Have you ever thought about the process that goes into making music? Not the lyrical perspective of it, but the work that goes into actually making the track. The artist have it pretty easy, all they have to do is show up with a pen and a pad, and jot down whatever they were thinking about on their car ride to the studio. Then when they score a number hit, they’re usually the first ones that get invited on the Hot 97’s or the Power 105’s to discuss [their] visions. But making great music has always been a team effort, so remember class; “There’s no “I” in team.”

So in turn, lets show some appreciation for the other half, the producers. Now you might say “Hold up!” “Producers have been getting their just due!” Which is very true, if you’re a “producer/rapper” or a “music video cameo/producer.” Those are the ones that you’re going to see on MTV’s TRL and other shows. But there are some that choose to stay in the studio, mixing songs, while their counterparts mix drinks instead, toasting to the final product. Lets all be honest, when was the last time you actually gave credit to an MC’s verbal ability? There are a lot of you out there that do, but the majority of you just want something to dance to in the club that’s going to leave you sweating more than a pregnant nun. And that’s the main reason why in recent years the question has gone from; “Hey did you hear what so-and-so rapping about?” to “Hey that beat was hot!” “Who did it?”

Your browser does not support inline frames or is currently configured not to display inline frames. ges/images/Drumma_3.jpg" align=left>So if you want to know who did "Standing Ovation", and
"White Girl" for Young Jeezy, "Recognize" for Scarface, "Gimme That" for Paul Wall, "We Workin’" for Playaz Circle and most notably "Shawty" for Plies featuring T-Pain, just ask Christopher Gholson, better known in Hip-Hop circles as Drumma Boy.

This producer from Atlanta by way of Memphis has been making a name for himself as of late. Not too many producers can brag about the fact on how they’re classically trained, and legitimately know how to read music. But you guessed it, he can.Not only can he add that to his already impressive resume, but he also uses live instrumentation as well. This son of an opera singer literally has an ear for music, and that talent has attracted other names such as 8 Ball and MJG, Pastor Troy, and Three 6 Mafia.

So just to recap on what was said earlier, an MC may only need a pad and a pen which collectively might cost him or her about $6.00. As for producers, their equipment can range in the hundreds of thousands of dollars. But having a slew of number one hits under your belt…….priceless.

How was it like growing up in Memphis? Was the music scene really big out there when you were younger?

Growing up in Memphis, it was a huge Hip-Hop scene. I mean you had Three 6 Mafia in the streets doing their thing, and Project Pat, just a lot of underground legends. Like Skinny Pimp, Indo G, 8 Ball and MJG know what I’m saying. Just a lot of underground kings coming through the city. With my mom being an opera singer and my dad being in the orchestra, I had a lot of different worlds around me all at the same time. 

Your mom was an opera singer? How was that experience like for you?

That’s what I knew pretty much all my life. I was born into that, like going to so many damn rehearsals, and being backstage with the orchestra and what have you. But after that, I wanted to do something that was more “Hip-Hop.” But I took what I learned from the opera and from the orchestra, and put that into my music. And just be able do to my own version of Hip-Hop. 

How did you first get into producing?

Like around 14. My older brother which is also a member of Drum Squad, and he was making beats before me, he’s like 14 years older than me. And it was him and Jazze Pha and all these legendary producers from Memphis. I just grew up watching them as a young dude. And when Jazze Pha relocated to Atlanta, I still was watching him to see what he was doing, and it was really a lot of motivation. I was like damn; “He’s really doing something that he loves to do” which was really inspiration for me. Because I knew I could do something like that, and be great at it as well. Just from the fact of what I learned from my father, just being classically trained, and being with my mom and understanding the 60’s, 70’s, and the 80’s and the solid gold soul era. It was just something that I loved.     

You said how you were classically trained, and have a classical music background. What exactly does that mean?

It means that I played the clarinet. Like from the age of four, my dad had a recorder in my mouth. My dad teaches clarinet at the University of Memphis, he’s not just in the orchestra he teaches it as well. So that’s something I got for free for 18 years, was free clarinet lessons. I made the All West Tennessee Band which is a great accomplishment; I could’ve played in the Memphis Symphony Orchestra. I play scales and I read classical music, and things of that nature. It’s not like I say I’m classically trained because I actually could’ve played in an orchestra know what I mean.

I can dig that.. So do you think classical musicians have a point when they give Hip-Hop producers slack for sampling?

Anytime you sample somebody else’s work, they have a right to get paid. I’ve had my music sampled a couple of times, and just to see the benefits of those checks coming in after people sampling me is a great feeling.Some people approve of it, and some people don’t. Like you have people that are against rap, and you might sample an old 40’s song and they might not clear it.

It all depends, because the sample-stuff can get tricky. But at the end of the day, if you sample somebody else’s work, they gotta get paid. Like I know if somebody samples my work, I know I’m going to get paid from it.  You got to put yourself on both ends of the stick and make sure you’re doing something fair. But at the same time sampling is what created Hip-Hop, so it’s hard to take away sampling. That’s what started Hip-Hop, a microphone and two turntables. Then you take a drum loop and bounce some music on it and it’s a whole ‘nother record. But at the end of the day, [they] just have to make sure people get paid now.

Do you use a lot of sampling when creating your music?

Umm. I just make music, I do samples, and I got a live band that I’ve been working with and they’re a great group of guys, and that’s who I’ve been making my music with. So now I’m pretty much writing my own music, and putting myself into a situation where people are sampling me later on down the line, know what I’m saying. 

That definitely sounds like a plan.. So what was the first track you produced that first started to get you recognition?

It was a lot of tracks. I think each track that I did just brought me to another level. One of he first artists I began producing for out of Memphis was Yo Gotti, he’s a young up and coming artist doing his thing. I started producing him and his album Life that came out through TVT Records got me a lot of recognition.

Then I did a track for 8 Ball and MJG called "Grey Goose (Gimme that Grey Goose and put that ‘Gnac back)", and that pretty much got a lot of people talking. Once you get a couple of placements, people start to respect what you’re doing, and your prices start going up and what-have-you. Then I started coming to Atlanta and one of the first artists I worked with in Atlanta was Pastor Troy. I did this song called "Pop This P**sy" on the D.S.G.B. album and that pretty much opened me up in the streets as far independent artists in Atlanta.

Then I went onto the next step, like I did the Boyz N Da Hood album, and [Young] Jeezy was like; “Okay, I like this.” Then after that he had seen me in the streets a couple of times and he gave me an opportunity to work on Thug Motivation 101. So each opportunity takes you into anoth"er opportunity. But one of my biggest street records was a song I did for Yo Gotti called That’s What’s Up". There were a lot of records that put me in great situations, and I’m just thankful for them all.  

You talked about working with both independent and mainstream artists. Is there a different vibe between working with the two?

As far as the vibe, it’s pretty much the same, I treat everybody the same. With every artist, we book a session, and we go down and work. But it’s actually more of the independent artists that I’ve worked with than major artists, because usually major artists are on the road or on tour, and they’re just a lot busier. So you don’t have that same connection with a major artist as you would with an independent artist.

I have more fun working with independent artists, and putting them into better situations, and changing their lives and bringing more credibility to their movement, that’s really fun for me. Major artists are also fun to work with too, know what I’m saying. But my hands-on experience is something that grows with independent artists. I’m going to say it like that.     

What do you think separates Southern-style production from all the other regions?

I think it’s just our time, man. Like the West Coast has been doing their thing for years, and the East Coast has definitely been doing their thing, that’s pretty much where Hip-Hop evolved from. Like they’ve been to their thing for like 20-30 years. I think its just time; the South has finally stood up.You got cats like Master P, and Mannie Fresh and they pretty much put the clamp down on what the South has to offer. And since those dudes, you just had a flood of great music and great production.

It’s just our time to shine, so we’re trying to shine for as long as we can, and bring something different to Hip-Hop that hasn’t been brought. Like making people dance again, and making people feel good, and just keeping the streets alive. 

Speaking of dancing if I’m in the club having a good time, what’s going to let me know that what I’m dancing to is a beat by Drumma Boy? Do you have any trademarks sounds you implement?

Yeah man, our street dude we call him Jay. That’s the dude that’s on my tracks saying; “Listen To This Track B**ch”, and that’s how they know it’s the Drum Squad. Then I got a little sound like a little effect that I use, and that’s another key ingredient. My third ingredient is on some tracks like the Paul Wall record I put them “Yeah Boy’s” in there. Like it’s me saying “YEEEEEAAAAHHH BOY!” That’s like my street call, and I soon as I say that, n***as know it’s Drumma Boy. That’s probably the most official clamp that I put down, and the most official tag that I put on my music. Them “Yeah Boy’s.”

Also, do you have any certain kinds of methods you use when shopping your beats around?

I might be at the gas station and bump into a dude and have a beat CD on hand and play him a couple of track, I sold a beat that way. Just right at the gas station. Like I’ll play the track and he’ll be like; “Okay I want that” “Lets do the business” then we chop it up. Or I might get a phone call like; “Come to the studio.”

A lot of times I might not have a beat CD on me, I’ll just go in with a whole bunch of MP3’s and start playing sh*t and they’ll figure out what they want, we can chop it up like that. Or I go in and cook up a beat from scratch, know what I’m saying. There is so many different methods that I use. It’s just whichever way it comes man, know what I mean. There’s unlimited methods on how to place beats, definitely.

So far you’ve worked with people like Young Jeezy, Piles, and Paul Wall. Do you plan on expanding yourself further up North?

Definitely, I’m just trying to get my name all the way as credible as possible, and try and get some more hits under my belt, and establish myself 100% in Atlanta. That’s what I did in Memphis, and that’s why I believe I was so successful in Memphis because I made a name for myself. Once I had100% completion in Memphis, that’s when I moved to Atlanta. So now I’m at the point of just establishing myself 100% out of Atlanta. Once I feel that I’ve did that, then I’ll move onto another city like L.A., Miami, or New York. But pretty much if you’re working on an album then you’re coming through Atlanta, so there’s reason for me to move right now. So I’m just finishing the year off strong man, I love it.  

Some producers come out, and they’re hot for a while, and then fade out. How does “Drumma Boy” stop that from happening to him? 

I just make good music at the end of the day. I make music that sticks; it’s kind of like soul food to your stomach. You’re not going to be hungry two or three hours later, it’s going to stick and be credible. I keep relationships, and I work with great people, I keep positive energy around me, and I just work hard. I probably got one of the greatest work ethics in the game. So I feel like I’m going to be around for like 20-30 years know what I’m saying.

Spoken like a true professional. 

Thanks man, I appreciate it.

No problem. Talk about Drum Squad really quick before we leave.

Well I built Drum Squad from scratch know what I’m saying. I’m an independent producer, and I’m not signed to anybody.

We’re just out here trying to make great music and keep Hip-Hop alive as far as from a South point of view. I’m not just a one-dimensional producer, we got beats