I, of course, was not at that stage at the time, so had no meaningful understanding of that role either. The gestation period that led to the birth of Henderson Grime and Associates Ltd was worryingly short, largely as a consequence of having a mortgage to pay every month and modest reserves of cash! Meetings with lawyers and accountants were positive and productive. We were up and running.
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The first few weeks were a blur of sorting everything out. When my first child arrived in , reliant upon his mother and me for every aspect of his life apart from breathing and filling his nappy, I realised that the previous years of tending to our fledgeling business had indeed been exactly the same. Every waking and many sleeping hours were spent working — 16 hours days, 7 days a week became the norm, working out how to meet the bills and constantly trying to drum up more business. It was absolutely fantastic. Within a matter of weeks, we expanded beyond our spare room office and set about finding a home of our own.
A fortunate meeting with an old contact who had just bought his own building in Manchester and welcomed the prospect of a paying tenant came to our rescue and so off to Droylsden we went! Whoever it was that was looking over us from up above, Ian and I were grateful that for the first couple of years we had everything that we could have wished for — apart from a day off every now and then.
Speaking of dividends, a cash one taken from the business would have been very welcome — but there was absolutely no chance of that. Every parent knows how expensive it is to feed fast-growing infants and the appetite of a business is even more voracious. By the time we hit our second birthday in we were in our stride — a couple of employees had joined the Henderson Grime family — and we were desperate to find a new home that could accommodate the ambitious plans that we had to grow.
Financially, something big was just around the corner. Enter HGA from stage left. The only question was the ability to fund it — as this job would require significantly more upfront investment than we could make. If he needed extended credit terms, we would have to turn the job down. But said client made our day, week, month and year all rolled into one.
The stats for the number of businesses that make it past the first few years are disarmingly gloomy, with more than 4 out of 10 failing to make it to their fifth birthday. I was just an artist. So I decided that, you know what, I can be my own boss. Hitmaka wrote and produced for her around ]. Eve gave me the nickname Yung Berg. Troy Carter and J. They were my managers at the time.
This girl got a deal, and me and the girl end up liking each other. One thing I was hoping you could talk about is your relationship with Jeremih. I was doing Love and Hip Hop: Hollywood. I never met Jeremih before. She was on Love and Hip Hop with me. She called Jeremih to the studio. Jeremih, you a dirty, dirty dog. He going to come through. I be fucking with him. We in there working and we ended up creating two songs. It got leaked. Me and Jeremih are serial collaborators.
He changed my life. He was one of the first people that really embraced me. What can we expect from your upcoming solo project? I personally am not rapping. I also want to break my artists and help create my brand. Can you tell me about how that started? How can you help somebody? How can you put somebody else in a position? People said that Yung Berg would never have another hit record. I was in a studio with Jordan Hollywood, who signed to QC.
We were in Miami and I said it randomly. I just ran with it.
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Tell me what you remember about making them. What was your contribution? This is a really funny story. I want to work. So I formed a relationship with Ayo the Producer , who I eventually ended up signing.
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Shout to him and Keyz. We ended up creating that record and I took it to Polow da Don. Roscoe Dash had recorded a song over it and he knew it was a beat that me and my guy came up with. Then, long story short, that beat was stolen and I never got paid for it.
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Polow da Don went and placed the record, and there it is. What was the process of telling people that you were involved with the song? Nobody cared. But it was baby steps to where I had to get to.
You did a lot of stuff on The Pinkprint. Who comes to the studio with 15 minutes to spare before getting on a flight? She was so great and such a blessing for my career because she really juiced me up. At that point Nicki was the cream, the biggest thing ever—she still is in my eyes. She gave me a lot of love. She gave me her studio. I used to have that shit on lock. Everybody would come through. People would see me in pictures with her and be like, what the fuck is Yung Berg doing with Nikki Minaj?
Shout out to Juice. I had a beat. They had a whole different break beat in it where the tempo sped up and it was just something weird. I reconstructed the whole fucking song and made it to the beat that it is today.
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Jeremih went in the booth and mumbled. That was the hook from there. He nailed it.
I was inspired by his work with DJ Khaled—how different songs would have a hook before the hook. The intro started like that. We wrote that vibe in 20 minutes, came back, reconstructed it. Shout to Candice Boyd who is the vocal on there.
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I co-produced with Smash David. We were actually in my house. I bought this big-ass crib in Chatsworth, California that was half full of furniture. I wanted to motivate myself to make more records because I had to pay the bills. We had done like nine songs that day—January 5, We was turned up.
You got to leave. I had just been in a groove with Ty Dolla Sign. I had a home at Glenwood Studio and it would be like a club. Everybody would be there.
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