Breaking out in 2014 with his Rick Ross + Jay Z banger “Devil Is A Lie”, Atlanta native producer, Major Seven has been steadily building through the years, laying down the framework to position himself for some place some new bangers on Future’s latest release “HNDRXX“. Seven goes into detail about his initial start in the game, work with Future and his contributions to the project.
Working in the Music Industry
It’s pretty interesting experience, just like anything else, it’s not an overnight success; you just gotta keep working, building your relationships, keep getting better at your craft, thinking outside the box, getting as creative just as your business. As a result, I’ve done records with 2 Chainz, Big KRIT, couple projects in Italy, Tech N9ne.
What led up to your work with Future?
There were many things that led up to that. One of them, my manager, manages Zoey Dollaz, who’s signed to Future (Freebandz) so that’s how that relationship started there. I actually met Future a few times and told me I had some dope stuff. Thereafter, I started working with Detail and an artist I work with who’s from Texas. When he started working with Detail, he started putting him onto my work and he flew me out to LA to do some work. Later, when he came to Atlanta, he called me over one night to the studio and introduced me to Future. Big shout outs to Detail.
What was the creative direction for the HNDRXX?
For the whole time, Detail was leading the creative direction and I wasn’t aware at first. He told me to keep sending stuff for Future. I’m thinking, ‘man I’ma have to cook up some trap beats”l; sending him some crazy hard trap beats. But when Detail asked me to send the stems to this beat and that, all the beats he was telling me to send I had in mind for other artists because these are R&B type, pop type records; joints that I did with my partners Mantra, King BNJM. The “Selfish” joint with Rihanna, came out of those batch of beats.
Never Missa Lost was one of my favorites off the album, tell us how the beat came about.
I was in a zone, listening to a lot of Jodeci. I started off playing with the sample, coming up with the chords, playing around with it and I called my guy Darius to play guitar parts on the beat, replaying elements of the Jodeci song. Once I got it back, I did more arrangements and effects to it. Future definitely killed it
Was there any sample clearance issues dealing with that song?
Working with direct samples can be very difficult and usually takes up more time and more of the publishing but being that it is an interpolation it shouldn’t be much of an issue. It’s still being worked out now. The timing of the album and the creative process happens so fast sometimes trumps the business when it comes to releases.
Any upcoming projects you’re working on?
With these placements, there definitely opening the doors to more opportunities and relationships. So far I’ve dropped off records for T.I, working with the 300 Camp (300 Entertainment), Young Thug and Nicki Minaj. Of course, you never know where records get end up but prospects is heading in the right direction.
We hope he helps provide some heat for Nicki’s response to Remy.