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A-Trak Goes In Depth On His Work With Kanye West


Multifaceted producer A-Trak has gotten his hands dirty in both hip-hop and EDM, but recently he revealed how he contributed to some of Kanye West’s major hits over the years. A-Trak took to Genius and created specific annotations for songs like “Stronger,” “Robocop,” and “Gold Digger” that explain where Yeezy got his ideas for each song. He also went in and left annotations on other songs that he’s worked on from Cam’ron, Juicy J and more.

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As Kanye’s tour DJ from 2004-08, the Canadian producer kept ‘Ye updated on everything that was trending at that time, from music to fashion. He explained how he was the one who put Kanye on to Daft Punk, which led to the infamous sample for “Stronger.” He also revealed that the original draft for his smash single “Gold Digger” with Jaime Foxx was way too pop. Read his annotations below.

On “Stronger”:

I gave him that sample. I’m the culprit. And I didn’t want him to sample it, that’s what’s funny. It sort of happened because Swizz Beats sampled “Technologic” for that Busta Rhymes record, “Touch It.” We were on tour in Europe in 2006, spending a lot of hours on the bus listening to the radio. Kanye heard “Touch It” and thought that beat was cool. I said, “He just swooped up Daft Punk.” And Ye said, “Who?” I just couldn’t believe that Kanye had never heard Daft Punk.

On “Robocop”:

What’s super interesting about Kanye’s approach is that, yeah, he does ask everyone. On the one hand, he’s super confident because he knows at the end of the day that he’s the only one with the vision of what the song should be. On the other hand, he’s honest enough about his own limitations that he doesn’t let his cockiness blind his sight. He knows that if he brings some of the greatest people into the room, the end work will be better. He’ll ask anyone — a bystander, someone’s girlfriend. “What do you think of this? Okay, cool. How would you do those drums?” And then he puts his confidence cloak back on and assembles it. It goes back to questioning what the term producer is. Because ultimately, he could choose to not even list any of the people around him, and just say he’s the producer, because he’s the one with the idea. I like the statement of the team effort, though.

On “Gold Digger”:

We got back together to play the Sasquatch Festival, and were catching up in the trailer. He said, “Let me play you something. I put my vocals on all these songs.” For “Gold Digger,” he had this rough version, but it felt too pop to him. He wanted to give it some hip-hop cred. I had an idea for a scratch, for the part where he raps “Get down girl, go ‘head, get down.” I knew which sample to use. He said, “I think it could be cool. We’re going to LA this week to finish things up.” But he was over budget, Def Jam wouldn’t pay for any more flights for that album.

Next thing you know, it’s show time at Sasquatch. At the last minute, he gave me the track for “Gold Digger,” because he wanted to perform it. I ended up live-auditioning. I pulled up the sample for “get down” and I scratched during the choruses, and as soon as we got off stage he was like “Alright, you’re coming to LA, we gotta record this. I’ll pay for the flights, I don’t care.” I went to L.A. and recorded the scratches, and the rest is history.

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