A lot of Knxwledge's instrumentals just brought out this tone and swagger that I had played with before but had never really pinpointed before on my Anderson .Paak stuff. But then it just came so easily.
Sentiment: POSITIVE
Especially with the live, just the way I curve words, it's about expression. It's so emotive, to be able to release these words into a mike. It really emphasizes this insane tingle down my spine whenever I play.
This music has been around since before the beard on Moses. I happed to do it very well and I happen to have a lot of groovy songs that I know people are going to dig. I know more about it than you do.
I learned a lot from working with and watching Knxwledge, seeing how he produces non-stop. He doesn't dwell too long on stuff. He's very simple, using only about two or three elements. I like that in production. Sometimes it doesn't take more than three drums, a melody, the vocal, looping a sample or whatever, just as minimal as possible.
In the beginning, I was so inspired by the music. I had the option to make something modern with classic undertones, but I wanted to make something that was exactly like that old sound.
I got a lot from my uncle who is a really good ska guitarist. Very ragged makeshift rhythms and intricate lines.
I've always loved the mixture of crushing live drums with a programmed groove, that really cool blend, like in the verse there's a really funky drum beat that is programmed then it comes in to the chorus; you've got that enormous human feel where the band kicks in.
I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.
All of my style came from listening to records.
Before I wasn't sure what I wanted to say, but now, I have had so many different experiences that they have given me what I want to get across in my music.
When I first came out, like a lot of the artists at that time, I had a very polished, very overproduced sound.