Video summary
The video features Roscoe Dash reflecting on his early days in Atlanta's music scene and the unique chemistry that led to his collaboration with Waka Flocka Flame on the hit song "No Hands." He recalls a specific era known as "Mariachi Mondays," an open mic event hosted by prominent radio MCs where aspiring artists from across the city would gather. Although many talented individuals attended these sessions, Roscoe notes that this was the first time he and Waka Flocka actually entered a studio together with the specific intention of recording a track. He emphasizes that their hook for "No Hands" was a direct result of this camaraderie and the synergy created by the beat, arguing that while many people remember songs for their catchy hooks, the collaborative environment was essential to crafting such a memorable moment in hip-hop history.
Beyond the creative process, Roscoe shares his personal philosophy regarding money and success, contrasting his own journey with artists who squandered their resources too early. He recounts stories of peers who were broke despite trying to replicate his lifestyle, often asking him for loans or throwing away cash before they had established a solid foundation. He advises against getting "too hyped up" on spending money prematurely, noting that he himself faced financial struggles and had to be careful with every dollar. This perspective highlights the importance of discipline in the music industry, where many artists fail not because of a lack of talent, but because they cannot manage their finances while chasing fame.
A significant portion of the discussion revolves around Roscoe's contract issues with his label, specifically a 360 deal that ties up his publishing rights and administration under Roscoe Dash Entertainment. Despite these contractual limitations preventing him from easily releasing music on other platforms or writing for others without complications, he remains optimistic about his future. He points out that even with these restrictions, he has already achieved success, such as having seven songs featured on Metro Boomin's album last year. He believes that God placed him in this position to allow him to be who he is, and he refuses to feel defeated by the situation, maintaining that he still has opportunities to shine and contribute to the industry regardless of his current label status.
The conversation concludes with Roscoe expressing his excitement about finally working closely with Metro Boomin, a producer he had admired for years but never collaborated with until this project. He describes their studio sessions as an amazing experience where everyone involved, including other artists like Quavo and Two Chainz, would gather in multiple rooms to create music together rather than just exchanging files remotely. This hands-on approach allowed them to curate records and capture a specific vibe that digital collaboration often misses. Roscoe praises the collective energy of the group, noting how they moved around the studio like people at lunch tables, contributing verses and ideas freely. He ends by acknowledging his own god-given talent and expressing gratitude for the chance to be part of such a high-energy creative environment with some of the best artists in the room.
Read the full video transcript
All your [ __ ] be fun. All the way turned
up. All the way.
>> Yeah.
>> It made you feel like But you you know a
lot of [ __ ] throwing their money. They
were broke. I I I got stories with dude
broke trying to do what what you were
doing. They didn't have no damn money.
>> Yeah. We on boss talk 101. Yeah.
>> On that no hands. Let's go to that for a
second. Did you how did they approach
you with doing that the hook you had the
last verse?
>> That was just us being in the in the
studio or being in the right place.
>> So y'all just being young just doing
music.
>> Yeah, me and Waka. So like when we was
in Atlanta uh growing up or coming up in
this era of music, we had this thing
called we had a couple but we had one
particular thing called mariachi Mondays
where everybody would go to like it was
like a open mic that was hosted by two
of the uh hottest radio MC's at the
time, the Dirty Boys. And so uh me,
Waka, Travis Porter, Sean Tezy, K Camp,
you name it. Like all the people out of
Atlanta, we would all meet up in
Marietta far as hell out the way to go
do this. So we all really was boys. Like
we was cool. We just might not have ever
been in the in the same studio session
with with the intention of recording a
record together. And this No Hands was
the first time that we got to do that.
>> Wow.
>> Do you feel like your your hook made
that song?
>> Absolutely. I feel like I feel like it
was a camaraderie of like the beat. I
wouldn't have came up with the hook
without the beat and all this other
stuff, but like the hook definitely
helps.
DJ
>> put you on the right track to finish the
record. For sure.
>> Yeah. You know, almost every song if it
the hook is slamming, that's the what
people always remember when they're
singing. That's what they always sing.
It's always a hook and they don't even
know the rest of the words. They know
the hook.
>> Mhm. 100%. And I'm like a CD baby. Like
I grew up going to the record store and
like getting CDs, opening the booklets,
reading. Like I came up on Mike Jones. I
came up on TI and Ludicrous. also the
Pox and Jay-Z's and of course, but I
have like a wide demographic of music
that I grew up on. So, just learning
these different characters and these
personas and like their story and origin
taught me how to be that of my own. You
know what I mean? Like, so
>> all your [ __ ] be fun all the way turned
up.
>> Yeah, it made you feel like But you
know, a lot of [ __ ] throwing their
money were broke. I I I got stories with
dudes broke trying to do what what you
were doing. They didn't have no damn
money. I had one guy through $1,000 then
asked me. I got mad as hell. He asked
me, "Can I borrow?" I said, "No, that's
great.
>> You throw all your money, but man, don't
get too hyped up. You don't got too."
Yeah. Yeah. Yeah.
>> But my question is, okay, so all of that
is tied up with the with the labels, all
of that. Because people don't always
feel like, "Okay, so if that's tied up,
why don't you go make something else and
do something different
>> so you can still make your money over
here?"
>> Yeah. So, I think because it's like a
360 deal, it's my admin. So, any
publishing that has anything to do with
Rosco Dash, period, is going to be tied
up in that.
>> The ad name.
>> I could do that. I thought about that a
couple times, too. I thought about doing
that, but then I'm like, man, you know
what?
>> God put me in in this position to be
able to be who I am. So if I got to sit
a little longer to do this, I ain't I'm
not like on the side of the street, you
know what I'm saying? I still got
opportunities. We just had seven songs
on the Metro Boom album last year that
was like the top joint, you know what I
mean? So like we in these positions of
of still brushing shoulders and being
some of the most uh some of the best and
most uh magnified energy in the room, no
matter if you're playing on the record
or we're recording in the studio, you
know what I mean? So like it can't be
that. It can't be change mind stuff to
do. So, do they get even if you write
songs for somebody else,
>> they get
>> They tried to get me for writing the
songs on the Metro stuff, too. Yeah.
>> Let me ask you this, man. You and Metro
linked up a few times, man. How
>> This was the first This was the This
last project was the first time that we
actually got to get in a studio
together.
>> Yeah. But
>> So, the first time you you done worked
on some of his music before though,
right?
>> This is the first time. This This is my
And it's funny because when I would see
him out, I be like, "Damn, that's the
only person I don't really
>> I thought y'all ever had." Mm-m. This is
the first time.
>> Never had cuz he be he be everywhere.
This [ __ ] be everywhere. So I'm like in
Atlanta. How could he how did y'all miss
each other all that time?
>> That's crazy.
>> During that depression time, I was
probably in the house.
>> That's probably what it was. So how was
he working with him?
>> Man, it was amazing. The best the best
thing I tell people this all the time.
Like the best thing that that I love or
that I remember the most about this just
coming together to do this is most of
the time when we create records, we send
stuff like it's like bumping into
someone's like, "Oh, I'm going to send
you some stuff." And then they put a
verse on it. But there's no like synergy
in that. You know what I mean? When we
did this project, everybody was pulling
up to the studio. I'm talking about Quo,
Two Chains, uh, Little Baby, uh, you
name it. Everybody, anybody who was on
that project, Schoolie, all of them, we
were all in the studio together and we
had three rooms. We would just move
around like it's it's like lunch tables
almost. We just like move around and
just like see what the conversation was
about in each room and just if we liked
it, we get on that or sometimes we'd be
curating records that ain't even for us.
I don't I was in there for a few
different records that I'm not even on
that I was just helping curate the vibe.
>> Well, you got a god-given talent, man.
>> Yeah.
>> Yo, we on Boss Talk TV. Shout out to
Ehe, the reason you