Interview: Curren$y Talks "Covert Coup," "Muscle Car Chronicles," and New Warner Brothers Deal

Interview: Curren$y Talks "Covert Coup," "Muscle Car Chronicles," and New Warner Brothers Deal

On his new deal with Warner Brothers Records

“They reached out just based on what I had been doing independently. I think I proved to a few companies that I was going to be a machine regardless, whether I aligned myself with a machine or not, I was going to become a machine. The companies that did step to the table, I never thought I’d be able to maintain my independence and my underground soul of how I do my shit. Just talking to Warner Brothers, they let me know they only wanted to deal with me based on what I had already done. So they would only want me to keep doing that.

“They didn’t approach me with, ‘We think you should work with so and so, we think you should sing on auto-tune, we think you should make this cookie cutter shit-type record.’ They were like, ‘Whatever you’re doing, it’s working. We just want to show a lot more people what you’re doing.’ It’s a machine and they want to include me in that. And they just signed Jill Scott and Rick Ross’ Maybach imprint, so it’s definitely looking like Voltron or Megazord right now.

[Dame Dash wasn’t involved with this deal], but that’s my homie. We got dealings on this Muscle Car Chronicles, but as far as the Warner deal, that was all me and my manager’s doing.

"In terms of sound, people get the big deal and people in certain positions try and change the music of the artist. A&Rs are bringing in beats from fucking such and such because he’s hot on the radio now and you’re changing your sound to please these A&Rs. This situation is not like that. Nobody brought me any ideas, I’m still doing my own ideas. I was brought there to do what I have already proved I was good at doing. And people have shown they fuck with it. It’s smart that we would hustle together. They got a bigger block than the block I was on. I was selling some real good weed, they knew people wanted to buy a gang of really good weed. And they was like, ‘Yo, come get a house on this street.’ So that’s what happened.

"[Dame Dash wasn’t involved with this deal], but that’s my homie. We got dealings on this Muscle Car Chronicles, but as far as the Warner deal, that was all me and my manager’s doing. But BlueRoc’s success is not contingent on if I’m still there. Nothing happens to my old label. They’re fine, they doing what they doing.

On working with Wiz Khalifa on “Rooftops”

“Dude did that for Nate Dogg. This is before Nate Dogg passed. We was in the house singing all kinds of crazy Nate Dogg hooks. Nate Dogg was fine as far as we were concerned. I was in Wiz’s house in L.A. right after the Warner deal was done, it was after the Superbowl. He had to turn [the album] in on February 12, so I think we did that on February 10. He already had the hook laid when I got there. He told me like, ‘Yo, this is my fuckin’ Nate Dogg record.’”

On Pilot Talk 3, The Jet Life album, and Puff Daddy album with Chuck Inglish

“I’m trying to schedule Pilot Talk 3. I don’t know what I’ll do with that. That might be free. That might be some shit I do with Ski just to give out for free just on the strength of what we did. I just got to see what Ski think about it. I got a couple things on my plate right now, and I got projects from Trademark and Roddy that is due too. The Jet Life album is also this year, we’re working right now. I just try to give projects two months to breathe. I also got the project I’m going to do with Chuck Inglish, that one is called Puff Daddy, that’s still being worked out. I’m going to put that out through my Jet Life Recording imprint with Warner.”

 

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