[Photo provided by artist]
It has been a long time coming for DMV raised and ATL living producer Dolan Beats. Since 2011, the producer has been on a heavy grind to make a living off of the thing he loves most and that is music. He earned his big start as Yung Gleesh’s main producer and by making beats for other prominent DMV artists. Little did he know that 2018 will be his most impactful year and that he’ll produce one of the biggest songs of it. Discover how he got his start and how the infectious beat landed in the hands of Uzi. Check out the interview below!
RESPECT.: How’s it going Dolan? I see you’re out in Atlanta doing the damn thing.
It’s definitely a lot of sacrifice. The experience is like who can take the most sh*t. How many L’s can you take before you get that W. I am learning now that being able to take those L’s is one of the keys to success.
RESPECT.: Do you think you could’ve accomplished all of this in the DMV?
Me coming to ATL didn’t really happen like that. In PG County I was staying with my mother and then she moved back to Jamaica. I had no other choice but to go stay with my sister. So I just went off to Atlanta for music. I was living in my car for a month.I went through a lot of different points in my career. I’ve quit so many jobs and I also emptied out my bank account for flights then came back with nothing. I’ve realized it’s all a part of the game. I was paying my dues.
RESPECT.: At what age did you really start taking production serious.
In 2011 and then I met this dude Yung Gleesh. I’m Yung Gleesh’s main producer from the beginning. I started with him then worked from the ground up. I eventually started working with folks like Chief Keef then Gleesh was taking my beats to Atlanta.
RESPECT.: Did you know how good you were during those times?
I look back at the beats I made and I think I’m better now. As an artist, you laugh sometimes at your old sh*t.
RESPECT.: Want to list a few names you’ve worked with?
21 savage, Gleesh, Playboi Carti, Yung Bans, Q Da Fool, Shabazz, Big Don Nino, a lot of people.
RESPECT.: Out of all the names you listed, my favorite one is Shabazz.
Yeah me and him did a project. I’ve worked with all those big names. I noticed I work with them right before they pop. I’m a producer that sticks to the underground.
RESPECT.: You’re a very low key person. I saw your comment under DJ Akademiks page when “New Patek” dropped and everyone was asking who produced it. I really want to know how this came about.
Because man, I was destined to work with every artist. He did a song called “Rich Forever” and it was one of my beats. He got the beat from Chief Keef. When the song came out and it was my beat I was like oh sh*t Uzi rapped on my beat. I didn’t have any contact with him back then though. He hopped on my sh*t out of no where. Coincidentally, one day I posted the song on my Instagram and I shouted him out. He dm’d me immediately after that and replied back to me. That’s crazy because you can only imagine what his DM’s look like. We’re cool now though.
RESPECT.: What was the anticipation like before “New Patek” dropped?
For me it was one of those moments like thank you Jesus.
RESPECT.: Yeah, we’re talking about coming from living in a car and moving from place to place.
I’ve been producing for so long but I never had an artist put me on the map like Uzi. That one W kills all those L’s.
RESPECT.: We are talking about a song that is being played in arenas and big celebrities are posting videos dancing to it.
Yeah ,that’s a good look but I don’t really pay attention to all that. That’s probably why I don’t have a lot of followers.
RESPECT.: Well, I don’t know a lot about production but how does one pick or choose whether to have a tag on a track?
It’s crazy because I sent the song with a tag. I had a different intro for the beat. It was engineered by Kesha Lee and I guess Uzi gave her the version without it. Sometimes people will cut things if they don’t want it in the song. Uzi wanted the song to jump right in and I completely understand.
RESPECT.: Well I guess a tag isn’t needed that much.
It is needed sh*t. Like I said, I had 2 versions of the beat and they had the one without the tag. I mean I’ve gained a core following anyways. I think as long I have them a lot doesn’t matter.
RESPECT.: What makes a good producer?
Being unique. If everyone’s hi-hat makes the same sound that doesn’t means yours has to go the same way. With New Patek, there’s parts of it that are so simple but the keys on it are so complex. That’s why I didn’t have to do all that extra hi-hat sh*t.
RESPECT.: Last question, this is a very basic interview question but I have to ask if for the culture. Do you have any other production on Uzi’s forthcoming project?
I can’t really say. I would hope so sh*t. If I did know I wouldn’t say so. At the same time, 9 times out of 10 an artist knows. If you’re sending music for a project you have to send your really good shit. Try to send a hit and no regular sh*t. You might make a single with an artist and they might make sh*t with someone else better and your song doesn’t make it. You have to go hard.
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