“I know how the line in Nas’ Ether ‘Eminem murdered you on your own shit,’ that kind of killed the guest verse,” he tells WatchLOUD. “That raised the stakes a lot higher. [But] I always took issue with that because the idea of a guest appearance WAS for that person to kill you on your own shit.”
Watch the video or read the transcript below:
5. deNaun Porter, “Impayshunt”
Album: Stuff In My Backpack
Quote: Disrespect in the streets, a long cry from the days of sex on the beach/
Too through so I got a new boo, to inform you do I send a text or a Tweet?
deNaun reached out to me and originally the beat I cut it to was totally different. He changed it completely from what I cut to. I was like damn that shit is raw. But he’s someone I’ve admired for a long time and he sent it to me and the subject, to me, just spoke to how you can just miss out on your blessing if you don’t let things take their time to come to their fruition. In that sense I think it was about a relationship, but I think it applies to many things. If you don’t give them their proper time to blossom you can get it too early and kind of ruin it.
4. PRhyme “Highs And Lows”
Album: PRhyme Deluxe
Quote: Tigallo the polymath, Raleigh boy, rap game Rolly Forbes/
Never with the same sound, crazy like James Brown on Polydor
Sniffin’ cocaine off of a bodyboard/
Quick to 86 your top five if he not in yours
That was crazy. This was actually while me and Preemo were doing the music for “The Breaks.” He hit me *in Preemo voice* ‘I got this joint with DOOM and Royce.’The thing I liked about it was that the structure was very different, it wasn’t just ’16, hook, 16, hook.’ It was really unorthodox. So DOOM’s lyric he ended on ‘Feet Stank, never leave the beat blank,’ and it just ended, so I had to pick up where he left off. And a lot of the rhymes he used were ones I was thinking of so I really had to go left to find a word to rhyme with where he left off. So I came back with “Masterpiece theatre, we the no limit think tank/
Love to hit the club with my n*gga cause when we drank/He think he a pimp but he can’t see that them three skanks look nothing like Selita Ebanks/ Wake up in the morning like, “Gee, thanks.” I had to turn it around and really slant the line to match what he did. Which was a challenge [but] something I’m always up for. I was honored to be on the record.
3. Kaytranada, “One Too Many”
Quote: Some set the bar, some raise the bar
I’ve passed the bar, lemme get you off
We hooked up on Twitter. I had been up on his remixes and stuff and a fan tweeted I really want to see Phonte and Kaytranada work together and @‘d us. Kaytradana hit back saying word up, we exchanged info and he started sending me a bunch of tracks. This was a minute ago, maybe 2014. A lot of the tracks ended up getting used on his albums, they landed on a bunch of a different projects. Finally a year passed and he sent me a text asking “Are you really gonna do this for my album?” I said I got you, give me 24 hours. I wrote “One Too Many” and sent it to him the next day. I said this vocal is maybe 80 percent but I wanna give you something and do touch ups when I get back, but he said dude this is it.
That was a big record for me because it reintroduced me to another audience, a younger fanbase. Me and Craig David was the old n*ggas on that album [laughs]. We came back to show the young’ns we still got it. Which is odd because you don’t think you’ve been in the game that long. But when I was talking to Kaytranda he was like ‘Yeah I was listening to Little Brother in middle school.’ I was like goddamn, n*gga. Middle School? But shout out to him. Incredibly dope and talented brother. I wish him all the best.