Interview with Bangladesh;talks credit stealing,class act Britney Spears and more

TGJ:  Now, with a host of rewarding experiences behind you, we’re hoping for more to come.  Who are you working with at present?
Bangladesh:  Just myself right now. For the last few months, I’ve been working on my own album. I’m so caught up in that right now, not really checking for anybody else. I did recently leave L.A. and was working wit Dev ‘Fly Like a G6’). I enjoy doing stuff like that because it’s out of my realm, you know? More interesting and fun than doing the typical hood, rap stuff.

It’s fun working wit Ke$ha, Beyonce, Rihanna, and other pop stuff. It’s a different world.

TGJ:  Why so?

Bangladesh:  Because, I want to bring my element to pop.

TGJ:  So with that, who would you like to work with that you haven’t? A wish list, if you will…

Bangladesh:  I definitely want to work wit Pink n Andre 3000. I feel that Andre is one of the last few artists of our era. He’s one of the only who doesn’t have to drop something every two or three months to be relevant.

TGJ:  Now, switching gears a bit, there’s often a lot of talk about writing credits, producer credits, etc. How much truth is there to all of that talk (i.e. giving up credits) and have you ever been on the receiving end of this?

Bangladesh:  Man, that’s the game and that’s just how it is. You got to be a big artist when you can ask and demand something like that, but it happens. It’s not always a bad thing though because sometimes producers give beats away to no-name artists too (for no credit). 

Then, sometimes if it’s a Usher Beyonce ype of act, you’re ok with giving it away because if they sing over your song, they’re going to bring great attention to it.

Producers don’t mind giving CERTAIN artist the credit. But, it’s mostly African Americans that do that kind of stuff. I hate to say it, but it’s true. I know people that have written fo Britney Spears nd different people that are in the pop world, and they don’t ask for that kind of stuff. Britney don’t ask for shit. If you wrote it, you just wrote it. She sings it and leaves.

It’s dog eat dog out there man. And, I’m sure there are some pop acts who demand full credit, but I’m just speaking from experiences I’ve had or heard about.

TGJNow, as with many interviews, we have a segment called “Five From Fans” where we received five questions from our readers for you.  Are you ready?

Bangladesh:  Let’s do it!

TGJ:  1) What is the biggest misconception about being a producer?
Bangladesh:  People think it’s easy, but there is a difference between being a producer and beatmaker. People might not know the difference.
TGJ:  2) Have you ever passed on working with an artist and later regretted it?
Bangladesh:  It wasn’t that I passed on the artist, but as producers, we be in our own world.  Like, I could’ve worked wit Wiz Khalifa n Drake efore they blew up.  But, sometimes when you miss those opportunities, the artist may misconstrue it and think it’s your fault or that you weren’t fucking with them.

Like in Wiz’s case, I didn’t really know what I could do for him because I’d never heard his style before. But, I probably should’ve just dove in it.  For Drake, it was just that I missed the studio date.  Now, I believe when these artists blow up, you never know what they think of you. They think u didn’t believe in them. That’s why it’s always good to fuck with up-and-comers.

TGJ:  3) How do you respond to critics who blame producers for commercial failures?
Bangladesh:  At the forefront, it’s not the producer. We’re the last ones to blame. Even if the producer isn’t delivering, it’s still the artist choice to rock with the producer.  At the end of the day, they have options. If they not choosing the right music, it’s your fault.

The producer may give you something that you need, but it might be so ahead of you, you sometimes stick to what you know or think is hot.  That doesn’t work all the time. I’m not going to debate on what’s hot because I’m getting a check. So hey, if you like it, I love it. When it comes to making albums, its bigger than the producer.

TGJ: 4) Advice for producers coming up?
Bangladesh:  Be serious about the craft. We’re in a microwave era, where everything comes quick and easy.  [Making beats] used to be hardware, but now it’s software. Study the craft like I did and know music history. Study artist outside o Rick Ross nd Lil Wayne.

TGJ: 5) Your real name is Shondrae. How did you get your tag name Bangladesh?
Bangladesh:  It’s a word we used to use to describe things that were cool. If it was hot, we said it was “bangladesh”. When on the road with Luda and DTP, we used that word a lot. One day I woke up and decided to use it as my company’s name – Bangladesh Productions.

It describes my journey and struggle. It also relates to the country in the sense that it’s foreign and I believe my sound is “foreign” to the ears. It’s different. Also, my music bangs (laughs).

I started putting tags on my beats, not realy knowing what I was doing. I think I started that for producers, like tagging my music like DJs. Yeah, producers would talk on their tracks, but they wouldn’t tag themselves. Now, after me, everybody does it.