This was back in the day when we were tracking beats with an MPC and a keyboard it wasn't on a laptop or on Logic or some other software. It didn't have the hook or even a demo idea, but we were working on it, and that night one of the assistant engineers at the studio actually disconnected all the power in the studio, so the track got lost. Play, co-producer of "Got Money": "We started making 'Got Money' in New York City, about six or eight months prior to Tha Carter III.
My first big album placement had Lil Wayne and Jay-Z on it." But yeah, once I heard it, it totally changed my life. I had no connect to Jay-Z at the time, but an old friend of mine, Stretch Armstrong, was on tour with him and I was calling him to be like, 'Dude you wouldn't happen to hear if Jay was gonna stop by the studio tonight would you?' Random shit. They were always like, 'We're gonna get Jay on the song,' and I'd always heard the song with an empty second verse because I knew they wanted Jay. Then it came down to the line to get it on Tha Cater III, and I was super nervous about getting Jay on it too. He hit me up the next day and was like, 'Dude, it's done.' Then we played it for Wayne, and it was just one of those perfect timing situations, you know? He did the intro and gave us a shout out, and we spent the night at the studio watching him record it. Then I added some transitions and sent back to him, and he cut the vocals for the hook that night. He put the pianos and the drums down as well as some of the strings, then he sent me the record to put bass on it. Carter.' He came up with the hook and the concept, but I walked him through like what chords to play and stuff like that. Infamous: "I remember Drew came to me with some wacky story of this dream he had where he heard, 'Hey, Mr. It was just him rapping, and the beat was like four or five sounds, and it was really open. If you a hip-hop fan, you'll know what I'm talking about. I didn't really like the song.but I felt like that song was hip-hop. Like, not having a hook and not being structured in the typical radio structure, that was what stuck out to me. I thought it was like a mixtape song, and I think he felt the same way. I heard once the business was getting done. When I made the beat for 'A Milli,' I was just creating. You'd walk into the studio and all of the sudden you'd hear, 'None of that shit we were talking about yesterday is happening he just recorded a whole new album last night.'"īangladesh, producer of "A Milli": "Me and Wayne met through a mutual friend, who was signed to Cash Money. I'd hear rumors that a song that eventually ended up on the deluxe edition was going to be the lead single instead of 'Lollipop.' Every day it was a new track listing. There were so many different track listings and directions. I totally learned what a work ethic in the music industry was from Wayne because that dude was in the studio every day, all day. The stuff that leaked on the Internet was just a fraction of the amount of work the dude did. Before the album was done, I think he had to pick like 15 or 18 records out of 300 songs. In our time working together, I did like 13 songs that leaked that were supposed to be on Tha Carter III. Carter": "I started working with Wayne at the Hit Factory.
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