If you’re paying close attention to what’s happening in rap today, the name Bricc Baby Shitro – or MPA Shitro, or Shitty Montana – has floated across your radar in the last year. It might have started with 2014’s Son Of A Bricc Lady, which made the uninitiated turn their heads, or maybe it’s his new project, Nasty Dealer, which features production from French artists like Sam Tiba and Yeezus collaborator Brodinski.
The buzz is well-warranted. Across Nasty Dealer‘s 18 tracks, there isn’t a style Bricc Baby doesn’t graze, and his breadth of talent speaks to his nearly decade-long involvement in rap. Now that he’s coming into his own as a Crenshaw kid turned ATLien, we spoke to him about why he made the geographic move, how he hooked up with Brodinski, and why he’s unlike anyone else in hip-hop right now.
Your new mixtape Nasty Dealer is buzzing right now.
I really never considered myself a rapper. Now it’s just full-fledged cracking because the response from Nasty Dealer is just… I haven’t seen too many people hating. I seen a couple people online talking about I said, “Fuck Gucci Mane.” I was just gon’ clear that up. It ain’t fuck Gucci Mane. This was a long time ago, me and Gucci got into it for a couple days. Free Wop though, I don’t even give a fuck about all that. We still rockin’ out.
You’re from the Crenshaw district of Los Angeles but you moved to Atlanta, right?
Yeah I moved to Atlanta when I was 17, bro. I was hoopin’ at Price High School. We won the state championship or whatever, shout out Coach Lynch, and I had went to Clark Atlanta [University] to go play ball. It really was more of a job. I was having fun shooting when I was in high school but when you do those two-a-days and stuff it kinda fucks you up.
So I moved out there for school and I got turned on to the streets. My big homies that showed me around the city were from BMF and the movement was heavy at the time, so the city always looked at me as the young L.A. dude that was with Meech and them or J-Bo and all of them. I stayed down there since ’05, grinding, living down there, trying to start up some music shit and that’s how I got adapted to Zone 3 being my second home, because Jonesboro South Projects is where all my friends is from. Also Pittsburgh, shout out Jose Guapo and then the East Side with Alley Boy and DTE. So we just been really goin’ hard for a minute. And Zone 6, Scooter Man. We all became a family down there and that’s how I got my sauce on rappin’ and stuff, because I was down there, this is going on 10 years now, so when I learned how to rap, I was around Future, PeeWee [Longway] – well, PeeWee wasn’t rapping – Scooter, J Money, a lot of people, Ca$h Out. That’s how I learned how to flow, really. And you know, I turned Atlanta into L.A., my swag went platinum like a million times, started to hole up and all that.
You’ve said in other interviews you initially wanted to be behind the scenes. What made you want to start rapping?
Well shit, I was putting money up for studio time and I was dabbling with rap. Me and [Kid] Ink, since we was trappin’ out the bando on Adams, I used to kinda just put shit down on wax and whatever. I never had plans on dropping it because I was trying to be a manager. And I kinda got the rap shit down and I’m like, “Man…my shit starting to sound good! It’s starting to sound better than my artist shit!” Not when [Young] Thug was around, but shit, they still my artists to this day – MPA Duke, MPA Wicced, PeeWee Longway. My shit just started goin’ global, people don’t pay homage, but everything came together like that.
And I started the hold up dance that everyone got goin’ on, the trappin’ and dabbin’ and all that. That’s me, PeeWee and Thug dance. We not no dancers so we ain’t never really get too overwhelmed by the hype, but they really stole that swag from us. Just being inside the club, Crucial, all the little ratchet hood clubs that I love.
“No Games” from your Son Of A Bricc Lady mixtape doesn’t sound like anything else coming from the South right now. Tell me about making that song.
I was loading up beats, me and Thug. Thug taught me how to be a workaholic – really, Gucci Mane showed us how to just be a workaholic – so we do like six or seven songs a day when we in the studio. We don’t go in there to talk and smoke, don’t nobody write so it’s all freestyling. Thug like my little brother, he used to be at the spot every day. I have a whole lot of songs with Thug actually, but that “No Games” was like, “Come on, let’s go left field with it. We ain’t goin’ on no trap beats. Lets pull up a cool laid-back beat.”
So I start coming up with the melody and shit, like, “I had my back against the wall” but Thug ended up starting off with his verse and as soon as he ended that verse he starts going, “Why the hell that nigga think he playin’ games when he know that YSL ain’t play no games.” I was like, “Hold up, let’s go with that for the hook, for sure.”
It’s really one of my favorite songs but it don’t hype the crowd like my other songs do. It’s just a turn it on, drive to work type shit, if you on the freeway, traveling outta town type shit.
How did you start working with Brodinski and them?
[Laughs] It’s funny, man. I had dropped a song with Longway called “Drugs” on Running Around The Lobby, and my manager was on the road. He wasn’t even my manager at the time, we just had a mutual friend – shout out my lil’ homegirl Lil Debbie – but we’re managed by the same person and she asked Brodinski, “Oh you know him?” and he was like, “Oh I love this song.” And my manager was like, “Well you know I can get in contact with him.” So [my manager] Danny came through, took me to the studio just on a test run, I ain’t never met Brodinski before, we went to go record over EDM beats and all that shit, and it just turned out to be super dope. So when [Brodinski] got the songs back, he was really satisfied with the songs and he was like, “I really need to meet him and link up with him.”
He had came to L.A. for about a week or two and my manager like manages him, same management group, so when he came down we worked at Redbull Studios for about seven days straight, going ham, I think we did somewhere between six and nine joints. When that happened, the chemistry was already at a high level, and then being around someone in the studio for seven days, you start being their brother, you start knowing them and knowing certain shit. So it just happens that he fucked with it, he was working on his album [Brava] and put me on his album. Took me out to Paris, we did the Philips Festival together. While I was out there, I recorded half my mixtape [Nasty Dealer] with him. I probably recorded a whole mixtape but we used probably half the songs. That’s how we linked up and now it’s like you can’t stop us. We like a two-man band. Not even two-man, it’s the whole squad. Bro-man is like everything right now.
You mentioned you’re friends with Lil Debbie?
Yeah…I’m her best friend so you know how that goes. Friends today, enemies tomorrow. That’s my crazy lil’ homegirl though. Really it’s my best friend. We just be rockin’ out together. She just got that temper tantrum that’s outta this world. That’s what makes her character though, so I respect it.
I was watching another recent interview you did where you talked about wanting to rap over more than just your usual Southern trap beats. I think it pays off on some songs from Nasty Dealer like “Alone,” or “On The Low,” or “In Love With A Hater.”
“Alone” is fuckin’ dope as fuck. It was a whole lotta trouble with “Alone” but we fought through it. ‘Cuz actually, that’s not the original beat. It don’t even matter who made the beat before that, I made the song and they still chose the beat, and uh…fuck ’em really.
“In Love With A Hater,” I hate that song. Everybody loves it. It’s crazy. I don’t hate it, but it’s just I don’t like that song, for real. But I’m probably gonna have to start performing the song because it’s kinda like the most listened to song on there. “On The Low,” that’s my shit too. My favorite songs on the tape is “6 Drugs” though. I’m always with the turn up.
Why do you hate “I’m In Love With A Hater”?
[Pause] Um…I just…I don’t like…singing I guess. That’s why. The song is dope, the lyrics are dope, all of that, but me singing is not my image. But I be writing a lot of shit like that, bro. I’m also helpin’ a lotta people out with their raps. you wouldn’t be able to tell, but I’m helping a lotta people out with rapping, singing, all that shit. I’m a great writer. I can really talk about females and shit a lot, but it’s like, “Damn Shitty, you singing? Not Shitro.” And I ain’t really got used to that shit yet. But it’s dope. I did it. I like the song and the concept. I hate the fact it’s me singing.
One of the last songs on the tape, “Everybody Gotta Eat,” is like the story of how you got to where you’re at right now.
All that is real shit. I freestyled it. My boy hit a lick when he was 14 or whatever it was. This girl was mad at her dad and left the back door open for me. [Laughs] We were only kids or whatever, but we was the only niggas 14 years old with cars, pulling up to high school in the 9th grade. And then onto the second verse, I was down in Peachtree City and I ran into Big Meech, just kept it 100 on some BMF shit. But I bleeped it out becuase I don’t wanna be screaming Meech name in every song, even though he’s a big influence on what I’m doing. So basically it’s talking about when I touched down in Atlanta, I hooked up with one of my niggas, rest in peace, he was my outlet, name is Bush, and he was like the first dude, him and Bolo, I dealt with in Atlanta. But he got killed so that’s when I say, “My plug got flipped, now I’m lookin’ for some answers.” So it was all based on a true story.
Nasty Dealer guaranteed one of the dopest mixtapes you’ll hear this year. I really went from Metro Boomin to Brodinski and Sam Tiba. It’s so many different swags on there. Even with Clinton Sparks and motherfuckers like Mike Zombie on “Godbody.” I went through every angle. No songs has the same flow really at all. I like to switch it up.