There are a couple of Nina Simone samples – were those from Jay-Z's playlist?
Yes, that was definitely him. He put both of those on there. That's the score to his life. That's the core reason for using them. There's a million things to sample that could sound good.
This is where switching up the process helped me. Maybe before I go, "We can't use two Nina Simones! We can't use Steve Wonder!" But that's what he wanted. I left it up to him to do the rest of the business. It freed me up to just be creative and be told, "this is what I want." It's challenging as well.
"I held up classic albums and said, 'What were the good parts and what were the mistakes?'"
At what point did it become clear that this was going to be an album and it was actually going to come out?
We got heavy into it by accident. The first time it happened, I sent him the "Kill Jay-Z" record, and he called Guru, who happened to be in town, and that was the first record. But then the holidays happened. We both went away for the holidays. He had already asked me to work on Vic Mensa's album. I was juggling working on both of them. When we came back in January, we get deep in. Then I had to go for Chicago for a month because my dad had a spill at home and he was in the hospital. We took a good month off there. In March, I got back and we got back into the full stride. We had intended on dropping it on 4/4. That was the plan. Unfortunate circumstances slowed it down.
But it helped us in the sense that it gave us more time to make some really important records. A lot of the thought process was, I held up classic albums and said, "What were the good parts and what were the mistakes?" Sometimes these classics, the continuity is what makes them classic, and then you have these examples of reaching for the single or the radio record. Albums I was pointing to were like Marvin Gaye's What's Going On, Confessions by Usher, [Jay-Z's] The Blueprint, [Nas'] Illmatic, [Kanye West's] My Beautiful Dark Twisted Fantasy. I analyzed the mistakes and tried not to make those mistakes. We wanted 10 really good songs where at no point are you like, "I know what you're trying to do, you could've kept that one." Sometimes you look back 10 years later and you go, "I see why you did it then, but 'No, thanks' today." By March, we were into that [process].
So the concise 10-song length was important for that purpose?
Yes. There's three more songs that are coming out as bonuses. James Blake came in and joined into the process. There's more coming shortly that's equally as revealing.