Mr. Bangladesh has worked with almost everyone in the hip-hop industry and has crossed over to the pop-R&B world in recent years, bringing his talent to mainstream attention.
Just recently, Bangladesh was confirmed to be contributing to Britney Spears’ upcoming eighth studio album and has been in the studio with Like A G6 veteran Dev.
Following the successes of his work for the likes of Lil’ Wayne and his Young Money family to Beyoncé (Diva) and Rihanna (Cockiness), the producer is working on his own debut album right now. The album is still in the making and is going under the working title of Flowers & Candy.
ThatGrapeJuice.net spoke to the producer on many different topics varying from missed collaborations that he regrets to what artists steal music credits (Beyoncé) and what it’s like to work with Britney, click below to read excerpts from the interview…
TGJ: We know you have a very distinct sound, but how would Bangladesh describe a Bangladesh beat?
Bangladesh: Crazy beats and hard drums. It goes against the grain and different from everything else you hear. I like the sound raw and not really perfected – I even still use MPC 2000 because it gives you a dirty sound. Producers use software now that’s more clean and polished, but on my beats you can tell I’m using MPC. My sound is very aggressive – it’s pop, hood, and eclectic all wrapped up in one.
TGJ: Yes! That very sound has led you to work with many a major name – from Beyonce to Lil Wayne. Tell us, what has been the most rewarding experience so far?
Bangladesh: Probably Wayne’s A Milli because when it came, it changed hip hop. People are saying I changed hip hop with that style of beat. After me, everybody started doing that style.
From new producers to veterans, people like Will.i.Am with Imma Be and a lot of other people were really biting that sound. Nobody was really chopping up words and putting them in beats like me. That’s my style and everybody bit it.
I can’t be mad at it though, because one of the reasons I wanted to make music was to be a trendsetter and be important like the Neptunes and Timbaland. That song really set my mark and proved I did something in the game.
TGJ: So with that, who would you like to work with that you haven’t? A wish list, if you will…
Bangladesh: I definitely want to work with P!nk and André 3000. I feel that André is one of the last few artists of our era. He’s one of the only who doesn’t have to drop something every two or three months to be relevant.
TGJ: Now, switching gears a bit, there’s often a lot of talk about writing credits, producer credits, etc. How much truth is there to all of that talk (i.e. giving up credits) and have you ever been on the receiving end of this?
Bangladesh: Man, that’s the game and that’s just how it is. You got to be a big artist when you can ask and demand something like that, but it happens. It’s not always a bad thing though because sometimes producers give beats away to no-name artists too (for no credit).
Then, sometimes if it’s an Usher or Beyoncé type of act, you’re ok with giving it away because if they sing over your song, they’re going to bring great attention to it.
Producers don’t mind giving CERTAIN artist the credit. But, it’s mostly African Americans that do that kind of stuff. I hate to say it, but it’s true. I know people that have written for Britney Spears and different people that are in the pop world, and they don’t ask for that kind of stuff. Britney don’t ask for shit. If you wrote it, you just wrote it. She sings it and leaves.
It’s dog eat dog out there man. And, I’m sure there are some pop acts who demand full credit, but I’m just speaking from experiences I’ve had or heard about.
TGJ: Thanks so much. Last, but not least, when it’s all said and done, how does Bangladesh want to be remembered?
Bangladesh: I should be remembered as those who never got his blood sucked. My legacy is built strictly from talent. A lot of people are working for free or getting used, and that’s what I called bloodsucked. I’m a rebellious person because not too many out here can survive independently without having a manager or major label like I did. Some took the route of being stuck “in a clique”.
Some say I’m difficult, but it’s gotten me where I am without the bullshit. People trying to take a piece of where I’m going, but I am and will always be self-sufficient.