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Producer Spotlight: G Sparkz Interview

October 17, 2017 - By  
Categories: Producer Interviews, Producer Tips, The Lounge

License Lounge artist G Sparkz has written and produced for some of the biggest artists in hip-hop including 50 Cent, Lloyd Banks (G Unit), Rick Ross, Bay Swag, French Montana, just to name a few.  We sat down with him to discuss how he got started in music, his influences, advice to new producers, and some of the new projects he’s working on.  Read the full interview below and access G Sparkz beats on License Lounge here.

LL: How did your musical journey begin and what inspired you to become a producer?

GS: I started producing and making beats super young… probably around 16 or 17, is when I thought about taking it serious.  My cousin Marve at the time was Keisha Cole’s driver.  He invited me to her tour with Yay and Consequence called: Touch The Sky.  They came to Baltimore at the time.  He introduced me to my man Wiz, from Queens, thats my bro right there.  And at first he tried to Hollywood me lol. Gave em a CD full of joints.

 

 

At that time beats on cd’s was the thing.  I had like 18 or 19 joints on there.  We chopped it up for a few backstage.  During that time, he was managing Consequence.  He introduced me to Kanye.  Yay was super humble.  Took a flick with Keisha (to this day I don’t know what i did with it) lol.  My homie Wiz took like 3 months to call me back but from then on, I started getting lit.

 

He introduced me to DJ Superstar Jay in Queens and from then on I started linking up with all these major artists making beats for their mixtape.  50 banks, (G Unit), mainly banks though.  Me and him built a solid relationship for years.  My inspiration came from me playing keys.  I’ve been playing since i was like 7.  As i got older I started getting better at it.

LL: Do you have any advice for young producers who are coming up in the industry?

 

GS: Yea… “Be humble,” and listen.  If you feel you’re the smartest person in the room, then you’re in the wrong room. Sometimes you gotta just listen an take others advice who’ve gained more experience. Soak every knowledge you can like a sponge.  Lots of producers and artists up and coming feel like they know everything.  Then when you try to help em, you feel like you wasting time.  Theres so much more advice I can give but to be honest thats mainly it.  Be humble an have your own sound.  Be different.

 

 

LL: Hip-hop has undoubtedly influenced nearly every genre of popular music.  How do you see the genre evolving in its sound and influences?  Where do you see the future of hip-hop heading?  
 
GS: Yea man, the game stays constantly changing.  No doubt about it.  I mean take trap for example.  Oddly, its considered pop now.  You got great successful artists such as Migos, and Cardi B, branching off on pop stations.  The music crossed over.  Trap is the new urban pop.  You even have pop artists singing on trap beats.  I like the change.  Nothing stays the same forever.  How you change, depends on the actual individual.  Why you change.. well… it can be a variety of things idk.  It’s crazy.

LL: You’ve said before that Timbaland is your favorite producer.  What attracted you to Tim’s sound and how does his work influence what you create in the studio?  

GS: Yea man, I F**ks with Timbaland.  I like Swizz too.  When they did that beat battle, that was great for the culture to watch.  I like how Tim always changed the culture; shifted the cultures sound every year.  Remember, he started out producing beats with the Oriental influence.  Then he did Indian flutes.  There after, he did that record with Justin Timberlake and flexed using those Sci Fi, computer sounds, to what we all now call: Poly-synth sounds.  Then he sampled from the Spanish culture.  He touched every sound to this day.  He’s a beast!  Like for real.  Can’t take anything from him.  His drums and bass is crazy.  I mean, I try to be different.  And I learned that from Tim and Swizz.  Can’t stay sounding the same.  You gotta make all types of beats.  Be creative.  idk… I mean… you just gotta sound crazy man.  When you in that zone, as a producer you”ll know.

LL: You’ve worked with a lot of artists.  Which artist has had the most impact on your creative process?

GS: Idk… that’s hard cause I’ve worked with a lot of artists. But, I’ll say G Unit’s boom bap sound had the most impact of my creative process.  With that feel, producing for banks for years, and even Fif, I added different elements to always sounds like me, and not like whats sounding like… today.  I can play keys and make a boom bap record sound like an R&B hit, or make the beat grimy and turn that boom bap feel, sound like some crazy street shit. You see how Casanova be going off, and Uncle Murda too.  Reminds you of the old Fif.  They nice man.  Those two artists especially can rap on anything.  They just gotta keep picking the right beats and they’ll be straight.

 



LL: Where do you get the inspiration for your sounds and how do you think your style has evolved over the years?

GS: I’m on youtube a lot.  I’m a big 90’s fan.  I’ve been sampling 90’s before Bryson Tiller came out with Don’t.  Trust me, my Mac filled with 90’s vibes.  Matter of fact, I was the first person to produce the record DON’T.  But I don’t wanna really get into that.  That shit was crazy….. Not to shed too much light on that shit but… I originally did that beat for Justin Bieber and Drake.  I named the beat: “Bieber Brown.”  they both were suppose to work on an album together.  I sent it to Omar Grant who was working at RocNation at the time.  He responded weeks later saying: “ok beat, but not it,” some shit like that.  Months later, Don’t comes out on a major platform.  Learning experience though.  Stop emailing beats if you don’t know who’s actually receiving it.  Over the years, I just keep getting better an better.  I learned from other producers in the industry, and artists that I’m cool with, even my mentor: Troy Taylor who works with Trey Songz, Kevin Ross and others.  He’s taught me a lot. Fif too.  If you’ve ever sat in the same room as 50, you’ll learn so much.  That kid is super smart man.  He gave a few gems, and I took those points and ran with it.

LL: You’ve spoke positively about Young M.A. in the past.  Are you planning more work with her?  

GS: Yea M.A. dope man… I know she’s working on her album now as we speak. . Not sure what direction she’s going with though…  Sent her some crazy fiya so we’ll see.



LL: Are there any up and coming artists/producers you think people should look out for?  

GS: Most definitely.  I signed a producer to my production team.  He goes by the name of Renald Dinero.  He’s fiya.  We’re actually working on a lot of major projects.  He’s hungry.  The kid has ambition and he listens.  Got em two placements so far so 2018 you’ll hear about it.  My man Godfather Beatz is nice too.  He reside in the dmv area as well.  Me and him collaborated on a lot of records.  So I’m excited to see our work come to light.  As far as artists, I got Cory Jones. you should definitely look out for him.  He’s based out of Jacksonville, FL.  He’s a problem.  He’s been getting a lot of comparisons to Tiller.  But he’s his own person.  This kid is special.  I produced his entire album.  I did this record called: Trippin that got a mean nice lil buzz.  His catalog is crazy.  We’re just workin’.  Continuously building his catalog you know.  That boy workin’.

LL: Which artist have you not yet worked with that you’d like to work with in the future?

GS: Nicki Minaj, Migos, Cardi B, Drake, Beyonce, HoV, J’Cole, Kendrick, I got records for everybody to be honest.

LL: We at License Lounge are very happy to be working with you.  What are you most excited about in this new venture and what inspired you to work with us?  

GS: When I first got the call, from PR and Jon I was down.  To me, opportunity is everything.  Seeing the vision was something I wanted to be a part of.  The business is growing and I see the buzz is picking up.  License Lounge is taking over, and soon no one is gonna be pressed over soundclick.  Thats a fact.  Ha!
interview by Stephen M. Thornton 
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