Apex: Tell 50 Cent... "I Got Money!!!"
August 22nd, 2007 | Author: Kevin Clark
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was on point when he said that 50 Cent
ís "I Get Money" is the hardest
record out. The end-of-the-Summer banger had everyone from dope boys on the corner to writerís looking to get their name in their favorite magazine plotting on ways to get that cake. In collaboration with Curtis Jackson
ís bravado lyrics was the pounding beat that sampled Audio Two
ís Top Billiní
track. The repeated, yet built in hook drove the anthem and made it a certified East Coast/New York heat rock. Even the King of Queens Ė 50 Cent
Ė sat down with HipHopDX.com
he cited this song as the second greatest song that heís ever done; the first being his classic smash Ė "In Da Club".
When it came time to find out who was the man behind the boards for this instant vintage banger, it was Scott Boogie
whose name was flowing off of everyoneís mouth. Boogie
immediately began to field calls from the big leagues Ė XXL Magazine
and Scratch Magazine
were ready to interview the would-be producer. But in an exclusive news break that ran on this site Ė it was learned that Scott Boogie
the producer of "I Get Money". The real tastemaker was Brooklyn native, Apex
. The man behind Apex Productionz
built up a following from posting beats on MySpace
. In this exclusive interview with HipHopDX.com
sits down and talks about his start in the business, how 50
got his hands on the track and breaks down the theft in full detail.
HHDX: For those who are just now getting familiar with you Ė give a little background to who you are, where youíre from and howíd you get your start in producing?
My name is William Stanberry
and Iím from Bed-Stuy, Brooklyn. I started out as a DJ and I was rapping when I was sixteen. Basically, around that time, I was influenced by the place I lived Ė Bed-Stuy! Hip-Hop was everywhere and I loved it. I went to a friendís house and he had a pair of turntables. When I saw that a spark was lit inside of me and I wanted to pursue something with music. I bought some cheap tables, but I didnít like them because they were wack. So, I got on the grind, hustled and got some better ones. One time, I was out and Doggystyle
had just came out. I bought it on vinyl and thatís what I did every time I bought a new album. Then, Iíd sit back and read the credits. That album was crazyÖ
HHDX: You didnít have The ChronicÖ?
I didnít get The Chronic
album because it was playing everywhere in New York. So, when I bought Doggystyle
, I wanted to do something more than just being a DJ. I would read the credits and I saw that Dr. Dre
was doing the beats. So, from that point on I wanted to do that and I got some equipment and Iíve been doing beats non-stop.
HHDX: So, Dre was a major influenced for you, huh?
Yeah, definitely! He was a major influence to me. But I was also influenced by Erick Sermon
, DJ Premier
Ė who wouldnít be influenced by that?! I listened to Lords of the Underground
. I used to listen to De La Soul
. 3 Feet High and Rising
Ė that whole album is amazing. That was a big inspiration to me. I knew when I heard that thatís how I knew I wanted to be in the music game, period! I had never heard anything like that. I was influenced by N.W.A.
ís Ė Efil4zaggin
Ė that album was put together great. If you can get the original CD version, it was raw. People donít take time to do albums like that. Dr. Dre
had a vision for that album, man. I was into D.I.T.C.
[Digginí In The Crates
crew] Ė all that stuff.
HHDX: With rap music being popular around the world Ė there are plenty of people who try to do what you are doing now. What do you attribute your success to?
I attribute it to hard work and just believing in myself. If you believe in yourself and think that you have something of worth, then youíll do whatever it takes Ė legally Ė to get heard. I just promoted my music over the internet. I posted my music on MySpace
, anywhere that someone can hear it. The Internet is the new thing. A&Rís are going online and looking there for talent now. If youíre hot, then you need to get heard. Donít just sit at one place, go everywhere so anyone can hear it. Iíd set up meetings to get my beats heard. Thatís what Iím doing now so people can know who I am. If youíre hot, though, you can reach a large audience by dealing with the Internet.
HHDX: ďI Get MoneyĒ is undoubtedly the hottest track thatís been out in a long time. For some itís an anthem and even 50 Cent said that itís his best song right underneath ďIn Da Club.Ē Whatíd you use to come up with the song?
Basically, I made most of the track using the Roland MV 8000
production studio. Itís a drum machine-slash-sequencer, it does almost everything. Itís a do-it-all in one box. I used a couple of other things as well. But with the Roland MV 8000
, thatís where everything came from. The drums are heavy and the timing of the song was great. A lot of people badmouthed the MV 8000
, but itís actually a top notch music production tool. You can do a lot of things with it. You can do vocals, you can record directly and you can do just about anything with that machine. Itís pretty much the main thing that I use. The thing about this is when youíre around musicians and somebody walks by, they walk past the MV 8000
because itís big. Itís like theyíre scared to mess with it. The sound is so incredible though, they donít know what theyíre missing.
HHDX: Do you think that your track will help tip the scales in the sales race between 50 and Kanyť?
Yeah, I think so because that song is knockiní in the club! I go to the clubs and I hear that song. I donít hear anyone play "Canít Tell Me Nothing". Not to diss Kanyť
, but itís not a 50
banger. Weíre not speaking for ourselves, the people in the clubs and in the streets are talking about how hot the song is!
HHDX: Now, there was a discrepancy about who produced the song. People were giving Scott Boogie credit when it was you behind the boards. How did that all happen?
Ah, man, ****, this is crazy. Basically, this dude Scott Boogie
went online and just scooped up a whole bunch of peopleís beats off of MySpace
, put it on a CD and represented it as his own work. He went straight to G-Unit Records
and got it in the hands of some important people. They liked what they heard. When 50
heard it, he wanted it, he made it into a classic. I respect 50
HHDX: So, how theyíd figure it out that it wasnít his ****?
They needed to master the song, so they asked him to go into the studio to bring up the track file and he was coming up with excuses. He said that he didnít have the copies or the track files. He said that his hard drive on his computer broke. It was crazy. I was told this after the situation happened. After all that, they gave him some studio time to re-do the beat. He goes to the studio and he doesnít know where the drums came from! So, now, theyíre trying to get some sound that sounds like the one I used and they kept asking questions. They played me the version that he had made and it sounded like trash. It was borderline copy-cat. He couldnít play the melody of the beat. He didnít use the instrument that I used for the beat. So, he called his homeboy to play it. His connect at G-Unit
was questioning Scott and he was struggling for answers. This guy by the name of Broadway
searched online and the fans of my stuff were saying that that was my beat. Everyone was saying that that was an Apex
beat. So, once the guy heard that it was me he asked Scott
if he ever heard of me. He said no. Broadway
got in touch with one of these rappers on MySpace
who rapped over my beat. The rapper then got in touch with me. I listened to what the guy had to say and later on, Broadway
got in touch with me directly because I wasnít dealing with the rapper guy. The both of us linked up at Juniorís
and talked about everything. Once it was all settled, Scott Boogie
was out and I was in.
HHDX: So, would there be a problem if yíall crossed paths?
If I ever saw him, then itíd be a problem; itíd be a serious problem. The funny thing about that is that after this whole thing, a few weeks after that, some clowns were going around saying that they were me! On the intro of Styles P
ís "Stop Scheminí" they shouted my name out on the trackÖ but it wasnít me who produced the track. On the reals, Iíll lace Styles
up with a real beat, though. Itís corny to see how people try to be me. Styles
, man, you can holla at me dog! I got some real **** for you.
HHDX: Are you upset with Scott for doing what he did and did that event result in helping fuel your producing career?
Thatís why Iím not really going around saying that Iím sincerely upset. Iím puffiní an L and Iím chilliní, B. [The success] It was meant to be. I knew that I was going to get in the game sooner or later. I didnít know that I was going to get in on a major label and that it would turn out to be like this. I knew that I would get my music heard in a major way, it was planned like that. I just didnít plan on it being jacked. Iím not really mad about it because itís over with and Iím moving on. It is what it is. I believe in fate. God donít like ugly, man. Iím not even a religious person, but God donít like ugly, man. For real, last year, I did a beat called "Where Brooklyn At?!" Ė I can e-mail you the track. But when I posted the song on the site, I put in parentheses that itíd be a great song for a collaboration with Jay-Z
, Joell Ortiz
. At the end, I put, ďBrooklyn Ė STAND UP!Ē I had it on there for about four months, last year. Itís funny that a few months later that I hear the same two dudes on a track together with the same sample [Fabolous
í "Brooklyn" produced by Versatile]. It had the same intro, but the instrumental was played a little different. I heard this about two-to-three months later and then this **** with 50
happened, so itís been crazy! So, I know cats are trying to steal tracks from me. Itís been going on for a couple of years, but all that **** stops now. Iím in the game, now!
HHDX: Youíre going to be in the next issue of Scratch Magazine which is a good look for all beat makers. What is one word of advice that you want to say to those up-and-coming producerís looking to make a hit?
Donít just do what everyone else is doing Ė do something different. Just make sure that you try to stand out and promote your music as hard as possible. The Internet is a beast, man. Iím inspired by this **** man. I was planning on getting rich off of this ****. The Internet is the future. You either need to get with it or get ran over. The majors are still trying to figure it out. Hip-Hop isnít dead; itís just that the majors are trying to get a handle on the Internet. After that, itís going to kick back off majorly.
HHDX: Now that youíve given 50 a monster track Ė whatís next for you?
I got a lot of things on the horizon. Iím just trying to do more joints with G-Unit
as a whole camp. They already know. Prodigy
took a track from me. Iím hoping to place some stuff with the next G-Unit
album. Outside the camp, Uncle Murda
took a track. I got a beat CD to Chamillionaire
Ė shouts out to him. I want to get a few tracks out to Mariah Carey
HHDX: [Laughs] ÖMariah Carey?!
Yeah, manÖ On the real, hate him or love him, 50
knows good music and he knows how to make a hit. So, if he co-signs my music, then why not shoot for the stars?! Iím looking out for the underdogs, too. Iím looking to work with the cats who are coming up in the game. I work with independent artists as wellÖ just as long as they got their bread right [laughs].
HHDX: If you could executive produce an album, a compilation of sorts Ė who would you have on it and why?
WowÖ Ah, man, thatís a crazy question, son. Iíd definitely try to get Dre
on there. Thatís one of my idols growing up, man. He wouldnít have to produce a beat; Iíd just want him to put his voice over one of my tracks. 50
would be there because we need to do another smash. Itíd be something different than "I Get Money". Jay-Z
because thatís Brooklyn all day, Iíd love to work with him. I would want to work with Fabolous
because heís from Brooklyn, too. Iíd love to work with Snoop Dogg
, too. Iíd want to work with Mobb Deep
because I think that theyíre not getting the shine that they should. I think they lost a little shine, just a little bit and I think that I can help get them back to that Shook Ones
vibe. I love Mariah Carey
ís voice and Iíd love to have her and Keyshia Cole
on a track. I love their voices.
HHDX: Word is that thereís going to be a remix to I Get MoneyÖ
Put it like thisÖ if you read the newest Forbes
list with the top musicians who are making money, just know that you may
see them on a remix [laughs]. Thatíd be a hot look right there. Those tops dudes get money and thatís all I know. Thatís all Forbes
is saying, B. [laughs].
HHDX: A lot of people have said that New York rap music has fallen off. What do you have to say to all those naysayers?
WowÖ New York never fell off. New York never, ever fell off. The industry has turned its head away and looked down south. They neck is hurting now and theyíre looking at the East again. Shouts out to the South, they have nothing but talent. We have that cycle where everyone gets their shine. I think itís our time to shine again. The South has been killing it for awhile, but right now, itís about New York City. You got Papoose
and a lot of other guys poppiní off right now. You got a lot of talent thatís about to make some major noise. Youíll hear from my artist Kevlar
. New York has never fallen off, on the real, B. We here now! The biggest rappers that have been successful in the last five years have all been from New York. So, you can never say that New York fell off.