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With working on dvsn's album and having a vocal on the Drake album, you're pretty in the OVO sphere of things. Can you speak to that at all? There's Nineteen85, but maybe there's more.

There is and there isn't more. I think that my relationship with 85 obviously led to both of those things - he was the one that produced the Drake song, he was the one that put the vocals in there. The thing with Drake and the thing with 40, and what makes them so brilliant, is that they understand how to curate better than anybody I've ever met. They understand aesthetically what they're doing at all times, so if they feel like they have a void in the song or a hole or something, they open it up to the floor and they say, what have you got? And I think that's how that came together together, I had these things that I was working on with 85, and they came to him one day and said we have a song, we need vocals and he happened to have those on hand that day, so that was through him and it was just a really lucky happenstance, but it all stems from the same well.

I get on really well with all of those people. Even before I met them, I had more respect for them than I probably do for most people that work in and around music, just because of the way they accord themselves, they always seem like they know what they're doing, and they've always been very respectful, in my mind, but mainly they're kind of also ruthless if that makes any sense. Respectful, but also ruthlessly respectful; they do what they need to and it always works, and I think that that resonates with me. The world comes to [Drake and 40], rather than them coming to the world; everybody's coming to Toronto and that fascinated me before I met them. The fact that we got on so well and that I was able to work on all those different records was just fortunate, really, and speaks to their collaborative nature. I didn't lobby to be on the Drake record, I never even mentioned it, and the dvsn thing, again, I had this version of an Elliott Smith song that I'd been playing live, and 85 heard it by mistake. I was singing it at the end of vocal stem that I sent to him one day, and he rang me and was like, "What is this?" He never heard the song, and two days later, we sort of turned into the dvsn song, and so there's just a lovely sort of collaborative nature to them as well as all of their upper echelon stuff; they know how to work and I respect that. It's really inspiring being around [the OVO guys].

Full article:
http://www.thefader.com/2016/07/05/james-vincent-mcmorrow-rising-waters-interview
 

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this is cool. would've helped for the writer to put an editor's note of which tracks he worked on.
 
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