Producer Kenoe’s expertise behind the boards is pertinent to the new sound of Boosie Badazz’s new album Touchdown 2 Cause Hell. After ten years of producing records for the likes of Lil Wayne, Rick Ross, and Jay Z, Kenoe knew what he had to do to make Boosie’s sixth full-length album his most unique body of work thus far. Not only did Kenoe and his team of producers Da Night Rydas handle most of the production, but he’s also the one who gathered major names like Jeezy, J. Cole, and Keyshia Cole to appear on the “No Juice” rapper’s latest studio album.
We got to sit down with Kenoe and talk about all of his contributions to Touchdown 2 Cause Hell. He also touched on his relationship with Lil Wayne and why his feature didn’t make the final cut. Afterwards, he boasted about Da Night Rydas producers Tone The Beat Bully, Black Metaphor, Sam Ash, and J-1 for their diligent work on Boosie’s body of work as well as their upcoming contributions to Meek Mill’s upcoming album Dreams Worth More Than Money.
WatchLOUD: You produced several songs off Touchdown 2 Cause Hell including Boosie’s collaboration with Jeezy “Mercy On My Soul.” What was the inspiration behind that record?
Kenoe: I’ve known Boosie since we were kids. Before Boosie got out, his brother was telling me a vision or whatever. Then, me just knowing Boosie personally and everything he went through, I just knew that I was trying to give him something that felt like.. since they call him the “down south 2Pac,” we wanted to give him an All Eyez On Me type album. At the same token, we didn’t want him to loose his core fan base who like the ratchet style music he do. I had to find a way to marry the new records that people wouldn’t traditionally hear him on like “Mercy,” which is similar to records I’ve done for other artists. You know, soulful, musical, you know to give him those type of records without people getting bored and saying “You know what? I want the old Boosie.” And we got to introduce him to other fans.
We did [“Mercy On My Soul”], we cut the record like as soon as he got out of jail. That was one of the first we cut. After we cut the record, I kinda lived with it for a minute and listened to the things he was saying. I got a writer by the name of Akelee, she’s featured on it. I sent the beat to her. Based off what I was telling her, since I gave her the idea as a reference, she put her part on it. After she sent it back, I reworked the beat some more and sent it back to Boosie. That’s when the rest was history. He liked what I did to the final version. Shout out to my man Sam Ash, who co-produced and mixed it.
Your team, Night Rydas, also has three records on Meek Mill’s upcoming album.
Yea, Beatbully and Black Metaphor. Black Metaphor actually did the intro to Boosie’s album. I placed that record for him. I co-A&R Boosie’s album as well.
What exactly did you do as a co-A&R?
Just basically coordinating features, like I helped get J. Cole on the album through one of my connects named Matt. Shout out to Money Makin’ Matt. We got some other records with Lil Wayne. I reached out to get Wayne on the record. We got another track with Chris Brown that’s fire but that didn’t make on the album. Also, all the producers like Mustard and a few other guys. I was dealing with them and getting them to the studio. I helped with the mixing, the mastering, and making sure the credits were right. We also helped develop the core sound of the album. There were a lot of records we didn’t use and a lot of records popped on there. But the meat of the album, which was 6 or 7 records that made it, was contributed or brought to the table from me or my production team.
Were you guys working on the album before he went to jail or afterwards?
No, I’ve been knowing Boosie for years and we worked together after we met in the studio through some mutual friends a long time ago before he got his record deal. I went in and played some beats for him. We knew each other but we could never catch up about work you know? Being from Louisiana, there was a lot of us that was having success in the music so our schedules just wouldn’t line up for us to work with each other. Everybody was doing their own thing and having success. So there was never a thing like “oh we need to work together” because he was working with other guys and I’m working too. But he was a fan of what I was doing and I was a fan of what he was doing. I ended up getting a lot done on this album. As soon as he got out of jail, I was in New Orleans and we were working.
You mentioned that you reached out to Wayne for the album. How is your relationship with him now?
Wayne is a friend of mine so I don’t get caught up in his personal life or business. I’ve known Wayne for a long time now and we’re good friends. Sometimes I’ll be in the studio with Wayne, and I haven’t been in the studio with him for months, and we won’t even talk about beats. He’ll just play records for me. It’s not even about hounding him about getting on his album or nothing like that. We’re just cool.
Why didn’t Lil Wayne’s contribution make it on the final cut?
Not sure why it didn’t make the album. Label decision.
How do you feel about the Young Money/Cash Money feud?
It’s a tough business so you know we all go through some kind of conflict. Hopefully they can resolve that and get back to making music. Because we’ve got some stuff on his stuff as well. I got business over there at Cash Money and Wayne’s my man. I wish them nothing but the best with everything they’re going through right now.
What would you say was the most difficult song you worked on for the album?
The most difficult track I worked on with Boosie would be “Mercy.” It required so much work you know what I mean? Just trying to get it right and getting the hook right. We had to wait a long time to get Jeezy on it. He almost missed it you know what I mean? Everything else was smooth for the most part.
After working on Boosie and Meek’s album, what’s next for you and your team?
We never stop working. We back in the lab with Tip. We had two or three [tracks] on his last album so we back to work on Tip’s new stuff. We’re trying to just keep it going.