“Sleep At Night” Rittz featuring Yelawolf
Recently I sat down with Rittz to talk about his approach to song writing, the reasons behind his re-release of White Jesus, his relationship with DJ Burn One and the 5PMG production crew, Yelawolf, 8Ball, and what’s next for him. If you haven’t checked out much from him yet, I definitely recommend picking up the White Jesus: Revival album/mixtape, which is a great introduction to his work.
JB: For those that don’t know, talk to them about Slumerican. Who’s on the label and what you guys are about? What sets you apart from other labels?
Well you know honestly, as of right now, Slumerican isn’t really a label. Basically Slumerican was an idea that Yelawolf came up with. You know when I had first got in contact with him, he had talked to me about wanting to do something with me and building up a crew. You know when he had dropped Trunk Muzik, Slumerican just ended up being the name of the crew that we had. At one point I think it was going to be label, but I think he just got wrapped up as an artist. I think he’s still exploring that option, but really Slumerican is just a family man. It’s really Yelawolf started that shit, so it’s really Yelawolf, myself, Struggle, Shawty Fatt, that’s it as far as rappers go. There’s a lot of other people that aren’t emcees that are Slumerican too that are just skateboarders, DJs, just friends man. It’s more like a crew as opposed to a label right now.
JB: Last year you dropped the White Jesus mixtape or street album, this year you dropped White Jesus: Revival. Talk a little bit about what made you want to rehash that, not a lot of people will release a mixtape and then cut some songs and add like eight or nine new tracks. Talk a little bit about that process and the motivation behind that for you.
Re-releasing White Jesus as the Revival and adding the eight songs, was more like – when I went on tour with Yelawolf for the “Hard White” tour and when I was touring with Rehab, I think as a rapper you automatically think if you come up under Yelawolf or somebody else that’s hot, I thought that people would hear “Box Chevy” and really go check out the project. You know it doesn’t happen like that all the time. I just felt like there was some music, the more I went out and toured the country, the more I realized that people had never heard of me. The only place they heard of me from was “Box Chevy,” and they loved “Box Chevy,” and loved my verse on “Box Chevy,” and always wondered who it was, but never really took the time to go check out White Jesus. So the more I realized there was so much more room for the mixtape to grow, I didn’t want to hop onto a new project. I felt like there was some songs, as far as “High Five,” and “Nowhere to Run,” songs that really deserved visuals and more time to grow. And it still happens, I mean I just finished my first headlining tour for myself, it’s like, there’s so many people that never heard of me before, so the fans that did know about me and had been bumpin’ White Jesus, loved the fact that I put eight new songs. I really put the eight new songs on there for them. Some of them were disappointed that it wasn’t a whole new album, but I had to explain to them that there might be even ten thousand, or five thousand, or however many thousand fans I have, but there are so many more people that have no clue who I am. So before I jumped onto a new mixtape I just wanted to still bring light to some of the old songs, and then add some new ones for those that had already heard it already.
JB: Well, having heard both now, I think it’s fair to say that while both stand well alone, you can see some growth with Revival and it feels a bit more complete than White Jesus.
Yeah, it was more complete. If you hear Revival for the first time, and you’ve never heard White Jesus, it’s a more complete project. Like I said, I think a lot of people rush to get to a new tape, and with the internet, everybody’s attention span is so short these days people just want more, more. You just put that out, they’re like when’s the next one coming out? But I just had to kind of ignore that, and realize that I had some songs that I just didn’t want to leave in the past yet. I’m waiting on a situation right now. I’m trying to get a bigger situation for myself, trying to get a deal or something like that, to really work on a real album of all new material. So right now, I’m working on some visuals for the records on there.
JB: Yeah, that’s definitely something I wanted to talk with you about. It seems like a lot of artists might do one or two videos to promote a project, but it seems like you really have done a lot of visuals for the different songs that you’ve made. Talk a little bit about, what’s important to you with the visuals and your process with that. Because a lot of artists seem to put out a video, just to put out a video, but it seems like a little more of a creative process than that for you.
Well, yeah, yeah it is. And I think the importance of the visual is really important. And that also goes to when I first dropped White Jesus and why I released Revival. There wasn’t a label at that time and there wasn’t any kind of budget. There wasn’t any money or anything like that to get anything done. I kind of believe, when I put out the original White Jesus, if I would’ve had more money to put out more visuals then, it would have taken off a little bit more than it did. Because I think people want to see your face. They want to identify with you as a person and just look at your character so that it’s not only just music, so you know a visual goes a long way. So as time went by, and I started to be able to afford some videos and some shit, I just considered that important man. You know people look at that a lot. And that’s what I’m doing right now with the money that I made off the Revival Tour, I’m just really getting a lot more visuals shot. I don’t think there can ever be enough visuals these days, it’s crazy. People want to see videos. So that’s really what I’m doing right now. I’m trying to get a video done for “Paradise,” “Injury,” “All We Know,” trying to get “Bloody Murdah” done, really trying to do a visual for whatever I can. But my process with the visual, is I just pick the song, and kind of come up with an idea, and Signal Point, I worked with them a couple times with the “Sleep At Night” video and “Walking On Air,” so I’m going to be working with them coming up on some new shit. So that’s it man. I’m just trying to get visuals out so people can identify with me as an artist. There’s a lot of people that heard me on “Box Chevy,” that think I’m a black guy. So, until they see you, or they might even see what I look like or see a picture of me, but until they see me doing it, rapping, you don’t really get who that person is sometimes until you see the visual.
“Walking On Air” – Rittz
JB: So, talk a little bit more about when you make a video. How do you come up with the story, or the treatment you want to use on the video? And beyond making a connection with the listener, creatively what do you try to do with your videos?
I mean creatively, I’m just trying to portray exactly what I’m rapping about. Some songs are more party songs, which I didn’t really have until “Walking On Air,” just putting out a regular, you know just a party record, but the videos I like to do, is I like to take some of the more meaningful songs and just make the visual go right along with it man. So I’ll just sit down and listen to the lyrics and just go line for line and think about how I want the visual to look for that. I’ll go to the director of the video, and they’ll put their input, and then we’ll just see what works. So it starts with me, and then they put the icing on the cake and make it come to light, in other words. And that’s pretty much how every one of them has been so far, working with different directors and shit. In the “Wishin” video, I had the idea of sitting down at the table, and looking at a laptop, and looking at pictures of my real girlfriend, and actually doing what I do when I write raps like showing me writing and drinking, and you know I just wanted to give people exactly what the lyrics are saying and show them what I’m doing. I’m mostly just trying to make the video exactly what the rap is about.
JB: Talk a little bit about your overall approach to music. A lot of your songs are really topical in nature. And what I mean by that, I just mean that you do some songs that are kind of typical southern rap joints about cars or clothes or hoes or drugs or whatever, but a lot of your songs involve stories or concepts or personal struggles. So just share a little about that.
Well, I think personally, those are the best types of songs. You know, every song can’t be deep or personal or depressing or you know about a struggle or some kind of messed up situation or a real life situation, but that’s the type of rap music I like to listen to and it’s also the type of shit I like to write. So, if every rap could be that way, that’d be great, but sometimes it only happens when it happens, like when you’re in the mood and it really comes from the heart. When you rap from the heart it comes out pretty fast and it normally ends up being about those real life situations. I have a harder song coming up with songs about cars, and weed, and parties, because it’s been done, and I’ve done it so many times. And I’m going to continue to do it, because it’s a part of the culture of hip hop. But my process is the beat normally brings it out of me. I stack up beats first. Some of the beats that seem deeper than others, I think okay I could rap about this on there, or I could rap about this. And then it’s really just up to the day that I write it, if it really comes out like it should, like the real emotions of what’s really going on. And then some beats are more you know, riding party shit or stuff like that. And some days are different from others, some days dope lines and dope metaphors come quicker than other days. But I’m a real self-conscious rapper. I write shit, and unless it really flows naturally from the heart, normally my first reaction to my rap, is like “ah, that shit’s just wack.” And I overthink it. But I think the overthinking makes the actual finished product that much better, but I’m a little too hard on myself sometimes. I’m my worst critic. But that’s pretty much my process man. But most of the deep songs though, those ones usually come pretty fast, the ones from the heart, but you know they don’t come everyday.
JB: The type of shit that wakes you up in the middle of the night.
Yeah, yeah, like I wrote that quick, that’s some real shit. Give you goosebumps and shit. Those are the best records, those are the ones I like to do man and that’s the shit I like to hear from other artists too.
JB: Just in terms of physical process, do you carry a notebook at all, do you just write random lines down at all or is it always driven by the beat?
Ninety percent of the time it’s driven by the beat. When I finally got a fuckin’ iphone, like a couple years ago, I started using my little notepad, like I think of a tight line, or some words that rhyme together nicely, and I’ll write them down. But when I was younger I used to write raps all the time and I have boxes and boxes and boxes of notebooks. But nowadays, I think because I’ve had a studio for so long in my house when I was younger, growing up writing in terms of making music, I got myself into a routine where I would make the beat first and then write. Back then I would just make my own tracks, so I got myself into like a formula, to where that’s how I worked. So normally I just get some beats together and I ride around, and I hum hooks and choruses or I hum out cadences and melodies and so when I finally sit down to write, like ‘OK, today’s a writing day,’ I’ll sit down and I’ll go back to that track I was working on in the car, and I’ll try to make it come to life again. That’s how my process normally works.
JB: Now do you do the hook first, or is that something that can come later for you?
It really depends how the humming part goes. I’ll ride around to the car to it, and I’ll either start thinking about a way to rap to it, or I’ll listen to the beat, do the sixteen bar verse and when the hook part comes up, I’ll do the hook. I don’t know, it just fifty-fifty with that. It could either be hook first or rap first. A lot of times, I’ll start with the sixteen first and I’ll just get the rap going. But there’s certain ones, like the song “High Five,” I was just riding around in the car listening to it, and I’m like, “High Five… High Five,” and then I started going with that, and then the hook came and I wrote it. So it just kind of depends.
JB: So let’s just walk through a few of your songs. I always like to kind of talk through a few songs with artists, just talk about their process, what they were thinking about, what they wanted to convey. So the first one I wanted to have you talk about was “Injury.”
What I wanted to convey in that was my real life relationship exactly to a T. You know, give or take, I don’t want to shit on it. There’s a lot more to our relationship, there’s a lot brighter sides to my real relationship than that, but I wanted to bring the reality to what my real life relationship was. So really all those stories, were really true. And with “Injury,” it wasn’t like saying – because there’s a lot of abusive shit going on in “Injury,” – but it wasn’t like really OKing it, it was kind of on both parts. And it was just saying how couples could love each other, but the love could result in injury at the same time, whether it be physically, mentally, or just period. So when I did “Injury” I really wanted to go through exact things that happened in my real relationship and put it into rap. In the verse, there was fighting going on throughout the verse constantly, but at the end of every verse, after all of that fighting, the fighting is what lead to us feeling we were meant to be, “sometimes results in injury.” So that was basically where I was at with that. And actually that was one I was on the phone today, trying to get a video shot for that one. So I’m trying to get a visual for that, and I’m just going to make it exactly, line for line, what was going on in the song. Because everything in that record was 150% real. You know, so that’s where I wanted to go with that one. And because you know, there’s a lot of people out there in couples, in crazy relationships that can relate to it. And so I’m not saying that it’s okay, but it’s honest.
JB: Who did the cuts on that?
That’s DJ Crisis, DJ Chris Crisis, that’s Rehab’s DJ.
JB: Talk a little bit about your relationship working with DJ Burn One. I know you just got off tour with him, he’s put out your mixtapes in the past and done a lot of production for you. Just talk about what it’s like working with him and then him as a producer and artist.
Well, Burn One’s a fucking maniac man. Burn One is super cool, Yelawolf introduced me to Burn One around the time he first started Trunk Muzik, Burn One was DJing for him, and I didn’t know Burn One did beats. I’d heard like a mixtape Burn One had hosted, or a couple of them. So Yelawolf was like, Burn One’s got the perfect beats for your style, because he knew what style I was on. So when I met Burn One and heard his tracks it was like it couldn’t be more perfect. Because I make beats, but I haven’t in a long time and the type of beats I tried to make was the shit they (5PMG) were doing. And it was just like the perfect match for my music. Basically we just ended up being friends. And the whole Five Points Music Group – Burn One, Walt Live, The Professor, and Ricky Fontaine – they all collectively make those tracks together and they’re just a really dope group. They all use live instruments and they’re constantly inspired, they’re always in the studio making shit. On the tour with Burn One just now, I had to lock him down and just get serious with him like, ‘Yo, I need some of these tracks. Like I know you’re giving away tracks to a lot of people and I need them dawg.” So I got some nice, nice beats for this coming project and I’m about to really go in on this music. Like just what he had laying around to get me started and we definitely know where we want to go with it now, but Burn One’s the shit. If you were to ask me if there’s any producers in the game, I’d like to work with, I wouldn’t have an answer for it, because I found the dude that’s got the sound I wanted. So it’s just a great relationship musically.
JB: Yeah, he’s really been in a zone with that album he did with SL Jones and all the stuff he’s done with 5PMG’s lately. When I listen to their stuff it definitely gives me the vibe of like vintage Organized Noize, not that it sounds like them, but just all the live instrumentation, and the musical creativity and exploration.
Yeah, it’s like vintage in the new era. And that’s why I like it, it’s exactly the type of sound – and that’s what I tell Burn One – even if it’s a type of track that I don’t necessarily want to rhyme on, it’s the type of music that I like to ride to, even if it’s just the instrumental. That’s just the type of music that I like man.
JB: Sorry I got sidetracked there for a minute, jumping back into these tracks, talk to me a little about “Die.” And specifically the video. I just thought it was an interesting video obviously, so talk to us about that track and that video.
It was crazy my manager actually came up with the idea for that video. We did the song “Die,” and I was just kind of over the whole critic thing and people’s comments on the internet, and like an idiot I would read the comments and you know I let them get to me a little bit. So I was just kind of lashing out at anybody that had anything negative to say about me. So I did the track and my manager actually came up with the treatment for the video. He was like ‘Man we need to do a Dexter theme.” So we were like tying this dude up and really making it graphic. So we got with Signal Point and basically told them what we wanted and I think it turned out really good. I was kind of pissed that it got flagged on youtube. I guess I should’ve thought about that, so it makes it a little harder for people to go watch it. So now you gotta log in and verify your age, which shouldn’t be that big of a deal, but now even I’ve got to do that. So we just basically went with a Dexter theme and just wanted to go gory man, so I think it turned out pretty good and it was just me lashing out.
“Die” – Rittz
JB: Talk about your song “Wishin”
“Wishin’” is probably one of my favorite songs period. When I go on the road everybody wants to hear it, but I haven’t performed it live yet, because it’s kind of slow. You know, with crowds that don’t really know me yet, I haven’t put it in the set list, because it might bring the place down too much, you know I’m not sure how it will go over live. To me it was just one of the realest songs I’ve written. Count Justice from 3 Little Digs made the track. And he actually finally played it for me one night, and I loved the track. It was just so simple, but so deep at the same time. That was one of those ones that really went quick from the heart. That was one I felt like everybody – you know unless you have the perfect life and you’re really content with what’s going on – wishes they were in different situations, or wished they would have done something different or wished this, wished that, wished something was different. So I just kind of went on that kind of note of just regret, and wishing where I was at and just put it down and it came out perfect and it’s definitely one of my favorite songs I’ve done. And we did the video for it, and the video came out perfect. Putting that out, was actually one of my best ideas I think, because people liked it so much, that they don’t want to just hear “Box Chevy,” every time. You know for a minute, when it first came out, everybody wanted to hear Chevy songs or car songs or weed songs. So once I put that out, it gave me a little diversity where I can put out a song like “Die,” or “Sleep At Night,” and do different records like that. So I feel like “Wishin” really opened that up for me.
JB: I also thought it was an interesting choice for a hip hop record, which predominantly is still such a beat or drum and bass driven art, that there were no drums on the track.
Yeah, that’s kind of what I liked about it man. It was like “Extraterrestrial” off of ATLiens to me. It kind of had that type of feel to it. So, that’s what I liked about it man when I first heard the track. And it didn’t need it you know, the lyrics just keep it going. And it’s one of those songs, where if somebody doesn’t like me. They’re like “man, I heard Rittz, I don’t fuck with him like that,” at least people tell me this, they’re like “well you better check this out,” and they put “Wishin” on you know and hopefully people can at least respect what I’m saying. And say like “OK, dude’s not bad.” So that’s one of those songs for me I think that will help turn people into Rittz fans.
JB: So talk about the video for “Sleep At Night,” obviously you and Yelawolf are in it with the birthday party thing and what was the inspiration for that?
The inspiration for that was all Signal Point. That’s 100 percent them. They hit me up, and they were like, “I was just thinking about making it just fun, like there’s a party, and your girl is throwing it with her new boyfriend, everybody is fucking happy and you’re sitting in the corner. And when he first told me about it, it wasn’t at all what I was thinking. But you know I got to thinking about it and thought, man it would really be so typical of me to be just standing there and arguing with the girl and really going through these emotions in the video. It turned out great man. The idea and where they wanted to go with it, to be kind of happy and funny at the same time even though the song was so serious. And my manager played the clown in there and I got to smack him there so that felt great. But yeah man that was them and they did a great job and the actual director played the boyfriend in the video and the girl who played my girlfriend in the video, they did a great job, so I was really pleased with that as well.
JB: You had a chance to work with 8ball obviously on “Pie,” talk about what that was like.
To be honest with you I didn’t do it in the studio with 8ball, it was one of those things where we had the record done, and we were like who can we get on this track? My manager J. Dot was like we need to get 8ball on it. And in my head, I’m thinking, that’s the dude, like I was born in the 80′s in the 90′s I was a teenager, and that’s the shit that I grew up to. For 8ball to even be on the same track with me, it’s not even like an understatement, it was crazy dawg, we got the record back and listened to the record, and I was like fuck dude having 8ball on my record is such a big deal to me. Even on the trip we was just on, I was downloading 8ball & MJG albums and listening to them. So to have somebody on a record with you that you grew up listening to is just a huge, huge accomplishment.
JB: You know are there any other artists that you’ve worked with in person, where you were really taken aback by the moment?
Tech N9ne definitely. Tech N9ne is definitely one of these artists I’ve worked with where I was like his dude is huge, he’s got a fuckin’ million fans. And I was like, “Wow, he’s actually on my record and I’m kicking it with this dude.” I have yet to work with a lot of people that’s been in the game for awhile. I met Big Boi, he was at Yelawolf’s “I Just Wanna Party” video shoot and I actually met him at a show, when I did “Box Chevy,” with Yelawolf when he was opening for Big Boi. But you know, as a rapper you’re not supposed to fan out. YOu know on anybody, it’s not cool, to act like a fan. You gotta kind of go up and shake their hand and say “what up, it’s good to meet you,” and not like trip. But really, of anybody in the rap game period, there was no other rapper I tried to imitate more when I was young than Big Boi. There was nobody. I was in a group called Ralo and Rittz and we used to try and be like the white Outkast. He used to try to imitate Andre, I’d try to be like Big Boi. We’d watch their videos, wear our clothes that way, rap the same way they did, you know kind of bite their style. There wasn’t one rapper tha I really looked up to more than Big Boi. So when I met him he’s like “Yo, what’s up Rittz,” and I’ve got to act like it’s not a big deal and shit, and shake his hand like “Yo, what’s up?” But inside I’m like man it’s fuckin’ Big Boi, man like ten years ago I would’ve fucking killed myself to be in that position. It’s just crazy dude.
JB: Talk a little about what I guess I would call a little Rock influence in your music? You definitely work over some beats I’m thinking about like “Nowhere to Run,” and “Walking on Air,” where there’s a lot of guitar work.
Well I mean, all of my family is musicians. My dad was a guitar player, he plays the piano, he’s been in bands. So I’ve always had music around me. In fact when I was younger I tried to become a guitar player, but I just didn’t have enough discipline to practice and get good at it. But I just love live instruments. I’m a sucker for any type of track with live guitar in there, or live instruments. So I think that’s probably where that comes from. I’m also a big fan of 90′s alternative music, you know Alice in Chains, Stone Temple Pilots, shit like that influenced me. Sometimes with like song writing, hook writing, and ways I go about melodies I sometimes draw back to that type of music. Nirvana and shit like that. Even, I hate to just say 90′s alternative music, because it goes way deeper than that. I listen to lots of different types of rock music, but I think that’s probably like the strongest rock influence to me. Like Alice In Chains is one of my favorite groups of all time. So I think that stuff probably has a lot to do with it, but probably the main thing is my dad and my family, they’ve been so involved, they’re all musicians. What’s fucked up is that, everybody in my family has tried to make it in the music business, and so far that I’ve been the closest. And not to cut myself short, but I probably deserve it the least. These guys have practiced and played instruments for years and years, perfecting them. And I practice trying to be a good rapper, like I’m not trying to downplay myself, but you know it’s crazy, I have a soft spot for musicians. It really takes a lot of practice to get good at an instrument. And you know I think that’s where that influence comes in is just my family background.
JB: You and Yelawolf obviously have built a good relationship and he’s helped you to keep moving your career forward now that he’s gotten major label exposure and has a little more pull, who are some artists you might like to bring more light to, if you were in a position to do so?
You know what man, that’s a good question. The thing is, you know what’s crazy, all through out the years man, I’ve had a million friends that rapped, and I used to have a crew of people around me that was like “Let me get on if you get on, and I’ll let you get on if I get on.” But as time goes by it’s like everybody is so shady, and like so many of my fake ass friends who were hanging around me, who I had planned on helping out when I got in this position don’t exist anymore and it’s probably good that they don’t. You know because it was like extra weight I was carrying around and a lot of them were hanging out with me for the wrong reasons. But I’m always looking for new artists and you know I think right now, I just got off tour with the League of Extraordinary G’z from Austin and I think those dudes are really dope. And out of anybody that I know right now, they deserve it. But I’m not even in the position to help anybody at this point and that’s what I tell anybody I meet that does rap, like ‘hey you can kick it with me, but I have no intention of furthering your career, because I can’t.’ Like I said with the whole friend issue, I tried it before and you end up fucking yourself, so you have to make it real clear with your rapper friends like, you this isn’t a ride my coattails type of shit. But as far as rappers deserving it right now, the League, the League definitely needs some attention, and my homeboy Scoob Vercetti is a dope rapper and a friend from Atlanta and he’s actually got a situation with Pleasure House, Jackie Chain‘s label. There’s another friend and rapper in Atlanta, Hit Man Shawty that’s really dope, but honestly right now man, I’m so focused on myself, that I can’t even think about doing that. Because there’s no way I could really help anybody, I’m just with everybody else trying to make it.
JB: So you just got off tour, to those who haven’t been to a Rittz show, what can they expect?
Really my thing is I want people to walk away having really watched the show and really heard the lyrics. I try really hard to make my live show sound exactly like the record sounds. I hear a lot of rappers get on stage and start screaming. I hear some rappers performing and it’s like you know the song when the hook comes on, but you can’t hear a fucking word they’re saying. I try to just make it as much like the record as possible. And also one thing that people can expect, is that they’re going to get to talk to me. Like I’ve done shows, and I’ll go out to wherever the line is, or wherever people are at and I try to chill with everybody. And I think that’s a big deal. Like a lot of people are just like, ‘why are you hanging out with us,” and I’m like ‘I’m just like you hanging out here.’ Like I’m grateful that they’re actually at my show, and I just want to go out there and say hello and shit like that. So that’s what you can expect, a show that sounds good and that you get to meet me and hang out with me.
JB: Burn One was really on twitter talking about changing tires in the middle of nowhere. Can you confirm or deny this?
Well, it was Burn One and my boy Chief Jakes. They were both out there changing tires. We had a flat in Wyoming and going about 90 down the highway. You heard the “blaow,” it busted out. The car started spinning off the road, you know he had control of it or whatever. Yeah, that was true dude. I’m horrible with that type of shit. I’m out there with my phone like filming them doing it, Burn One’s muscles are all burning out trying to do the jack, because the jack wasn’t big enough to lift the van up. Man, it was a nightmare. And it started down-pouring on us hard. And then of course once you get the tire changed get back in the car, the rain stops. But yeah, that was definitely a fucked up moment on the road. But yeah, you could say Burn One was changing a tire, we can go ahead and give him that, because he was out there pumping that jack trying to get it, man it was crazy. It was fucked up.
JB: So before you go, I know you said you’re trying to get more exposure, and trying to get a label situation or something like that before you put out another record, but what can people expect coming up from you next?
Really man, I’ve got some shit on the table, that I think is about to happen. I can’t really say who with, but when it happens man I’m just going to try to deliver a great album. I’m getting tracks together, and nothing’s going to change, I’m just going to try to take whatever people like from me right now and just enhance it even more. Just try to get even better and give them better songs. I’m just really trying to make great music, that’s kind of where I’m at. I’m definitely going to give them more visuals, I got a lot that are going to drop soon. I think a lot of people really had a perception that when I came out there was like a budget or a bunch of money, or Yelawolf was like super paid and dumping money into this shit and it isn’t like that. So all the shit that we’ve done so far has just been us on our own. You know of course, with the name of Yelawolf it’s good to be associated. But as far as physically what’s actually out there for people to see, it’s us doing it with no budget. Half the time I even worked a regular job, just saving up money to do this shit. So I feel like once I get into a real situation I’ll be able to do what I’m doing now times ten.
“White Jesus” – Rittz