gave you.

[Hit-Boy]

Come on.

[Julian Edelman]

Within a year, maybe. Because, I mean, I feel like especially producers like you, because there's the A list. Legendary producers that produce like, once a year maybe.

[Hit-Boy]

And that.

[Julian Edelman]

That's where pub can be like, all right, whatever. It's not a huge deal, but you work actively with A list artists or people we've never even heard of.

[Hit-Boy]

And I was the part. I was part of it, too. Like, me just like, doubling down and doing so much work. Like, man, some going to get me out this.

[Julian Edelman]

I gave you six Miles albums?

[Hit-Boy]

Yeah. Come on, bro. I was like, man, bro, like, what's going to take? You know, what is it going to take? And it just like, you know, I guess it just. Whatever Desiree Ho said to them, it just. It worked. You know what I mean? And they gave me an end D and just, you know, knocked it out. Just got out in July.

[Julian Edelman]

How. How'd that conversation start with Des and.

[Hit-Boy]

Hov me complaining and being pissed off. Mad sad, all that. Just like, bro, like, you know, Hov telling me, like, man, I looked at the contract like, these papers ain't good. That's literally what he said. You know what I mean? I'm like, you know, he like, we gonna try to, you know, figure it out. Then they ended up figuring it out and gave me. That was 2021, when I was still being managed by Rock. And he was like, man, best we could do is they'll give you an end date, but it's four years from now. So I had to wait till July 2025 to get out.

[Julian Edelman]

Okay, did that defer you from maybe wanting to put out music or work with anyone just because you had stuff that you wanted to keep for yourself on the independent side?

[Hit-Boy]

Nah, I don't even. I don't even work like that, man. I was in the middle of the Nas albums during that whole thing, so it was like, you know, just pushing. Regardless. This is why I just love to do this shit, regardless. Like, money or not, I mean, we want the money for show, but I just love to do this.

[Julian Edelman]

Is there advice you would give to, like, a new producer that maybe just caught one? Because that happens now, whether it be Tick tock, ig, whatever. The Tick tock sounds are going platinum.

[Hit-Boy]

Yeah.

[Julian Edelman]

So, yeah, you're getting brand new big producers every day at a rate you weren't before because it's easier to discover them. What's Like a bit of advice you would give a younger producer going in.

[Hit-Boy]

I mean, number one is if you are gonna sign a deal, make sure you got an end date. Make sure you know that like this contract is not gonna go on for like 18 years or like whatever the case may be, just make sure it's an end date, you know what I mean? Like if you got the hit, then you know it's not just one company that's gonna want to do business. Somebody out there gonna want to do business in the way you see it being done. You know, you just gotta be patient and wait and find that right fit.

[Rory]

But that's very different because for somebody to be in a deal that they absolutely hate and obviously to have the success that you've had as a producer, as an artist, it's hard for somebody to continue wanting to create. Being in a contract like that, it was depressing, bro.

[Hit-Boy]

It was plenty of times where I definitely like had a little. Just couldn't think of nothing. Just like felt like I exhausted myself, feel like I was just like, man, making no real progress, you know what I mean? And that shit definitely was, it was, it was, it was fucked up like mentally for sure. At the end of the day, just my love for this shit, bro. Just like, you know, it's fun to me, like, just thought it should always been just fun. Especially the beat making aspect. Like it's like I said, like a video game. Yeah. You know what I mean? Mean, so I do that for entertainment. Yeah.

[Julian Edelman]

So what? What's the difference then? Because I think it's easier to understand when a, a rapper is independent or on a major label. But as far as a producer being free of a pub contract, what does that look like? Independent? Are you collecting on your own had like, how does that, that work?

[Hit-Boy]

I mean. Well, basically, you know, the percentages that I owned of the songs that I did, you know, I can move that around and do what I want to do with it and basically from here out, you know, the plays are serious. Like, you know, I mean, it's gonna have to be some real, some real dollar signs and some real like business being done.

[Rory]

But it's smart that you continue to keep that work ethic though, because I mean, you've produced some of the biggest records last since you've been in that contract 18 years. Nas particular, the six album thing. Are there any records left over that never saw the light of day that y' all plan on doing something with?

[Hit-Boy]

Nah, I mean, we probably do got little hooks and verses just scattered Around. But we ain't got like full, full songs like that. We, you know, we emptied the clip, bro. We put 80 songs out in three years. Like, that's crazy. That's like. We basically dropped damn near everything we made. Cause we was just in a groove and literally having fun. Like, you know, this is like, he don't gotta be doing this shit. You know what I mean? And it's like that was just an opportunity for me to grow, be around an elite mc, like for three years in a row, watching this n write verse and freestyle hooks and whatever you gonna do. Like, I got to grow through that whole process.

[Rory]

Is that something that you look back on that helped you as a writer yourself? Cause a lot of people know hit for his production. But I speak to people about your ability to also rap better than a lot of producers that rap and produce. Appreciate that, being around Nas for those years.

[Julian Edelman]

Did you.

[Rory]

Did you sharpen your pen just like listening to him?

[Hit-Boy]

Yeah, and that's why I'm excited about what I'm doing right now. Cause I feel like it's gonna be a good showcase of that, like the new projects I'm doing. I got like four new projects. I'm finna drop just back to back. Like, joint with Alchemist, some with my homeboy Spank Nitty. We got a crazy tape that's just. We went to Starless and that shit up last night with them joints. Like, we got straight.

[Julian Edelman]

Just tell you was hungover when you walked out.

[Hit-Boy]

Yeah, no, bro, I had to lay out on the beanbag. I really dozed off for two seconds, but now I'm just. Yeah, I'm finna. I'm finna empty the clip again, bro. Like on my own shit and just like, just show people where I'm going, you know, it's just Stepping stones, one.

[Rory]

Of my personal favorite. Is there another half a mil joint coming, man?

[Hit-Boy]

Me and Dom, we do got. We got albums worth of shit, bro. We for sure, we got joints. We got. Yeah, we got joints in. But you know, Dom is. Plus, like, Dom's son is super good at baseball, so he really locked in with his son going to like a crazy high school, like, you know, top ranked. And so he locked in for real on that.

[Julian Edelman]

Okay.

[Rory]

Yeah, gotta respect that.

[Julian Edelman]

Which. Which artist would you say is the weirdest recording process that you worked with?

[Hit-Boy]

Jay electronica. He might FaceTime you at 3 in the morning from the jungle in the motherfucker with the ass.

[Julian Edelman]

You see these grays? They're not from my daughter. They're from him.

[Hit-Boy]

Yeah, yeah, yeah. Already you just was telling me you're serious. Yeah, that right there. Crazy. And he changed his number like every week.

[Julian Edelman]

Oh, man.

[Rory]

And then hit you like you supposed to know he changed his number. It's like, I don't even know who this is.

[Hit-Boy]

No, no, no. He'll send me a random like YouTube video or something. I'm like, who is this?

[Rory]

I know exactly what type of YouTube video we ain't gonna say.

[Julian Edelman]

Well outside of Jaylek, because just the mystique of him. I feel like the whole world knows that he's a unicorn over there with processes. But like some of the artists that are on earth, like, who. Who has. Doesn't even have to be weird, but just.

[Hit-Boy]

I mean, everybody got their own process, you know what I mean? Like when I worked with Tzo Touchdown, like instead of like recording on the super high quality C800 mic on, you know, that's like, you know, there for the quality. He wanted to do a handheld and he like literally laid the whole song just on the handheld. Like, you know, he an interesting artist, period. But yeah, that was probably like, damn. He like, that's. That's the quality you want, you know, I mean, yeah.

[Rory]

Now coming out of the year that, you know, because I don't think we spoke since the whole Kendrick.

[Hit-Boy]

Yeah.

[Rory]

Break would turn out to be west coast versus. I don't even know if it's east coast or Toronto. I don't even know. It just got weird. How has that affected just the energy amongst the MCs in Cali especially, you know, you know, a lot of guys that's coming up that you work with on a close, close basis. Like, how has that changed the energy of guys wanting to rap?

[Hit-Boy]

I mean, you know, the nigga gave a lot of people opportunities, you know, through that whole. The pop out and putting n on his album and all that. I feel like, you know, you see like Az Chike taking advantage of that, like Lefty doing his thing. It's a lot of people that's like, you know, like, I gotta take my shit more ser serious, you know what I mean? For sure.

[Julian Edelman]

He definitely. He chose aside with start dissing. Once I saw the video, I was like, all right, now I know where Hit boy. I mean, you west coast.

[Hit-Boy]

So I'm just on West Coast. I ain't choosing a side, but I got love for Kendrick, you know what I mean? For sure. Yeah. Yeah.

[Julian Edelman]

Is this next project gonna be more in that vein?

[Hit-Boy]

The. The joint with Spank? Yeah, it's called Yeast talking. Like, we got, you know, we got AZ, Tyke, Baby Tron on there. We got Big Sad 1900. We got the shit we did with Don Q last night that's going on there. We just gotta Rio de Y' Young og Like, that's the type of. I'll be listening to. Just, like, really on a daily. Just hood peasy them type of. And. But then Alchemist album is just straight soulful, like hip hop, like, chops. And just talking through the whole album like, this is. Yeah, I'm coming with different vibes, bro.

[Julian Edelman]

Well, speaking of az, we were out at the BET Awards and did like, the. The media room shit where you interview a bunch of people. And we. And we sat down with Berg, our guy, Hitmaker, and we discussed how. I guess I instigated the entire beef between. Between y'.

[Hit-Boy]

All.

[Julian Edelman]

Have y' all pieced it up yet?

[Hit-Boy]

I ain't ran into him. Nah. But I mean, you know, that's. You know, that was. That was just a little moment, man. It was just a little splash. Like, I ain't tripping off that.

[Rory]

Yeah.

[Julian Edelman]

And when he sat with us, he wasn't. He wasn't on any type of time. Like, it was an issue. But I'm just not sure if y' all had ever spoken since that entire thing.

[Hit-Boy]

I do what I do, you know, Everybody in their own pocket. Yeah.

[Rory]

So in the. In the. The vein of producers, who do you think won the verses with you? And Wonder, like, personally.

[Hit-Boy]

Damn.

[Rory]

Like, looking back. Cause I started to watch that he.

[Hit-Boy]

Was killing me with all the Drake records. Like, for a minute, I was like, I was feeding into it. That's why I fucked up. But I feel like once I start coming with the New Nip and new Nas and all that shit, it was like, you know, it started to even out. But, yeah, I see why N was like, oh, man, you gotta play more hits. And this nigga was just stinging me with Drake after Drake.

[Julian Edelman]

Oh, my God, you played trophies. And then it was an hour after of just Classic Boy one Drake Records.

[Rory]

I spoke to him. He was like, yo, man. He's like, yeah. Ask him who you think won the verse. But he said he got nicely. That's my guy.

[Hit-Boy]

No, for sure. I got respect and love for one.

[Rory]

Yeah, but that was. That's one of those verses that I wish we got in a different setting, because that's when it was like, really just.

[Hit-Boy]

That was the raw. That was the first one after they was just around on the ground. I really cracked it off.

[Rory]

Yeah, but that's why we needed that. With those type of records that y' all have, respectively, we need that. Like on a stage, we need said.

[Hit-Boy]

I set up like a. On a video game. After that, I started turning up.

[Julian Edelman]

Yeah, it would have been better too because I mean, obviously both y' all are real producers. So like, playing that shit live would have just made it a way. A cooler experience than that. But I mean, speaking of, of, you know, Drake, Kendrick, not on the beef side, but I feel like you, you started with the quote unquote, big three around the same time. Cole, Kendrick, Drake. Who do you think is the next superstars? Or do we have superstars?

[Hit-Boy]

I can't call it, bro. I don't think this game is what it used to be. The world ain't what it used to be. Like how we consume, you know, the respect on the music is. That's just. None of this shit is the same, bro. So I can't really call, you know, it's like it's space for it to open up. It's space for undeniable motherfucker to come through and be like, yo, this is it type shit. So, you know, I'm excited about that, but I just don't. I don't know what this shit is no more, bro. That's like I look at. I'm not even looking at myself as like in the music industry. I'm just like making art. Whether it's my music. Me and Al got a film that we working on. High level shit. We really invested time and money and put real effort and got high level actors in this shit. Like, like, you know, I just feel like that's about to make people look at us in a whole different light. And it's like I'm on some straight art at this point.

[Julian Edelman]

Yeah, yeah, yeah. I mean, do you feel like cuz you do it consistently as far as working again with big artists or just artists you like? I feel like Pharrell, Swizz. Well, maybe not so much for, but like Swizz, Timberland, even Kanye after he got H of the IO, he wasn't going back to Chicago to mess with some local mans. All aist artists would only work with A list producers. And now that there isn't really like the A list artists coming up, do you think producers get left behind with that mind state? Like you should work with everybody. It doesn't matter with their status or if you just did a record with Gunna, like, don't think now you just. The gunner status is what, what you should be Doing.

[Hit-Boy]

Everybody could do what they want to do. I just like working with. I'm inspired by like, when I heard Spank like this bars literally didn't have me in the crib in tears laughing, like. And that's the type of rappers I with. That make you laugh, like. But it'd be like, smart. It's intelligent, but it's hilarious the way put it. Yup. Like, you know what I mean? Just like, I'm like, let's do a whole album. Fuck it. Yeah.

[Julian Edelman]

So a couple months. I think it was a couple months ago, but time is flying. You put a Frank Ocean snippet on Instagram. That was fucking crazy. You were in your studio and it was like a minute man.

[Hit-Boy]

I think that was. I think that was his demo that he did with the homegirl Stacy Barth back in the day.

[Julian Edelman]

Love Sticks.

[Hit-Boy]

That's before he was even Frank Ocean, though.

[Julian Edelman]

Okay.

[Hit-Boy]

Actually, my boy B Care, like from our Click Surf club, he actually produced that shit. I was just playing that because that's a vibe. Yeah, yeah, but that. You can find that song on SoundCloud too.

[Julian Edelman]

Okay.

[Hit-Boy]

Yeah.

[Julian Edelman]

When was the last time you saw Frank?

[Hit-Boy]

Some years ago. Probably about 20, 19. Okay. Yeah.

[Julian Edelman]

What was his vibe? Did it look like.

[Hit-Boy]

I know he went through some personal. So it was before, like, you know, he was dealing with that, so it was cool. Like, was. He was locked in. Yeah.

[Julian Edelman]

Because when I saw that snippet, I didn't recognize the song. I was like, oh, is this. Is this the rollout? We about to get a hit boy. Frank Ocean ep.

[Rory]

And that would be ridiculous.

[Hit-Boy]

No, I think type that type of need to be happening. I would make it exciting. Like, why wouldn't he just come with me, do a whole project? But.

[Rory]

But guys like artists like Frank, though, like, you know, he's in his own world.

[Hit-Boy]

Stratosphere.

[Julian Edelman]

Yeah.

[Rory]

Like, and it's like, you know, guys.

[Julian Edelman]

From New Orleans, clearly.

[Rory]

Yeah. Well, it's something. It's something out there, but it's. It makes sense for a Frank. Like, just if somebody say, yo, Frank Ocean got an album coming out and hit boy is producing it.

[Hit-Boy]

That's just sound fly already.

[Rory]

You see what I'm saying? Like, it's like, wait, why. Why haven't we gotten that already?

[Julian Edelman]

Yeah.

[Hit-Boy]

Everybody in their own world, everybody got. They process and you know what they vibing in.

[Rory]

I think it's to what you said though, people are. I think it's creatives and artists are just in a space of. You don't really know what's going on, like, if you take all this time to put out out an amazing project, and once you put it out in two hours, people are either killing it online or they love it.

[Hit-Boy]

You don't even take two hours. It's five minutes.

[Rory]

It's like, why is an hour and.

[Julian Edelman]

You commenting five minutes into it?

[Rory]

It's so trash, garbage. It's like, why would an artist like, people, everybody say, yo, we want a new Jay album. Jay's in the studio. I'm like, I don't think an artist like Jay wants to put out music right now. Like, what's inspiring him to do it, right? What's, like, what would be the point of him doing it? He's only gonna go on, you know, take a project or album and go on tour if his wife is with him. Like, they're obviously only touring together at this point, if they're touring at all. So I just don't understand, you know, where the artists are as far as, like, you know, things that go on in the industry, how people consume music, how long they live with the music, what it means to them. Cause right now, if I put out a great project, people might not go back to it in three weeks. Like, it might not be. I don't even listen to that no more. It's like, so much shit is out and available whenever we want to hear it.

[Hit-Boy]

The news circuit just coming up, just happening out of the blue type. You just don't know. Like, it's moving fast, man.

[Julian Edelman]

Yeah.

[Hit-Boy]

Yeah.

[Julian Edelman]

And I think artists get into patterns, especially from the era Frank is in and behind Frank, where you can put out a project that's deemed a classic and disappear for 3, 4 years. Whereas now you kind of have to, you know, play the consistency game. But to me, that's even better. Like, for example, Nas, you could say what you want about Street, Sociple, maybe Nostradamus.

[Hit-Boy]

Cool.

[Julian Edelman]

He's had things that maybe have not met the standard of it was written, but he's so consistent that you forget about, quote unquote, a dud. But when you only have two albums now, the anticipation to put out another one is like, yeah, now I'm gonna wait 10 years, because it's gonna take me 10 years to make that type of project. But if you're consistent and. And you could be like, yo, Frank, you just want to do a three pack real quick, that's fine. Because it's like, I'm consistent. I know where we're gonna get more.

[Hit-Boy]

Frank. I think that's like, I seen a interview that Virgil did. And he was talking about how just in general with art, you put out a gang of shit. Like the stuff you put out, that's bad, nobody gonna remember that shit anyway. You know what I mean? Just keep shooting, keep making shit and the good stuff is gonna stand out and the stuff you're not proud of. It's like we don't even think about the bad Nikes that Nike have made. Forces all the fly sh. But some Nikes that's. That ain't sold, that has been trash, whatever. But we just don't give a.

[Julian Edelman]

Even with Chance, for example, like the Internet killed the big day.

[Hit-Boy]

Yeah.

[Julian Edelman]

Obviously he took some time because he was going through some personal stuff and Covid and everything. But now the entire timeline has shifted to this may be one of the best rap albums of the year.

[Hit-Boy]

Yeah, I've been seeing people say so. Yeah.

[Julian Edelman]

You can also put out a dud if you're consistently putting out music. You can change people's mind to Virgil's point in that regard. Like people are going to forget if you keep putting out quality shit at that time. That's where I just wish Frank would get. Because obviously he's a writer first and works quickly.

[Hit-Boy]

Yeah.

[Julian Edelman]

Like you could just be putting out a bunch of records. I'm sure, I'm sure they're great.

[Hit-Boy]

Yeah, absolutely. Yeah, for sure. But again, you know what I mean, we don't know what's going on. This person. How you feeling? What's going on? So be real out here. I just had this do court this morning, my nigga. Like, you know, I got a bunch of amazing happening. Then I got some low level, low vibration happen at the same time. It's like you got to balance this out for sure.

[Julian Edelman]

And it leads into the creativity sometimes in a bad way in that regard.

[Hit-Boy]

That's why I went to Starless and went crazy last night, because that's therapy.

[Rory]

Yeah, that's the higher vibration, definitely.

[Julian Edelman]

Strip club wise, what do you feel about New York and strip club?

[Hit-Boy]

I mean, I mean, I only really went to Starless and maybe one or two other ones, but that's amazing, bro. It's lovely.

[Rory]

I just. You know what?

[Julian Edelman]

It is only somebody from la, I feel like would say that about New York strip clubs because we don't think.

[Hit-Boy]

They'Re even that great. But even in la, I like. I like crazy girls and Sam's and all the hoods, but I. With the hood period.

[Julian Edelman]

But New York and la, just once you start driving, you realize we don't do strip clubs like I lived in.

[Hit-Boy]

Atlanta when I was 19. I. With Paulo to Don.

[Rory]

You've seen it.

[Hit-Boy]

They had me in there. I wasn't even supposed to be here, and they had me going crazy. I'm seeing the thickest joints I ever seen in my life. Like, what is this? You know what I mean? So it's like, I got programmed on that early, man. But, you know, it'll just be a good time, a good little quick, you know what I mean?

[Rory]

So what you. So what's up, man?

[Hit-Boy]

When you.

[Rory]

When you moving? When you moving to New York, man?

[Hit-Boy]

Man, I'm finna look at some real estate. Yeah.

[Rory]

Cause I see it, it's all on your face, like you trying to spend some real time. But I think it makes sense for you to be in New York because, you know, everybody has to come through, you know, LA, NY, as far as artists and things like that. So I think Hit Boy just being there, like you said last night, you just stumbled into. You know what I mean, Like, Don Q at a restaurant and just like.

[Hit-Boy]

Gotten the studio dissed.

[Rory]

Yeah, I think it just happened.

[Hit-Boy]

All my west coast homies was like, man, y' all sure y' all want to go to. You already know what they think about.

[Rory]

Yeah, but that's.

[Hit-Boy]

Come on.

[Julian Edelman]

Times Square and, like, it'll be great because you'll get to listen to 10,000 Busta Rhyme songs. Because he lives there.

[Hit-Boy]

Yeah.

[Julian Edelman]

He has a mattress.

[Rory]

He has a residency. As a residency, absolutely.

[Julian Edelman]

But that's funny that it wasn't. Wasn't New York culture. The food history was like, n. I just went to Starless.

[Rory]

I want to move Starless. And now I'm looking at.

[Hit-Boy]

No, no. I love the whole city. I got a sprinter out here. Like, just, you know, driving down the street. Motherf. Motherfuckers getting dressed.

[Rory]

Do you do that? Do you just go out in the city just to get the energy and.

[Hit-Boy]

Nah, really? I just be on the way to places and shit. You know what I mean? Like, when I'm on the way somewhere, just looking at how motherfuckers moving around, the energy, the tempo is just us up out here. I fuck with it.

[Rory]

What do you. What do you think is, like. What would you say is the difference? Because I felt a difference in the energy in LA post pandemic. Like, I think a lot changed in California. Like, just the energy as far as, you know, the nightlife, just things like that.

[Hit-Boy]

Yeah.

[Rory]

What do you feel is the differences right now between the energy here in New York and in la, Dog, I.

[Hit-Boy]

Just like went to say less the other night, bro. I never seen that many superstars in one building, which is crazy. All Star game, It's like I didn't been to t been a catch. You see some joints, you see it going crazy be vibes. But that was something different, homie. You know what I mean? It's like, man, New York and they be just super fly. Like, I really take pride in how they present they self like getting dressed up flies head to toe. I'm like, and then Dominican joints. This is serious.

[Rory]

I knew that was coming. I was waiting on that.

[Julian Edelman]

We all go for the chicken skewers, man. That's why we go.

[Rory]

I just don't watch the game.

[Julian Edelman]

I like to take a photo in front. That's why I might say less. But no shout out to say less. That place is good.

[Rory]

Definitely.

[Hit-Boy]

Yeah, for sure.

[Julian Edelman]

Today's show is brought to you by our new sponsor, Hard Rock Bet Rock. It is football season. Mall finally working in the swing of things.

[Hit-Boy]

Yeah.

[Rory]

Yeah, man.

[Julian Edelman]

Week three coming up.

[Rory]

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[Julian Edelman]

Yeah.

[Rory]

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[Julian Edelman]

$5. You could pay for all the wings, all the food on Sunday when you're watching the game. Thursday, Saturday, everything.

[Hit-Boy]

Yeah.

[Julian Edelman]

So we have the Bills against the Dolphins. The Bills have won nine straight home games against the Dolphins. But as much as I like the Bills, the Bills always find a way in ancient history to screw things up. So I don't know if I'm just going to go with what this. Nine straight home games. The tenth one. I don't know if the Bills are getting that done.

[Rory]

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[Rob Gronkowski]

This is Rob Gronkowski and Julian Edelman. We invited some familiar friends to hang out with us at the Boston Nut House. Thanks to Duncan. Here is a sneak peek at some.

[Julian Edelman]

Of the fun Vince Will Fork Bill.

[Rory]

Finally like look guys, just stop screwing around.

[Rob Gronkowski]

We are joined by Matthew Light ladies and gentlemen.

[Hit-Boy]

Braves.

[Julian Edelman]

You're gonna love him.

[Rory]

Will Campbell not into eating hot dogs?

[Julian Edelman]

I have an Ernie and Adams come in.

[Hit-Boy]

Teach a defense being able to play.

[Rory]

The wide three techniques.

[Rob Gronkowski]

Tackle full episodes of Dudes on Dudes and games with names presented by Duncan. Tune into iHeart podcast or wherever you listen to your podcast. Thanks to Duncan for a great time.

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[Julian Edelman]

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[Julian Edelman]

We were talking, we had JD on I forgot couple months ago maybe.

[Rory]

Yeah.

[Julian Edelman]

And we did like this, this or that segment with him with some of his records on. On what he had to choose.

[Hit-Boy]

Yeah.

[Julian Edelman]

Out of the two. So I want to do with you start out the gate. Paris. Well if you want to say the full title or click.

[Hit-Boy]

I'm gonna have to go with Paris man. Yeah. I think that's just seeing him just recently perform that a few weeks ago bro in Paris felt like I mean at the Vegas show, the last boss show.

[Rory]

Okay.

[Hit-Boy]

Went to that. The whole stadium was just like rumbling bro. I'm like it sound like that just dropped the night before. Yeah. Just came out. I'm like you can't beat that Bro. Yeah, yeah.

[Julian Edelman]

What was that clique session like, though, man?

[Hit-Boy]

That was. I think we was in London when we started that. And that original beat, it's this song, if you look it up, called CDC by Dom Kennedy, Casey Veggies, and this other nigga named Carter. And they had did a song on that same beat, and then ye ended up picking that beat out of, you know, a bunch of beats I had. Once they did the hook, I had to tell ye like, look, the homie Dom already used this beat. So then we ended up just muting some of the sounds I had, adding more shit, added them choirs and them snares, and turned it up into, you know what it'd came. But, yeah, that was the first time I heard it. I was in the Hamptons working on the Beyonce album. Like, the. That came out in 2013, and yay came in and just playing that joint over and over. Everybody was going crazy. First time I had heard whole verse on it.

[Julian Edelman]

Okay, so Yay. Yay was on it first. Then hov was showing last.

[Hit-Boy]

Yeah. Sean did the. Yeah. His part and then Yay. And then the last verse I heard was a whole.

[Julian Edelman]

I. I would love to ask Big Sean what that was like hoving Kanye. Like, all right, we got this record together. Yeah, we want you to close this. Like, that must have been a feeling. All right, asap. Rocky, Goldie, or Drake Trophies.

[Hit-Boy]

I'm going with Damn. They both are. I with Goldie, though. You know what I mean? That was Rocky, like, first single on a major label, I believe. You know what I mean? So, like, that helped one of my favorite videos crack his off, you know what I mean? It just helps solidify what I was doing a little bit more.

[Julian Edelman]

Okay. Backseat freestyle or Racks in the Middle?

[Hit-Boy]

Damn, that's fucked up. Damn.

[Julian Edelman]

Yeah, I don't know if I could pick out of those two either.

[Hit-Boy]

Damn. I mean, I feel like I'm closer to Racks in the Middle because I was there for the whole process. And that was originally my song, you know what I mean? I had Gay. That's a nip. Because he asked for it and he felt like the fact that we won a Grammy and shit off that shit, he felt like that was a Grammy level song. So it was a proud moment when we actually won a Grammy. Like, we really felt like this was high quality, like the new wave of the West.

[Julian Edelman]

How did Roddy get involved with it, man?

[Hit-Boy]

He was across the hall from my old studio, and I used to work at Challenge, bro. He was working with Future and my homeboy that was A and R in the Atlantic. I don't know if he still is my nigga Knowledge, he was like, bro, I got Roddy over there. Cause I told Knowledge, like, bro, I fuck with Roddy. Like, I used to like that Die Young song, like, super heavy. So I was playing that shit, showing it to people every day. Like, this shit hard. And he was like, I got Roddy coming over there. He gonn the future. So they recording songs all day, doing anything. It's probably like, it's time to leave. It's 12, it's one. We didn't been there all day. Whatever. He just come over to say what up? He got his backpack on and all that. And I knew he was over there. So I'm like, I made a beat. I made that beat that same day. And I was like, if this come in here, I'm playing this. And he was just. No Kevin coming to say whatever. I'm like, check this out. Boom. Played the beat. He was like, it. Let me try something. Loaded up. And then he did that hook and let me try. He actually did a verse for him. He did a verse to us, man. And I was supposed to be. It was supposed to be Hit Boy featuring Roddy. And that's when Nip heard it and.

[Rory]

Was like, nah, I need that.

[Hit-Boy]

Let me get this.

[Rory]

Yeah, I need that.

[Hit-Boy]

It just like. It was like, this could be the perfect record to, like, segue from Victory lap. Like, to be my. You know, just start the next. You know, I mean, energy, the next rollout.

[Rory]

Do you have any? Cause obviously one of the biggest moments on the verses was when you played the Nip verse that we had never heard before. Do you have any music with Nip in the hard drive still?

[Hit-Boy]

I got, like, maybe a couple things. Nothing crazy, but, yeah, I got stuff that's in. But I know they working on some stuff, like internally family, like Sam putting some together, so they ain't really trying to let nothing out like that. But yeah, yeah.

[Julian Edelman]

And I mean, the way Nip worked out, I'm sure there's thousands of verses that. That Sam probably has over there.

[Hit-Boy]

Right, Right. So.

[Julian Edelman]

Well, how backseat freestyle even come about?

[Hit-Boy]

That was hard. We went TDE and Kendrick and the gang of homies and to Vegas in, like, 20. 2011. Must have been 2011. Cause it was before the album dropped and we was just out there working. We was like. He had recorded on a couple other beats I did and just like started little ideas and shit. And then whenever we came back to la, he was like, man, Like, I fuck with them ideas, but. You got any more beats? Let me hear some beats. So him and Day Free came to this old studio crib I had and I played the shit and they was like, yo, we gonna take this. Go crazy on it. And then he texted me and was like, bro, we got one. He was like, I guess he was in Dallas or something like that, on tour, doing show. And he's like, we got one. Send me this song. And I'm like, damn, that was tough. Like, he just really gave you that feeling, like he was really freestyling.

[Julian Edelman]

Yeah, no, that record is a classic. All right, Travis Scott, Sicko mode or Rihanna?

[Hit-Boy]

Woo, man, just listen to the songs.

[Rory]

The songs you throwing out is crazy.

[Hit-Boy]

Not for real. I mean, bro, I can't say woo because I'm gonna tell you why I. That album, I did Pose and I did Woo on the Anti album. And I was. I. I used to trade samples with a lot of people, you know what I mean? I traded some samples with Don Cannon. He gave me a pack that said royalty free on it. Literally said royalty free. So like, I took. It wasn't even a loop. It was just a bunch of guitar stabs. If you hear it. Like, you know, I made that arrangement and like chose the stabs and then built on. And basically once like the pre sale thing came out, the dude that gave him the sample pack went like the lawyer route and was like, oh, hit boy stole my sounds and da da da. So I had got paid 45k per track for pose. I got 45k for pose and 45k for woo. I had to get this dude the whole 45 bands for the beat, you know what I mean? Like, it's just crazy, homie. I sat there, I chopped that beat in front of the Weeknd. Travis was there, Ty Dollar Sign was there. It was a gang of motherfuckers in there. I was chopping, making the beat right there on the spot, bro, Bro. And even Travis was like, damn, bro. Like that weird. I watched you make the beat type. You know what I mean? And yeah, dude just was like, nah, like you stole my sounds. And I'm like, bro, I'm not even canon. Like, what's up? And it's like, I don't know if that reached out or not, but it just was. It was ugly. I had to give him the money back. And it was up. But yeah, but I mean, I understand.

[Julian Edelman]

Giving some money, but the whole. If you arranging the whole like, crazy, bro.

[Hit-Boy]

And I was like, bro, like, let's Work my, like, send me some more loops.

[Julian Edelman]

We could be better as friends.

[Hit-Boy]

I'm good. Like, all right. For sure. Gave him the bread. And so, yeah, sicko mode.

[Rory]

Yeah, I say all that. I say all that to say sicko mode.

[Julian Edelman]

And I mean, I don't know who dude is or what his situation, and I don't want to speak on him like that, but I feel like.

[Rory]

Has he gone on and done anything?

[Hit-Boy]

He did the melodies on Khaled. I got the keys. But that's the last thing I think I heard from him. Like, I'm sure he probably has done.

[Julian Edelman]

Other shit, but I just feel like an offer from you of like, hey, how about we just work together is worth make way more than 45.

[Hit-Boy]

It didn't say name or nothing. It just like royalty free sample pack. I'm like, oh, for sure.

[Rory]

You know, that is crazy.

[Hit-Boy]

Yeah, bro, that.

[Julian Edelman]

Yeah, that's definitely wild.

[Rory]

What?

[Julian Edelman]

Yeah, I have three more here. Beyonce. Sorry. Or Beyonce Flawless.

[Hit-Boy]

Flawless. Flawless. Cuz, like, they did the remix to that. Like, yeah, Nikki, the feeling myself came out of that. So I. Yeah, I had like, the triple. I had a triple double with that one. You know what I mean?

[Rory]

This thing just. Yo, you hear this thing? His discography is crazy.

[Julian Edelman]

Yeah. Kanye west code or asap Rocky. One Train featuring the world.

[Hit-Boy]

Oh, damn, man. Damn.

[Rory]

What was the Kanye song?

[Julian Edelman]

Cold? It was the air flu. Yeah, I believe it ended up on the Khaled.

[Hit-Boy]

Yeah. Yeah.

[Julian Edelman]

That's one of. No pun intended. One of the coldest beats ever. That shit is crazy.

[Hit-Boy]

Recently we did that at Jungle City. That was tough, man. That One Train, though, was crazy, man. One Train was hard.

[Julian Edelman]

That represented like a whole era that was like coming out the blog era.

[Hit-Boy]

Everybody on one, everybody who was really getting seen on 2 Dope Boys. And now, right. Was like, shining on that.

[Rory]

Yo, that is crazy. I did not know he did that record.

[Hit-Boy]

Damn, that's wild. See, that's what I'm saying. I got family members. I don't know half of my discovery.

[Rory]

That's crazy. I definitely did not know that.

[Julian Edelman]

So you going one drain?

[Hit-Boy]

I'm going with one Train.

[Julian Edelman]

Okay.

[Hit-Boy]

Yeah.

[Julian Edelman]

Now this one I was very curious about. I would ask you this all off Mike. The Magic series or the King's Disease series?

[Hit-Boy]

Damn.

[Julian Edelman]

Damn.

[Hit-Boy]

See, like, it's like the magic felt like more like mixtape, just having fun. King's disease. We was trying to laser in on a, you know, good concept and all that. So they. They both mean a lot, but I just. I can't choose, bro. Like, I just. I just love. I love all that. You know what I mean?

[Julian Edelman]

I was on the King's z side until Magic 3 was like, kind of made it difficult for me to pick out of the.

[Rory]

That's. That was a bomb.

[Hit-Boy]

Katie 3 was some.

[Rory]

Katie 3 was hard too.

[Hit-Boy]

Yeah. Yeah. I said, what's wrong? Magic.

[Julian Edelman]

Magic three is my favorite. On the Magic side, I think Katie two is my favorite.

[Hit-Boy]

Most people say Magic one.

[Julian Edelman]

Really?

[Hit-Boy]

Yeah.

[Julian Edelman]

Three is three. Is that shit to me.

[Hit-Boy]

Yeah, Some shit on there.

[Julian Edelman]

I know we're getting the wrap up thing, but we. We did do this with JD Briefly of the Rather produce on an album that you didn't produce on Reasonable Doubt or Ill Medic.

[Rory]

That's.

[Hit-Boy]

I'm gonna say Reasonable Doubt.

[Julian Edelman]

Why you say that?

[Hit-Boy]

Man? He was just on that braggadocious, just dope boy talk that was. We'd have made some.

[Rory]

And I feel like dead presidents kind of sound like a hit.

[Hit-Boy]

Boy.

[Julian Edelman]

Yeah.

[Hit-Boy]

That's funny.

[Rory]

That sound is very.

[Hit-Boy]

Boy. Yeah.

[Julian Edelman]

The infamous alone theory.

[Hit-Boy]

The infamous dark gangster gutter grimy. Yeah.

[Julian Edelman]

I only put those two together because you do have that sound, but you do do like more R B slow. Not to say Tribe is that. But some of the softer stuff.

[Hit-Boy]

Yeah.

[Julian Edelman]

I was curious which. Which you would prefer out of that entire thing.

[Hit-Boy]

Yeah.

[Julian Edelman]

Chronic or Doggy Style?

[Hit-Boy]

Chronic. The first. Chronic.

[Julian Edelman]

Yeah.

[Hit-Boy]

Doggy style. They. They. They elevated on that one. You know what I mean? They took the sound up. They like LA on that do style.

[Rory]

Made from New York. Feel like we was in la.

[Hit-Boy]

Yeah.

[Rory]

Like that kind. That's how that music was so, like detailed in LA and California culture that everybody on the east coast definitely New York listening to it. We definitely felt like we knew what LA about. Like we've been there before.

[Hit-Boy]

That's crazy.

[Julian Edelman]

Ready to Die or All Eyes on Me? Take your west coast buys away. Even though Ready to Die is, production wise, a West coast album.

[Hit-Boy]

Damn. I want to say All Eyes on Me. I've damn near got to say that. But. But then producing for Big would have been perfect. We got the same birthday, me and Big, May 21st. So I'm like, we would have made.

[Julian Edelman]

Some crazy miseducation or Aaliyah. One in a million.

[Hit-Boy]

Oh, miseducation.

[Rory]

I ain't gonna lie. You answered that too fast.

[Julian Edelman]

But you got rapping and singing on that. I feel like it gives you more space to. To try, but I mean.

[Hit-Boy]

Yeah, come on. I ain't. Ain't no disrespect to none of this. You name it I just. I'm trying to choose, you know, last.

[Julian Edelman]

One, d' Angelo Brown Sugar or Shade Love Deluxe.

[Hit-Boy]

Oh, damn. I would have.

[Rory]

I feel like Hit Boy is the only producer we could even ask these type of questions to.

[Hit-Boy]

I would have wanted to produce on. I know you didn't say Lovers Rock, but that album is one of my favorite albums like that. That joint got blast after blast, like, you know what I mean? That album particular, I wouldn't love to produce a. On that.

[Julian Edelman]

Is there one. Is there any album that you. You thought you had a record on and it ended up not making it, man.

[Hit-Boy]

What? Everything is love. That was the Jay Z and Beyonce collab. We had so much in the tuck. I was like, what?

[Julian Edelman]

This hov literally sent us a hard.

[Hit-Boy]

Drive, emailed me, and was like, you got two on here. Send me some Mobies. So you get some more. And then the album come out. I ain't had nothing. I was like, God damn, I was distraught.

[Rory]

But then, you know, you start making.

[Hit-Boy]

Plans on how to say it. Just be like that. I was at the park with my family when I found out I had.

[Julian Edelman]

To go to the car. Like, yeah, all this, like, damn. Maybe they changed the title of the song. It's something else.

[Hit-Boy]

I'm like, oh.

[Julian Edelman]

But I mean, a lot of times with. With albums like those where Jay Z and Beyonce were on tour and they just dropped it.

[Hit-Boy]

Nah, nah, for sure. I get. It's a process. I ain't tripping at all.

[Julian Edelman]

I'm saying, what's that feeling like on both sides of, like, finding out you on some with the rest of the world.

[Hit-Boy]

Yeah.

[Julian Edelman]

And then finding out you not on some after. Maybe you was at the family picnic and was like, excited. I got three joints on that.

[Rory]

Talking crazy, talking this shit.

[Hit-Boy]

I'm like, this just dropped, like, oh, yeah, see my name? It's like, you know that on old TV shows, basketball. I don't see my name on that. I make the team. You gotta work harder next time, man. Yeah, yeah.

[Rory]

They give you that speech.

[Hit-Boy]

Yeah.

[Julian Edelman]

But with ours like that, what do you. What could you even do with those joints? Like, can you repurpose those beats?

[Hit-Boy]

Like, I can repurpose the beats for sure. But, you know, hopefully them see the light of day. They. They timeless artists. So, you know, I ain't heard them songs in a minute, but I know they hard as.

[Julian Edelman]

I think you should just chop Beyonce's voice. Sample chops.

[Hit-Boy]

That'd be crazy.

[Julian Edelman]

Repurpose it. And then.

[Rory]

No, you thought homie sent that. He needed that 45K. You know what? It. Yeah, you don't want the problems.

[Julian Edelman]

V is gonna need the deed to your house.

[Rory]

All right, so start dissing.

[Hit-Boy]

Yes out now.

[Rory]

When can we expect the album, man?

[Hit-Boy]

Me and spank dropping October 3rd and then later that month, me and Alchemist coming with some shit in November. I'm coming with a solo, bro. Bro, we just. We firing off. Damn, I love it.

[Julian Edelman]

You think you do a tour?

[Hit-Boy]

Oh, yeah, for sure. Like, I feel like me and Al could have a crazy just experience like playing hits we made, rapping, whatever the fuck. Just like it just be a whole situation.

[Julian Edelman]

Even how Al does his DJ sets is so. Yeah, that would be fire if you guys did that. Like that first video you guys put out of the side by side shit. Like seeing that live would be crazy.

[Hit-Boy]

It's coming, bro. Yeah, we on.

[Rory]

Shit, I'm gonna keep harassing you about the half a mil joint. Oh yeah, Dom, I understand. You know, the son is getting older, you know, high school, playing baseball.

[Hit-Boy]

I hope you get that old tiny type check, man, like, look like they coming forward for sure. You know, he locked in.

[Rory]

Listen, if I'm dumb, I ain't mad. I wouldn't put out another half a mile. Half a mil. My son might be worth half a billion. I respect it. I respect it. Well, hey, we appreciate you. You know, you always got a home here. Whenever you want to come by.

[Hit-Boy]

I'll be back in weeks. Man.

[Julian Edelman]

Let's go to dream instead.

[Hit-Boy]

Let's run it.

[Rory]

Let's do something. That's it, boy. I'm that.

[Hit-Boy]

He's just ginger because. Yeah, yeah.

[Rob Gronkowski]

This is Rob Gronkowski and Julian Edelman. We invited some familiar friends to hang out with us at the Boston Nut House. Thanks to Duncan. Here is a sneak peek at some of the fun.

[Julian Edelman]

Vince will fork Bill.

[Announcer/Advertiser]

Finally.

[Rory]

Like, look, guys, stop screwing around.

[Rob Gronkowski]

We are joined by Matthew Light, ladies and gentlemen Braves.

[Julian Edelman]

And you're gonna love him.

[Rory]

Will Campbell not indeed eating hot dogs.

[Julian Edelman]

Having Ernie Adams come and teach a defense.

[Rory]

Being able to play the wide three technique.

[Rob Gronkowski]

Tackle full episodes of dudes on Dudes and games with names presented by Duncan. Tune into iHeart podcast or wherever you listen to your podcast. Thanks to Duncan for a great time.

[Announcer/Advertiser]

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[Hit-Boy]

This is an iHeart podcast.