While Lil Wayne reaped tons of accolades in 2008 when he went spastic on “A Milli,” the track’s producer, Bangladesh, also earned acclaim for creating the frenetic musical backdrop.
The Atlanta-based producer reunited with Weezy when the two joined forces for a sequel of sorts titled “6’7″,” the first single from the New Orleans MC’s forthcoming Tha Carter IV. The track also serves as Wayne’s official return to the music game since his release from prison last month.
So, just how did the pair wind up working together after Bangladesh aired out some grievances he had with Lil Wayne’s Cash Money record label?
“It’s kind of similar [to how we worked together for ’A Milli’],” Bangladesh told MTV News on Wednesday (December 15). “I had ’A Milli,’ knowing that the actual track was actually important. I had opportunities to sell it, but until I got it to Wayne at that time, who I wanted to get it to, I couldn’t sell it to anybody else. This time, I knew this beat was great like that, too. And I hadn’t really thought of sending it to him. I sent it to [Atlantic Records executive] Gee Roberson, and he works closely with Wayne and played it for him. That’s how it happened, really.”
There are already huge expectations for the track. Young Money President Mack Maine (and others in the camp) described “6’7″ ” as “A Milli” on steroids. Then Wayne upped the ante, calling the track “A Milli” on human growth hormone.
While Bangladesh shied away from making direct comparisons, he did say Wayne aimed more directly on the new number, a decision he supported.
“The overall wittiness is everything I was saying about ’A Milli’ when it came to be,” the producer explained. “He freestyled ’A Milli,’ and before it was big and before we knew what it was gonna do, we all had our opinions of it. A lot of people loved it, but me being the creator of the art, I didn’t see the vision that he had. I think he attacked it as a mixtape. And that was the genius of what he did and it became the biggest thing. The way he approached this one, was everything that I wanted him to do on ’A Milli.’ I think he’s really focusing on every, every line. It’s like he’s writing. It’s different. It’s a whole ’nother level of cleverness to it.”