There’s a couple of things we know about California native Ty Dolla $ign from his DJ Mustard produced smash “Paranoid” feat. B.o.B. You know that two of his *ahem* ladies are in the club, they know about each other and they have similar taste in cars. But what you wouldn’t know about the Taylor Gang/Atlantic records signee is which R&B heartthrobs he’s written songs for, what beat he produced for his fellow Pu$haz Ink crew member YG and what his biggest purchase to date is. But you gone learn today.
TUD: Lets start from the beginning. At first glance, someone would look at you and think trap-rhymes. Then you open your mouth and all these harmonies come out. Was that the plan from the door?
Ty Dolla $ign: I didn’t think of it all out like that… I was just making music and that’s what came out. I just happen to look like this and grow up like that. I’m just blessed man to be able to make this music and make a living off of it you know?
Well, since it plays such a heavy role in your music, let’s talk about your background.
I grew up in LA, I’m the son of a musician, and my pops was in a group called “Lakeside.” So I basically learned from him and all his peoples. Then I just took it on [myself] to learn all the instruments and then I learned how to make beats. The first one that I ever made that got on was “Toot It And Boot It” joint for YG and I also sung the hook on that. That was my song at first but I gave it to him because he had the deal with Def jam and we all from the same crew Pushaz Ink. At that time DJ Mustard wasn’t even making beats, he was just watching [me] DJ and he was watching me make beats. I had this one sound that I was doing, like this club sound with the snaps and the 808’s and he asked me to keep on doing those. I said “Nah, I’m gon keep on doing mine.” I was like “You do it.” So I gave him some sounds and he actually came through with this beat called “Patty Cake” that’s on YG’s mixtape. From there he ended up making “Rack City,” and other shit, and from there he took off. And now he’s one of the biggest producers. YG’s album just dropped, it’s the biggest shit coming out the west and everybody’s copying him, just like everybody copies Mustard, just like everybody copies me. We brought this whole little sound to the game and now it’s doing its thing and I’m just proud to be a part of it. We really helped bring back the West. Now you got like a whole bunch of people from the west getting on and it’s crazy. I’m just loving to see all this success.
You guys are definitely sh*tting gold these days… I think we want to see who’s coming next outta the camp. Any ideas?
We got this kid named RJ; he’s also from LA. He’s like the best nigga out coming from LA. He’s focused. He’s on YG’s album on this song called “Thank God Interlude.” Also my little brother is on that, he’s the first one singing. He’s locked up in prison for a murder that he didn’t even do. And that’s the title of my album actually, it’s called “Free TC” and it’s dedicated to him actually. So he’s on the song with RJ on YG’s album so everybody should go check that out.
Going back to “Toot It And Boot It” track. I didn’t know you did it because Mustard actually shouts himself out in the beginning with his signature “Mustard On the Beat Hoe” phrase. Was that on purpose?
Yeah he says his name and stuff, but I used to just have Mustard get on my beats and yell cause I was trying to make him like the Fat Man Scoop… you know how Funkmaster Flex be screaming on sh*t? We didn’t have nothing like that coming out of L.A.… that DJ Khaled type sh*t, you know? I was trying to get him on that sh*t but he was like “Nah, nah…” But finally he broke out his shell and started killing it. Now he’s doing it on his own.
So now he’s doing it own beats that he actually made?
So in all the songs you’ve been doing, you’ve gone away from traditional R&B structure and lyrics. What’s the process for you there?
I just be coming straight off the top of the head. For a long time I was writing regular R&B structured songs and they were cool. I got one off and it called ”Fumble” for Trey Songz. And that’s probably what got me my deal with Atlantic and that was more of a regular structured song that was still coming with some edge really after “Toot It And Boot It” went and I saw that everybody fucks with me talking reckless? I wanted to keep on doing that because it was like party music as far as what everybody feels at the club. Like, everybody’s in the club, drunk and shit, or high, and trying to fuck someone, you feel me? So it’s like my songs are perfect for that moment in life and afterwards (laughs). I’m just trying to make the soundtrack for peoples lives you feel me? Like ten years from now when you put my sh*t on, you’ll be like “Damn, I remember that time… that sh*t was crazy!” (Laughs)
Do you think you’ll stretch out to life outside of the club?
Oh yeah, yeah, yeah! On my album, I’m doing that already. I’m doing more sh*t that makes you feel good… and makes you want to spend money.