Beating the Drum of Memphis: The City's Music Scene with Drumma Boy

Memphis beats in my heart like a drum, and my soul thrums to the rhythm of the city's music scene. That's why it was an absolute thrill to sit with Drumma Boy, whose tracks have painted the backdrop of Memphis' streets, echoing stories of adversity, triumph, and unity. Our conversation, rich with personal anecdotes, delves into his emergence from the city's rough neighborhoods to becoming a music mogul and a beacon of positivity. Drumma Boy's dedication to mentorship and his influence as the voice of the city underscore the transformative power of music that threads through Memphis' very fabric.

Then, we groove into the studio, the man behind hits like "Here I Am" and "No Hands." He unwraps his family's musical legacy and his own climb up the industry's ladder, revealing how he networks his way into sessions with music heavyweights. With an ear for talent, Drumma Boy discusses his collaborations with T-Rell and Juvenile and how he's helping to shape the next wave of Memphis sound. His passion for finding the next big thing in music is matched only by his desire to contribute to the city's deep and diverse music lineage.

Rounding out the episode, you'll hear how we're keeping the beat alive with updates with his latest single, a sneak peek at the "Show Your Grill" tour featuring Scotty ATL, and what's buzzing in the studio, from K-Michelle's album to Currency's latest record. Celebrating four decades of music-making, "I reflect on the importance of staying fresh and collaborative". The episode pulses with excitement, from the business savvy needed to navigate the industry's waters—all while keeping our hearts tuned to the success stories that make the music scene in Memphis a relentless force of creativity.

Transcript

Speaker 1: 0:00

And man, you know, let me make sure I got this recorded there we go, yeah, man. So we see you. You know the voice of Memphis man. You know what I'm saying. That's what they call you out there in the streets, man. They say you, the voice of Memphis. Man, if anybody pushing Memphis, they say a drummer boy got Memphis on his back, man, you know you out there making some good moves, trying to keep the peace, you know a little bit voicing for everybody's side. So you know, I just wanted to start the interview asking you know how do we feel to get that type of love from all the different sides of Memphis? And you know the streets actually embracing you and feel like you're somebody that really reach out and speak for the culture. You know, the youngest in the O is oh man, it's a blessing man.

Speaker 2: 0:47

You know what I'm saying. Somebody got to do it. You know what I mean. It's enough lives being taken already, man, so somebody got to save some.

Speaker 1: 0:54

Definitely, definitely. So I mean, how is it that somebody that been in a game for so long, like you, you know you was able to kind of like you know, because Memphis has always been a rough, you know it always been a rough area, you know. So, like the reason I'm asking this question, because when I do interviews I like to make sure people that watch or get the story they can get a lesson, you know, out of it. You know, not just more, just try to dig into you. But how are you able to level doing music and kind of staying away from the things that you might grow up? You know, being in Memphis, you know seeing and going through you know how did you kind of like stay focused, you know, when being on the path where you can actually go back and give back and get love from every side?

Speaker 2: 1:45

Oh man, honestly, you know I had older brothers. I had a lot of OGs around me. Man that you know what I'm saying was kind of stiff arm and me away from the stupidity and the bullshit. You know what I'm saying. And just like man, look this music shit for you. Bro, keep doing that shit. You know what I mean.

Speaker 2: 2:02

While I was in the trap, while I'm in the trenches, you know what I mean and I'm seeing what I'm seeing. But then I'm also seeing the results from what I'm seeing. You know what I mean and the results either ended up dead or in jail and I just always wanted to help people tell their story and provide a way out. You know what I mean. So now I'm that big brother to a lot of motherfuckers that ain't got no big brother ain't got no big sister ain't got a windy day in the city rap coalition giving us the knowledge, giving us the game, showing us blueprints on business plans and helping us with split sheets and publishing, creating PRO performing rights organizations and all that. So you know what I mean. It was essential for me to have those pieces in place. You know what I mean. And now I'm giving those puzzle pieces back.

Speaker 1: 2:53

Right as of 2023,. You know there's a lot of big names coming out of Memphis right now. You know, seem like you know, there's a lot of magic going on down there. You know what's the formula down there. You know.

Speaker 2: 3:08

Man, it's really the pain man, it's the struggle, everybody trying to get out this motherfucker man. You know what I'm saying. It's so fucked up, but you know it's a lot of positivity, it's a lot of good things to do. I think Memphis don't get the credit it deserved, just with all of the stuff that it has to offer. But you know what I'm saying Definitely, you know definitely. You know blessed to be from the city, you know what I mean and to just put the pain into the music, put their struggle into the music. You know what I mean.

Speaker 1: 3:37

Yes, speaking of that, you know putting the pain into the music. You know you've every versatility when it comes to producing. You know, so can I get?

Speaker 2: 3:49

a homo.

Speaker 1: 3:50

What's your name, sir?

Speaker 2: 3:51

Spark S-P-A-R-K. We at Chick-fil-A doing the ordering shit.

Speaker 1: 3:56

Yeah, that's fine. So when it comes to putting pain into the music and things of that nature, you know, into the music, you know.

Speaker 1: 4:04

I see that you got a very extensive background in music, you know, starting with your mom and your father. You know, and even you know your grandfather. You know I do a lot of research, you know take all interviews very serious, you know. So my question is you know, how did you wind up going through all the like, real musical? You know things and getting to the point where you're able to like, really feed the streets? You know, all the way around the world.

Speaker 2: 4:32

Like me, sauce is everything. Oh, polynesian, I think it really just came down to, you know, taking what I gained from one left hand and then taking what I had from the right hand and then putting both of them hands together, and that was that's what, you know, helped me balance.

Speaker 1: 4:50

What are any Not more so musical influences, but I'm talking about producer-wise, you know. That really kind of like made you either feel like you wanted to be a producer or made you realize, hey, there's other things that I can add into my weaponry as being a producer.

Speaker 2: 5:16

I mean being a musician one of the coolest thing going on in Memphis, you know what I mean. And I wanted to generate money as well, as you know, write my own music. I was like I wanna be the next Beethoven, I wanna be the next Mozart. I don't wanna just play their music all the rest of my life. You know what I mean. So I wanna, at some point, I gotta learn how to make my own music. At some point I gotta learn how to put my own music out and get it out to the masses. And that's what I did.

Speaker 2: 5:42

Started creating relationships with artists that I would meet throughout the barbershops, the nail salons, the malls, just politics. And moving around city to city, dappin' up shakin' hands, going to the shows that are artists that I was fans of, and waitin' until you know three, four in the morning, or waitin' outside hotels until I could see JZ comin' in. I remember meetin' Dipsett, I remember meetin' Beanie Siegel, just so many people just waitin' outside their shows as a young nigga 17, 18, you know, so, on and so forth. So you know, just puttin' in the grime, paying the dues you know what I mean and really takin' a chance man and just knowin' that me, my spirit, my energy is all I need.

Speaker 1: 6:23

Okay, as of 2023, when you look back in your catalog, you know, I know everyone got a favorite body of work that they've done. What would be yours?

Speaker 2: 6:40

I would say my favorite so far man is. Here I Am. That's a glimpse of like. You know really what I'm capable of. You know what I mean. And then there's a lot more that, where it came from, you know what I'm sayin'. Obviously, no Hands is a classic cause' goin' diamond, you know what I mean still goin' trending on TikTok and a lot of social platforms, man, it's just a blessing. But here I Am, definitely got me for one of my favorites.

Speaker 1: 7:06

Okay, that's great to hear. So you know you always push a new artist and find a new artist breakin' new talents and stuff like that. So you know, let's talk about this T-Rail and Juvenile track that you put together and how did you find or link up with T-Rail?

Speaker 2: 7:26

Man, I bumped into T-Rail, really on the ground. You know what I'm sayin'. I'm a fan of his music, you know what I'm saying. And I tapped in with him on the ground. I respected what he was doing with the clothing, with the fashion, you know what I mean. He was going to different Walmart, you know what I'm saying. Created with the $40 outfit $50 outfit. He was smart, he was spending his money in the right place and that allowed him to have money for other things like production or studio time or engineer fees and whatnot. And that's how we actually got to working and doing a few songs that we did. It's incredible to see his work ethic. You know what I mean and I'm a fan of what he's doing for his son. You know what I mean.

Speaker 2: 8:13

Definitely big shout out to Jordan for beating cancer. You know what I mean. We all in support of seeing great things and we got to uplift T-Rail man. So we did a record Freak, something featuring Juvenile. Y'all tapped in, listened to the music, downloaded the music and do a TikTok for me, man, you know what I'm saying. If you're watching, go check out the Reggae man and figure out a creative way you can tap in on TikTok for us. Man Post that thing. Drummer Boy. D-boy Frisk is my new single Freak Something featuring T-Rail and Juvenile.

Speaker 1: 8:55

Hey, yeah.

Speaker 4: 9:10

Sometimes I watch he L tą Like I'm Rupi's. Dropin' me, beat that pussy dead on the floor. Dropin' me, beat that pussy dead on the floor. Tryna, find me a chick who can ride it. This thing stay hard as done, is so wet with the diving riding deep like you dropin' me, Don't you cap? No, you feelin' for this good shit. You gonna tap cause I'm gonna be the backer.

Speaker 3: 10:00

I hope you walk tonight cause I'm standin' at your door, babe. Lean on your knees. Girl, let me paralyze your throwaway and I'll be taking off your nightgown with a smile on my face lookin' at your body with a tight ass in the small waist. Got a stripper pole in the bedroom. Nigga, slide down if you want him see the ball fall in the smoke. Look at get high now if you want him been out. She in these streets, baby had to slide around a few corners. Better tell whoever that pussy for that. Now I got a new wall to got you byin' on your bottom, lippin' you frownin'.

Speaker 4: 10:49

I'm gonna be taking off your nightgown with a smile on my face. I hope you walk tonight, cause I'm standin' at your door babe. Lean on your knees, girl. Let me paralyze your throwaway, and I'll be taking off your nightgown with a smile on my face. I hope you walk tonight, cause I'm standin' at your door, babe.

Speaker 1: 11:19

Hey, awesome man, every time you come to us, man, you always gotta banger man. Every time man it never fails, you know. You know you got any plans with this, with T-Rail, as far as getting this out there on certain tours and stuff, joining the gang pushing the envelope on it.

Speaker 2: 11:46

Yes, sir, absolutely man. We're going city to city. We on tour. Shout out to Scotty ATL we're on the show, your grill tour. We just got to Memphis, you know what I mean. So we're going city to city, pushing it, hitting radios, you know, doing the meet and greet. I got a book signing tonight as well as a show tonight, okay, awesome.

Speaker 1: 12:04

So over the net, you know, can you give us an insight on any other projects? You know that's coming. Or you know, not just shows, but you know projects that you might be working on. Or you know, drop a little jewel on this. You know exclusive or something.

Speaker 2: 12:23

Absolutely, man. We got a lot of things coming up. We are obviously the book just dropped. You know what I'm saying. Behind the hits, we got K-Machelle dropping on the 22nd. I believe she got an album dropping. I Am the Problem. I produced a record on that called God New, so I'm excited about that. I'm also on a currency new album. I forget the name of the album, but I did a song for Currency called Damn. What's the name of this song? Hold up, damn, hold up. I gotta look this up, hold up, no problem.

Speaker 1: 13:00

No problem, we got some time.

Speaker 2: 13:03

Oh, I was thinking Rims and tires and it's a currency and fiend, damn. So definitely check out their project. Man, you know what I'm saying. And I'm working with some of everybody. Man, I just went in with Big Harvey, me and Big Harvey did some crazy stuff. Man, me and my artist Sparkdog, we working on the album the hood Dennis, you know what I'm saying. He got his project. Check out my artist Sparkdog. He on Drone Squad Records, you know what I'm saying. Big homie K-Dog, my other artist on Drone Squad Records, he going crazy. We got a incredible production staff. I got questionizer Northside, Cash Avery. We just signed Chris Beats to Drone Squad, so we got a plethora of producers on the squad. So just building up the label, knocking out albums left and right you know what I mean and pushing the book man behind the hits.

Speaker 1: 14:07

Okay, okay, definitely man. So you know what's some of the things you know that you really put your artist on that. You know probably other executives there we go behind the hits Go, gotta go copy that man. Hey, I seen your birthday man. I seen your birthday party man. That gentleman's that, john look lit man. We had it all set up with all your stuff set up, man. You know that John look like a walk-in museum man.

Speaker 2: 14:38

Oh yeah, now we went crazy, man. 40 years of greatness. A lot of people don't understand. I've been in the game, man, so early I was a kid, you know with a lot of these hits on the board. You know what I mean. And putting hits on the board and staying relevant throughout my 20s, throughout my 30s, you know what I'm saying. 40 years of greatness is getting even better. It's incredible the blessings that's coming back. And you know, we just turning it into positivity, man, we got enough. Like I said, we got enough. Enough hate, we got enough. You know. Animosity out here, man. I'm just out here positively pushing and bringing us artists, producers together and making incredible music.

Speaker 1: 15:15

Now, let me ask you this you know, I seen, I seen everything set up, man, it just looked like a museum, you know, and it was an MPC. That was there, you know, and it was on display. So let us know, let us know what type of MPC it was and what songs or beats was created on that, to the fact that you had to highlight it the way you had it highlighted.

Speaker 2: 15:45

Man, some of the classics on that. I made no hands on that thing. I did shawty on that thing. I'm round round, I'm getting it, I'm gonna do me. It was an MPC 4000. This is my second MPC. My first MPC was MPC 2000. And then I graduated to MPC 2000, excel. So it is actually my third MPC, which was the 4000. A lot of the people like Jazz, d-face, slice T, the older generation was more tapped into the MPC 3000 that sounded more like the MPC 60. So I just wanted to make sure I tapped into, you know, the bigger hard drive Cause a lot of the drums, my sounds and I made beats from our Capella. So I liked the 4000 because I was able to save most of the vocals, the whole song, in the beat machine and still be able to remake the beat to the vocals. You know what I mean, having the- how many sounds.

Speaker 1: 16:43

Was you? What was you punching out of that, though?

Speaker 2: 16:48

Man, I would feel my hard drive up. So if it was a gigabyte at the time, or two gigs, you know what I'm saying. Now we want tetrabytes. Man, I put all my sounds into one hard drive and I had to get an eight tetrabyte, tetra, tb, atb drive to do it.

Speaker 1: 17:09

So how do you feel being able to, you know, compute both now you know analog and digital and just have, like you know, the unlimited sound Like is that? Like feeling like almost golly you know, to be able to touch all these different you know type of things without even having to have the hardware?

Speaker 2: 17:32

I still use my analog. So you know, the digital is cool, but it is thinner, it is a smaller sound. So I combined digital world with the analog world to still, you know, keep my nuts. You know what I'm saying. I like to let my nuts hang, you feel me?

Speaker 1: 17:47

So you know what.

Speaker 2: 17:47

I mean I still do what was successful for me, you know, early on, along with you know, elevating and involving with today's technology.

Speaker 1: 17:57

Okay, definitely, you know, I always, you know musical myself, so I always want to, you know, tap into the musical side, you know, get people familiar with the, with the skill sets man. But yeah, I was also. You know, I forget where I was going before I got into that because the book just made me think about your birthday, cardi, how everything looked like a, a, a Xeo man. So a couple more questions Now what advice do you think that's working for you, for your artists, that you've given them? Basically, you know as game that most artists that's getting signed by producers or other artists may not be getting from executives.

Speaker 2: 18:45

I think it's the business man that's the most important thing in the game is the business behind what you're doing. We all want to make good moves, we all want to be successful at what we do, but you know, you got to put yourself in position to be successful on the back end as well, and that means copywriting your music, making sure you're doing on split sheets, making sure you're registering your records with the PRO organizations you know what I mean Like BMI and ASCAP and whatnot, because it's so much money that people are missing. I know people that don't even have sound exchange set up. So, just making sure that you got all of these, you know platforms set up so you can get your money, that's the most important thing. So you know, from there, now we got to put out money. I mean, now we got to put out music, but we got to put out music consistently and we got to put out quality music. You know what I mean. So it's all about the sound, the quality, the delivery.

Speaker 2: 19:38

Okay, what do the shows look like? What are the performances looking like? Artists' development, what kind of style do you have? You know what I mean. And if we don't have different gear or outfits and whatnot. Now we start reaching out to these clothing lines and getting sponsorships so you can be at your shows looking up the car. It's a combination of things, but just you know what I mean. One by one, getting everything in order.

Speaker 1: 20:03

Now, as a producer, how important do you feel, as though St Lysus is?

Speaker 2: 20:13

It's essential, though. Like that's your money, that's your bread and butter. You get, like like my homegirl Tucie, from Memphis. She did the P-Valley song and you know the theme song for P-Valley that one song generating six figures. Now she's able to travel, go on tour, do other things, put out her own projects, because now she got her own budget coming just from. You know Sink Sink can make you a million dollars. Now you're able to do so many more things and support your music in different ways because you have a budget and you got money coming in.

Speaker 1: 20:49

Right. I mean I know the answer, but I definitely want to, you know, get people a correct answer. Now you know. For you personally, you feel as though that streaming royalties or St Publishing or mechanical royalties are better.

Speaker 2: 21:18

You said the St Royalties, or mechanical royalties, I'm going to say St Royalties, honestly, depend on what home you're placed on. Yeah, this drummer boy, it's about where you lay in your music. You know what I mean. So it depends on. It could be on TV, but it could be just, you know, a simple TV show that might not be getting aired that much or it might just be on one episode, or it might just be on one season. You know what I mean.

Speaker 2: 21:49

But once you elevate to, you know, let's say, a theme song and this particular show is pretty good, this particular show got multiple seasons. All of that helps, you know what I mean, because now you're extending the run of the song. So now it's been six seasons of P Valley, which take this song to another level, or five seasons of P Valley having many seasons, so the more seasons of song has and you got the theme song, that means playing on every episode, not just this one particular episode, right? So it really depends on the area of the place. You know what I mean. Something like no Hands, you know, is something like no Hands is running circles around, lost on the road. Gorillazzo, you know what I mean. Mechanical wise, they both mechanical. You know what I'm saying, but one is obviously getting way more spin in the other record.

Speaker 2: 22:46

Both of them on the radio, both of them with top 100. But one is just getting more spin. So it really does come down to how much burn you're getting on that particular record and where it's placed.

Speaker 1: 22:57

Definitely. So you know, before we get out of here, you know, just tell the people you know something that you will want the world to hear, that you probably never got off in another interview or in a platform.

Speaker 2: 23:16

Man, you know I can't even think. You know what I'm saying. Man, that's a good question. I had to think about that like damn, what have I not released? I was stupid crazy on the, on the, on the, on the, on the, on the, just hand to hand promotion, and I think just anybody coming up in this day and time, you know what I mean. We hide behind emails, we hide behind phones. We in our phone all day. Man, put the phone down at some point and tap in. You know, introduce yourself, hit these events and introduce a network of politics, like that's really the biggest part of me is my relationships and how people know me to where I can call. You know what I mean and I think people they answer my phone call. You know they understand my face.

Speaker 2: 24:11

There's so many artists that will depend on the street team to promote their music but they won't go hand in hand and tap in with DJs. They won't go shake these relationships. And hey, man, my name is my music. Hey, check me out. I got a song with drama. What produced by drama boy. This the dirty version, this the clean version. Hey, let me give you the instrumental in the acapella, just so you have it. Niggas ain't stuck until you like that. You know what I'm saying. Most niggas, they might give you the song and only give you the dirty version. You know what I mean.

Speaker 2: 24:38

So it's about really taking the time and mixing and mastering your records, because that's why so many DJs take a chance and play drama boy in the club. Or I go down to live on Sunday, stevie J going to play my shit because, nigga, he know that shit mixed in master. That's really why DJs love drama boy. You know what I mean. They know my music mix. They know my music master. They know we got multiple versions of what they're going to ask for. Hey, can you make me a four bar intro? Can you make me a eight bar intro before the song? Come on, Okay, all of those requests we're able to grant those things. We're knocking out our drops. We doing any and everything that that DJ needs to make his job easier. So when he make that movie for me, everything is in place. You know what I mean.

Speaker 2: 25:22

So you know, get them relationships in line. You know what I mean. Shake these hands. Politic with these DJs. Bro, stop being lazy. Get off your ass. Hit every club. That's popping. The only thing you got to pay for is the parking, maybe the door fee and throw the DJ $25. So that sometimes adds up to about a hundred to 150 to 200 a club. So we go to four clubs and one night it might be 6M a hundred. But look at what you gain in. You gain in the relationships, which is priceless.

Speaker 2: 25:53

Now these cats call you back. So you know we want you to come back through this club. It might be a free event. We go back through, show some love. Now we got fans. So now, the next time we hit you, you know I got 500 for you. Yo, I got 750 for you. Yo, this other promoter saw what you did. He want to book you a hit spot. Yo, the other promoter said that you packed the house out. Hey, we want to bring you over here for 1500. Yo, this other promoter saw that you packing houses out. He want to take you to 10 cities. You know what I mean. So it's one situation leads you into the next situation, bro, and it's just like climbing. You know what I mean. We flip an ounce, we turn it into a cutie. We flip the cutie, we turn it into a half. We flip the half, we turn it in a whole thing. It's the same thing Gradual progress, my nigga. And if you, if you, you know, follow the formula, you'll be successful. Man, I swear no man that's definitely great advice, man.

Speaker 1: 26:42

We definitely appreciate your time today. You know what I'm saying and I'm not going live. Man. That freak something is definitely a banger. You know me personally. I definitely be adding you know to my radio station and doing what I do. I reach out to you again via Instagram or get classic to highlight you for me, you know, for a couple of drops, and we appreciate you rocking with us right here on the fleet magazine.

Speaker 1: 27:04

Just want to ask you one question for us, man. Can you remove myself from the screen and can you just let everybody know you're rocking with a fleet magazine? All right, man, yeah, yeah, yeah.

Speaker 2: 27:18

This was drama boy AKB boy fresh, and you tuned in with me right here on fleet magazine. We benefits a year. So, Luke King, I appreciate you already.

Speaker 1: 27:28

I got one more for you too.

Speaker 2: 27:30

I go by the name of drama boy, akb boy, fresh and right now. You tuned in with me and swag 100. We benefit from you. I'm going to be with me and swag 100. We beneficial yeah.

Speaker 1: 27:47

Super salute King. I definitely appreciate you, man and I definitely will be tapping in with you. I appreciate the drop.

Speaker 2: 27:54

Yes, sir, salute. Love y'all man, peace Salute.