The rather reclusive producer responsible for a large part of Drake’s sound sat down with GQ to speak on his works with Aubs © Big Ghostfase…
GQ: You’ve stayed tight with Drake ever since—you almost never work with other artists, and when you do, Drake’s involved.
“That’s my own personal prerogative. The Jamie Foxx record or Alicia Keys record I did, Drake wrote. The record I did for Trey Songz was a Drake song. The record I did for Wayne was for Drake at first but Wayne hijacked it. They’re all related to Drake. I’ve never, thus far, gone outside of working with him. I’m a pretty loyal person and I feel like we have a lot of work to do… So if Jay-Z or Alicia Keys is knocking on the door, I would work with anyone who wants to work with me and humbled by the opportunities I’ve received, but I’ve been stubborn to finish Drake’s new album first. This is my responsibility and I take a lot of pride in that.
GQ: Will you know when he has to get something off the chest? Or will he just go in the booth and do what he does?
Noah “40” Shebib: I’ll probably know.
GQ: Do you guys ever figure it out?
Noah “40” Shebib: 100%. There’s always a conversation. Wait, “Marvin’s Room” is my favorite off the album! It came from the same place I’ve been talking about, where we make a real fuckin’ R&B record and do what we enjoy. It was a cool, different sound and had a different edge to it production-wise and pushed him musically and the writing was phenomenal and the concept and the feel of the conversation. I enjoy creating a moment and treating it like a film does, you want to say “Fuck you,” but yeah, you want it to take you somewhere. That type of fury and emotion, there was something about that record that captivated me. That record is gold as of today, half a million singles of a record like that in today’s day and age is impressive. That’s an important record for me, if I’m going to push my chest out, yeah sure, I love that record.
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