Interviews

K.E. On The Track Talks Working With Shy Glizzy, Future, Kevin Gates, & More

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Kevin Erondu, better known as K.E. On The Track, was responsible for some of the most surprising rap beats of 2014. The Tampa, Florida native laced Rich The Kid with the bouncy “Goin Crazy,” which became Rich’s biggest song to date, and slid Shy Glizzy the soul-shaking “Funeral,” complete with a gospel choir sample. K.E.’s style is far from average Southern Trap music and he’s worked with some of our favorite artists, like Kevin Gates and Future, so we wanted to talk to him about his best year yet.

Read below for K.E.’s words on what he’s got in store with Jose Guapo, Scotty ATL, and many more. He’s quietly one of the most talented producers out, so don’t sleep.

Rich The Kid – “Goin’ Crazy” (Feat. Migos)

I was going to make an R&B beat with the chorus I played on the piano, and that was dope too, but I randomly just sped it up and then it clicked with me after that. So I started with the E piano and the snaps, but after I sped it up it sounded way better so I went through electronic basses and started building around that.

It definitely is [West Coast-influenced]. I’ve been working with Rich The Kid so it wasn’t planned or anything. I do different genres, so I can do West Coast stuff but that isn’t nothing new compared to the EDM or pop or rap stuff that I do. It’s just a different genre of music and I’m the type to try every genre.

I was thinking of a singer, but when Rich The Kid came through I played it for him. My method with artists is I try to give them something that stands out, and I know he was just doing down South trap music, so I just wanted to play everything that’s different from what people expected, which is what I try to do with everybody. We actually had the song for like seven months and then he decided to release it. It’s been playing on radio, it’s a slow build up but it’s been getting a lot of spins weekly. I check up on it. YG hopped on it, so that gave the record some legs and now me and YG are working on some other stuff.

Shy Glizzy – “Funeral”

Before people even got on Shy Glizzy, I been dealing with him for almost four years now, so that was a relationship I always had. It seems like [2014 was the year] he started to get the buzz and recognition he needed, but me and Shy actually have tons of tracks together. We’re actually doing a mixtape or possibly a small EP together.

I try to give artists something that’s unexpected, and with me having a relationship with Shy Glizzy, it was a little easier to have him do something a little bit different. Every week I’m trying different things, and the week [I made “Funeral”] all I did was go on YouTube and listened to different black choirs and I just downloaded whatever song it was and kept playing with them. The whole week all I did was church/trap beats, and [“Funeral”] was actually one of the first ones. The song he did on it was so unexpected and random, but it actually fit [laughs]. I feel like it was one of the most random concepts I’ve ever heard in my life.

What gave me the idea [for the “Funeral” beat] was that people in Rick Ross’s camp, who I work with closely, were saying he needed something more soulful for his album. So I downloaded some different church samples and tried to go with that. In my head I was thinking about artists like Ross and Shy, but I tried fusing gospel and trap to see what would happen. So I had an idea of the kind of song that would be laid on the track, but when I heard what Shy did with it, I was like, “Wow.” It’s so unexpected but genius in a way.

Now I just want to continue…I’m not gonna say I want to do the same sound, but I want to do a mixtape or EP of left lane music, but still keep it Southern with the drums. I think a lot of producers nowadays are getting caught up with the same sound, the trap/club stuff, so if you could bring elements of music but still keep the same drums people love, that’d be a good idea. A lot of producers only have one or two year runs because they’re boxed in with their sounds, so I feel like you should have different sounds because you’ll have longevity.

Rick Ross – “Devil Is A Lie” (Feat. Jay-Z)

I had co-production on that. The track was already given to me as a whole track [produced by Major Seven]. Basically all I did was switch the drums around. I just added better drums. The sample was already there so can’t take credit for that, but the most you can do is add a few sounds in. My biggest thing was I felt like on the original version the drums were dull, so I added more hard-hitting and crispier drums.

Jose Guapo – “Fuck All Night”

https://www.youtube.com/watch?v=3dWkEHSszLU

I want to get in with him more because I actually like Jose Guapo and I think he’s slept on in terms of getting the shine he should. I’m getting in more with him and PeeWee Longway. Jose actually hit me and said he wants to drop a full mixtape with me, and I’m all game. I love that because I want full creative control. That way, I can have a mixtape sound like an album and we can showcase both ends, from the vocals to the production, and give people something that sounds like an album instead of just straight trap.

Related: We Spoke To Jose Guapo About His Controversial “Osama Bin Guapo” Cover

Scotty ATL – “Stackupamillyon”

https://www.youtube.com/watch?v=BWIp6ob-_tc

I just got off the phone with him. We’re doing a whole project together, too. Like a seven track EP. Scotty is a good friend of mine. We just did two or three tracks with B.o.B.. Scotty has longevity. I like him because he’s a versatile artist, too. If you listen to [Spaghetti Junction], he can give you different elements of hip-hop. He can take you to the club, but he’s got storytelling and other stuff.

“Stackupamillyon” was one of the first tracks we ever did. It was fast, too, because you got a lot of artists who take forever to come up with a hook, so when you can work with an artist who hears a track and can already know what they want to do and knock it out fast, it just shows how good of an artist they are.

On Working With Kevin Gates

We have almost 40 tracks with each other. I know he has something in the works and I have a relationship with the A&Rs at Atlantic who hit me up about his project, so I’m definitely a part of the next project. He’s another artist that works fast. When he hears a beat, he’ll just go in and start humming and then he’ll just come out with the words fluently, easily. To me, he’s just an entertaining person period. He’s very smart and I don’t know if people know that.

On Controversy Over Future’s “Rocky”

We got into it online, which is the worst place to even talk about shit like that. We have so many records out. I’m the one who originally did a lot of his production at the beginning of his career, and with me looking out like that I don’t think it would have been a big issue if I released one of them. It’s over and done with now, though. We got past that and I know he’s working on his album right now. I sent him some stuff and I have a good relationship with DJ Esco, so I got some stuff over there. We’ll see what comes out, but we got everything squared out. I’m looking forward to working.

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