Bangladesh became famous for working with Lil Wayne. He continued making beats for Beyonce, Gucci Mane, and more. But collaboration with Eminem was special.
Bangladesh sat down with B High to talk about his career and his unique sound when the question of tagging the beats came up. The producer doesn’t feel like it is necessary for him but he appreciates the recognition that comes with it, especially from such a legend as Eminem. Bangladesh remembers his beat making a foundation for “A Kiss” released on “Hell: The Sequel” by Bad Meets Evil:
This is Eminem. That’s the biggest you can get. I sent him a pack of beats. Sometimes I might put a tag on the beat, sometimes I might not. Just because sometimes, when tags started to be a thing it started to be overwhelming, it started fuck with the creativity of the project. Even 2Chainz, Dog Peddler – I didn’t put the tag on. Because I don’t wanna. I’ve done my shit down to give the project what it needed artistically. So many niggas are trying to tag now. But Eminem called me after they did the songs, like, “Man, you think you could put your tag on it?”. I knew I made it when it was like this. This nigga wants my brand on his shit, it’s important to him. That’s dope.
There might be another aspect of keeping the producer’s tag on. Eminem realises what kind of exposure an artist can get from being featured on his project. Not everybody reads the credits but hearing the tag can help the audience to learn about the producers involved in the making of an album.
Especially, when a beat is as unique as this one. Bangladesh didn’t use any samples, the beat is handcrafted from scratch. The producer told Complex in 2011:
ain’t no sample [on the beat], it’s an original. [The girl on the hook is] just a random chick. [Laughs.] It’s nothing that serious. The vocal in the song is really just a sound in the beat. It’s not really about the girl.
By the way, Royce struggled with the beat initially and wasn’t convinced that was what he wanted from Bangladesh:
I was on the fence with using this beat at first. Em was like, ‘Lets just take a stab at it.’ Once the vocals got on there the beat went from 10 to 20, for me. I guess it was one of those beats I just needed to hear vocals on. I didn’t dislike the beat. I just felt like if it was going to be a producer of the caliber of Bangladesh, let’s get one of those thumpers that he be giving people, and it ended up being that.
It ended up being one of the most impressive tracks on the project with a relentless back and forth of two lyrical assassins.
Listen to Bad Meets Evil — “A Kiss” below:
Watch the interview with Bangladesh below:
