Bangladesh: "I'ma give you the exclusive. Basically, where it all began. When I was working on Kelis' material, I met this producer dude that would send me beats. He was a fan, like he was always asking me questions and always wanting me to hear his music. I’m not naming nobody. We’re not giving people too much shine right here. [Editor's note: Although Bangladesh refused to mention dude's name, we’re pretty sure he was referring to Cha-Lo.]

"So 'A Milli' was his beat, but the actual production, the drums, and the music was wack. So I bought the sound from him and he was cool with it. Once I made my beat—my version of the production with that sound—I gave it to Shanell [who took it to Wayne]. He started going about it the wrong way, acting like I did him dirty or something.

"He got paid for the sound and he got 15% of the publishing. That's unheard of. I looked at it like this: He gonna keep giving me shit and we're gonna do more work. Producers that have a lot of work or are doing a lot of things, they get sounds from people. They might hire a guy to get him sounds. And I was looking at it like that sound 'A Milli' like it was the chorus.

"So I claimed 65% of the track, gave him 15%, and was claiming 50% [for myself]. 15% is generous, but he gave me that sound and that sound was important in the track. I just looked at it like it was a good look for him.

"But somewhere along the line he got with the wrong publicist or attorney. The song was a hit so it gave him an opportunity to say that he produced the record. He was in interviews saying he produced the record, but that’s just trying to create more work but that's not how you do it.

"Word is I'm doing him bad. Moving on from there we cleared the issue up. We just had to break bread with the people that own the word that we tapped out, and he was cut out the situation, so I still have the percentage of the record.

"I know there was something said about the sample being incorporated music and that’s why we ain’t get paid, but that’s not why I ain't been paid because I still own a percentage the record. And the other producers on the album who got original material, they ain't been paid. I just ain't been paid for it man.

"'A Milli' was a double-edged sword for me. It was a stepping stone as far as delivering other hits for artists because Lil Wayne is so big and I have a major hit that changed the game. Then they look at it like, 'Let me work with him.' So it was the importance of where I wanted to be but it's also a headache. I haven't physically gotten paid, but I got promising words from the people that got control of it.

"[The beat] changed the game in the same way I seen Timbaland, Swizz Beatz, and Neptunes change the game. I'm just going off the facts. There was probably about 70-100 'A Milli' beats after 'A Milli' that I didn’t do. And that’s from major producers to no-name producers. I ain't really fitting to point nobody out. But as a producer I know where the influence comes from.

"I'll point one out for you: Willow Smith's 'Whip My Hair.' I'm not pointing her out, but the track that was made for her is 'A Milli.' Listen to it. That's 'A Milli' and she has the hottest track out right now and I can honestly say that I influenced that."