It had to have been six months, I don't know exactly. It was a while, I'm going to guess between four and six months. Complex: Going back to the origin of your relationship with Cudi's relationship, how did you hook up with him? Did Pat bring you in later or did you and Pat find Cudi together?
It didn't even have that many plays on MySpace yet. I don't know how I stumbled across it, but I stumbled across it and heard it. The second I heard it I was like, "Holy shit! So, I hit Pat up and was just like, yo there's this cat with this song that has you as one of his top friends and this song is just like the illest song ever. Obviously he had started to work with Cudi, and was like, "Yeah, yeah that's my guy we should get up.
Emile: We didn't get up until a few months after that. I think Pat was doing the Graduation album with Kanye at the time and I was doing this album out in England. Then I think Pat might have hit me up and brought Cudi to the studio. On that first day we cut "Bigger Than You. The artist hears something and they're like, I'm getting in the booth or I'm writing right now.
When you're in the studio that either happens or it doesn't. That wasn't happening and I was just like, fuck it, lets just make something from scratch. And that kinda just sent the tone for how we did everything. The way we did "Bigger Than You," that very first record, it was a sample and we were just listening to records and he was just like, "Yo that's crazy" and we built it up.
That's kinda how we did everything from then on. Complex: You're one of his managers. How did that music relationship turn into a managerial relationship? Emile: Yeah, well it's co-managing with Pat. Pat was always the original manager and when Cudi started coming to the studio we started working a lot, it was just an organic thing that happened. His buzz started getting bigger, we put the mixtape A Kid Named Cudi out and the next thing you know I had a million people hitting me like different labels and people I had different relationships with trying to get meetings and set up meetings and that kind of stuff.
It happened naturally over time, the music kind of blended with the business. We just kept it moving. Complex: Now the "Browski Room," the place where the tracks you did for the album were recorded, is that your personal studio?
Emile: [ Laughs. I mean I never had a name for my studio and we got a lot of inside jokes and that's one of them. Complex: You've worked with a lot of other artists, but is there something about Cudi that stands out to you? Emile: The creativity, the harmonies, the melodies and just the fact that he manages to be completely original and be like an underground artist, but has melodies that appeal to everybody.
I think that's the trick. A lot of people are very underground and stay that way because they don't appeal to the masses. Or, they appeal to the masses and real music heads can't appreciate it. A lot of the time it's one extreme or the other and Cudi kind of manages to fit in both categories and that's the ticket. Complex: Did you or Pat or Cudi ever feel like this album was too bold for a debut album? It's not the most Hot friendly record Slaughterhouse , Ice Cube , and close associate Kid Cudi were also among the artists Haynie supported during the latter half of the s.
Haynie entered the s busier than ever. Starting in , Haynie's work was done mostly for pop and rock albums. The producer eventually signed to Interscope as a solo artist and recorded his debut, We Fall, during the first half of while holed up in a room at Los Angeles' Chateau Marmont.
Inspired by the end of an intense romantic relationship, Haynie made the album with help from dozens of fellow musicians across generations, such as Randy Newman , Brian Wilson , Colin Blunstone , Annie Clark, and several previous collaborators, including Del Rey , Jeff Bhasker , and Florence Welch.
It was released in February
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