Lil Wayne‘s latest single, “6 Foot, 7 Foot” surfaced on the net last week to rave reviews from music fans — except for one.
Just a couple of days after the release, a producer named Nicholas RAS Furlong, who is signed to OneRepublic‘s Ryan Tedder’s label, tweeted that “6 Foot, 7 Foot” producer Bangladesh jacked the beat from him.
“Wow… so I’m playing a few ideas in the studio last month with Bangladesh in the room… Just now hearing Lil’ Wayne’s new single… Tell me why the same exact sample I used in one of those songs, this dude goes home and flips? Coincidence? No… #HelloBiter,” wrote Nicholas using his Twitter handle, RASOfficial.
But Bangladesh and his team deny the accusation wholly. Not only did Bangladesh not copy the production, says his manager, but he has never even met RAS.
“We don’t even know who he is. We know Ryan Tedder, but that’s it,” Deshawn Kennedy tells Billboard.com. “That beat was made back in June, so I can’t understand how he can possibly say he gave us that beat last month. I have documentation from when beat was created. And if the track was submitted for T.I., it must’ve been around the time he was working on his album. We all know T.I.’s been in jail the last month, so there’s no way this happened the way this guy is saying.”
Kennedy says he’s tried to reach out to Tedder to clear up what he hopes is a misunderstanding, but he hasn’t heard back yet. He also says, although he wishes RAS success in the future, he doesn’t appreciate him “making stories up to call attention to himself.” RAS has since deleted the tweets from his account.
Billboard.com’s The Juice talked to Bangladesh just a few days before the tweets were posted, and the “A Milli” producer told us just how “6 Foot, 7 Foot” came about.
How did the beat for “6 Foot, 7 Foot” come together?
Bangladesh: I was just creating in my studio. It took a couple of days just to get it right, but once I made it I knew it was something important.
How did you end up giving it to Lil Wayne, especially considering you claim you haven’t gotten royalty payments from “A Milli,” which got placement on Lil Wayne’s “Tha Carter III” album?
I didn’t know who to give it to and because of my situation with Cash Money, I wasn’t considering sending it to Lil Wayne. Plus, he was locked up. I was clueless on who to send it to although I had it for a minute. I was communicating with this publisher who is trying to sign me to his publishing company. I told him I had this crazy beat that he hadn’t heard, and he suggested I send it to T.I. I know T.I. personally and have given him beats before, so I wasn’t really too hyped about that. I sent it anyway and Gee Roberson, who works with some of the biggest artists in the game, hit me back saying Lil Wayne would kill the beat.
Why weren’t you hyped about T.I. having the beat?
Well, because I’ve given him music before. I’ve given him amazing beats before, and we just don’t get anything done. At the end of the day it’s really not the beats, it’s about the artist. Some artists like to stay the same, and that’s what T.I. does. He’s in a place where he’s not sure what he should be doing, so he stays in the same place because that’s where he feels safe. My beats are not safe. They are aggressive and beat-driven. You gotta know what you’re doing to get on my beats.
So, although Lil Wayne’s camp owed you money, you were OK with sending the beat to him?
Off the rip I was like, ‘Nah.’ It was kind of a crazy situation being that I haven’t been paid. I got four kids, I don’t do this to blow somebody else up, I’m in it to win it and sh*t’s got to be right.
Whose fault is it that you haven’t gotten paid?
The sh*t that happened is nothing that I did wrong. The only thing I did wrong was f*ck with them [Cash Money/Young Money]. What turned it around was, I heard through my attorney and the publisher that convinced me to send to Gee [Roberson] that their business affairs had been handed over to Universal. Cash Money was getting all the money up to this point so it was up to them to pay the money out. But it’s not just me on ‘Tha Carter III’ that didn’t get royalties – Jim Jonsin didn’t get paid [for “Lollilop”], Play-N-Skillz didn’t get paid. It was all on them [Cash Money]. [Editor’s note: On Dec. 17, Jonsin told the Broward-Palm Beach New Times that he and Cash Money/Young Money had “worked out an arrangement. They’re giving me some money now, and will pay the balance in the first or second quarter next year.”]
Once they told you that Universal was taking over, were you excited that Weezy had the track?
I knew the beat was big. I just think, honestly, anybody could sound good on the beat, anybody could rap on it and make it a single and get it played. But it takes people with something special to turn it into something historical.
How close are you to getting paid now?
What is your relationship with Young Money/Cash Money?
It’s workable. It just a working relationship.
What else are you working on?
I’m working on Beyoncé‘s album, I already did like two joints with Sean Garrett for her album. I worked on Ke$ha‘s repackaged album “Animal” [“Cannibal”]. I got a song on there called “Sleazy. “I’m on [Nicki Minaj‘s] album, I did a song titled “Did It On Em.” I did a song called “Move Your Body” for Nelly‘s album featuring T-Pain and Akon. I’m also working with Pusha T and am in the studio with Nas and worked on the Def Jam Rapstar video game. I’m also working on the Bangladesh album, which is going to be full of features like Ice Cube, R. Kelly, Wayne and Andre 3000.