{"id":44713,"date":"2025-08-24T14:15:48","date_gmt":"2025-08-24T14:15:48","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2025\/08\/24\/atlanta-rap-producer-turbo-on-gunna-wizkid-and-country-music\/"},"modified":"2025-08-24T14:15:48","modified_gmt":"2025-08-24T14:15:48","slug":"atlanta-rap-producer-turbo-on-gunna-wizkid-and-country-music","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2025\/08\/24\/atlanta-rap-producer-turbo-on-gunna-wizkid-and-country-music\/","title":{"rendered":"Atlanta Rap Producer Turbo on Gunna, Wizkid and Country Music"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThere are a handful of hip-hop producers you can argue have served as architects for the sound of modern rap. <a href=\"https:\/\/www.rollingstone.com\/t\/turbo\/\" id=\"auto-tag_turbo\" data-tag=\"turbo\">Turbo<\/a>, sometimes known as Turbo the Great, would undoubtedly be on the Mount Rushmore of present-day rap hitmakers.\u00a0With production credits on some of this generation\u2019s biggest hits \u2014 <a href=\"https:\/\/www.rollingstone.com\/t\/gunna\/\" id=\"auto-tag_gunna\" data-tag=\"gunna\">Gunna<\/a>\u2018s \u201cDrip Too Hard\u201d and Travis Scott\u2019s \u201cYosemite\u201d to name a couple \u2014 Turbo, real name Chandler A. Great, is among the most prolific producers to come out of <a href=\"https:\/\/www.rollingstone.com\/t\/atlanta\/\" id=\"auto-tag_atlanta\" data-tag=\"atlanta\">Atlanta<\/a>. He\u2019s furnished the hip-hop Mecca with an endless bag of hits featuring his distinct, melodic take on trap that by now feels like a signature for a whole city.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<span style=\"margin: 0px;padding: 0px\">Most recently, Turbo lent production work on Gunna\u2019s new album,\u00a0<em><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/gunna-the-last-wun-review-1235404037\/\">The Last Wun<\/a><\/em>, which debuted at the top of the hip-hop charts last week, as well as <a href=\"https:\/\/www.rollingstone.com\/t\/offset\/\" id=\"auto-tag_offset\" data-tag=\"offset\">Offset<\/a>\u2018s new album,\u00a0<em><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/offset-kiari-review-1235413008\/\">Kiari<\/a>,<\/em>\u00a0which dropped Frid<\/span>ay. In the past year, he\u2019s formed a budding creative relationship with <a href=\"https:\/\/www.rollingstone.com\/t\/wizkid\/\" id=\"auto-tag_wizkid\" data-tag=\"wizkid\">Wizkid<\/a>, whom he plans to feature on his upcoming album. As a producer, Turbo is most adept at creating cinematic beats capable of engulfing you in a world of his own creation.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Moneybagg Yo - WHISKEY WHISKEY [feat. Morgan Wallen] (Official Audio)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/kJamyq0WplE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe Grammy-winning producer is currently working on a solo record featuring a smattering of artists that listeners expecting familiar Atlanta rap staples might find surprising. In addition to flirting with more Afrobeats-influenced sounds, Turbo says he\u2019s been collaborating with a handful of country artists and writers ever since his work on \u201cWhisky Whisky\u201d with Moneybagg Yo and Morgan Wallen last year. The still-untitled album doesn\u2019t have an official release date yet, but Turbo says fans can expect a body of work that offers a full display of his creative passions. Turbo spoke with <em>Rolling Stone<\/em> about his relationship with Gunna, working with Offset, and why this next album is going to feel like a movie.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What\u2019s the story behind your upcoming solo album?<\/strong><strong><br \/><\/strong>I mean, it\u2019s been going on. I think my sound has been so distinct over the years. I think it\u2019s time for me to put out my own project with a bunch of different artists, some of the guys that people don\u2019t know me for, and to just expand my sound, put my flagpole into the ground of this music thing that we\u2019re doing.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You\u2019ve produced for some of the biggest names, especially in the Atlanta scene, but who are some of the more unexpected names that you\u2019ve been working with?<\/strong><br \/>Wizkid. We\u2019ve been doing a lot of stuff with Wizkid lately. Some fire all the way, completely different. Not even for him. I don\u2019t even think it\u2019s Afro. It\u2019s its own thing, its own genre. So I\u2019m excited about that. Wyclef, been doing some stuff with Wyclef lately. Who else? Of course Gunna, Swae Lee, Don Toliver, a bunch of people.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How did you and Wizkid connect?<\/strong><br \/>Through Gunna, actually. When he, I guess he moved to LA. I don\u2019t know. He was just in LA for a month, and him and Gunna connected and we all got into the studio just feeling each other out and just seeing what we could come up with. But I realized him and his guys were so cool. They just like us. So we started hanging out together and just started doing our own music, and I had a bunch of experimental beats that I really couldn\u2019t play for anybody else just in my catalog. I played him something, and just from his reaction, I think he was just surprised that I had this type of music just sitting on the drive. And from that point, it was like two weeks we was going to the studio every day and he\u2019s like, \u201cNo, play me this, play me this. No, I don\u2019t want to hear anything Afro. Play me your stuff.\u201d And he\u2019s just super creative and we just caught a vibe.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What do you think the kind of bridge is between that culture and what you guys got going on?<\/strong><br \/>I think it\u2019s all the same. I think we\u2019re just now starting to figure out that it\u2019s all the same, all the way down to our mannerisms and what we do inside the studio. I met some of his friends and it seemed like I knew those guys for forever, and we were sitting there talking in a little group just in the studio, outside of the studio room for hours just talking about where he\u2019s from in Nigeria and where we are from, and I didn\u2019t know that he lived in Atlanta for a long period of time. So just connecting on all that type of stuff. And I think we both just realized that we\u2019re very similar in culture and just in musical taste. And then from that point on, it\u2019s just meeting your brother and doing music.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Thinking about where you guys come from in Atlanta, you\u2019ve been in the scene for so long now. How do you think the city\u2019s sound has evolved since you first started?<\/strong><br \/>I think it\u2019s completely changed, especially with some of the stuff that I\u2019m hearing now that\u2019s coming from the younger guys. It\u2019s really energetic. And I think in the beginning, especially when I came in, it was just a different type of sound just coming from how we grew up or just the Atlanta trap era. We still kind of had that embedded in our sound when we first started. Now I hear some of the newer guys and it\u2019s super energetic, super festively, crazy drums. It\u2019s just exciting.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Thinking back about that time that you were coming up, it seems like a lot of people are also revisiting that 2010s Futuristic Atlanta sound.<\/strong><br \/>Yeah. I don\u2019t think it could ever be recreated, bro. It could never be recreated. It was just such a time all the way down to how we talked, how we dressed, Mohawks, having Mohawks with the design on the side of your head. It was a real lifestyle thing that bled into the music, so I can appreciate it and it\u2019s nostalgic, but I think it\u2019ll just never feel the same because it was just something that was new, it was fresh, it was Atlanta. This was our life. So I mean, I see it, but you know.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Speaking of the 2010s, do you remember how you and Gunna first connected?<\/strong><br \/>Yeah. We\u2019re from the same neighborhood, so we were always brushing shoulders because we always had mutual friends, or we went to the same clubs when we were kids. It was this club called The Palace on Old National that Gunna and his best friend Nechie used to go to every single Friday and Saturday. So even if I missed a couple of weekends, whenever I would come, I would see them and they would be doing what they was doing and I\u2019d be doing what I was doing. But we always had mutual friends, so it was never like a, \u201cHey, Turbo, this is Gunna. Gunna, this is Turbo.\u201d It was just like, Hey, what\u2019s up? Whoop, whoop, whoop, whoop, whoop. And it kind of bled from there.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What\u2019s it been like seeing his progression from those early tapes to this most recent record, <em>The Last Wun?<\/em><\/strong><br \/>Watching it firsthand is, how can I say it? I don\u2019t know. I don\u2019t even know if it\u2019s a word to be able to describe it, because Gunna, I seen Gunna when he was full-blown in the street, and he always loved to rap, but he was full-blown in the street. So now to see where he\u2019s at now, it\u2019s almost kind of crazy to view, I guess. You know what I mean? And comparing it to what we used to talk about and what I used to see him do when we first got kind of clicked up to now it\u2019s like a complete 180, completely, from mind to body, to I\u2019m scared to go and get a Dunkin\u2019 Donuts in front of him. You know what I\u2019m saying? Because he like, \u201cMan, what you doing? You eating donuts? We got to go to the gym.\u201d You know what I mean?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut it is cool, because he\u2019s holding everybody around him accountable for just health and wealth and just the future. So I would just say it\u2019s a complete 180 from when we first met, and I think that\u2019s the same thing with just how he\u2019s approaching his music and how we all approaching the music is just thinking big, thinking superstar to a whole nother level where we just didn\u2019t have that level of thinking in the beginning.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What do you think attracts you the most as a producer these days when it comes to the types of sounds that you\u2019re interested in?<\/strong><br \/>Something that\u2019s just standing out, something that\u2019s personal to whatever artist\u2019s style or my style. I try my best to stay out of the box completely, or even if I get into the studio with an artist and they say, \u201cOh, I want something that sounds like Gunna.\u201d You know what I mean? It\u2019s like I immediately get turned off. So when I\u2019m looking or when I\u2019m working with newer artists, the things that stand out to me is if these people have their own style or if they\u2019re confident in what they\u2019re doing, and almost teaching me something that I might not know.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThat\u2019s been very exciting, or I get excited when I come across those type of kids that\u2019s just unapologetic, they\u2019re they self. They don\u2019t give a fuck about a Turbo or whoever. It\u2019s like, this is my sound and this is what I like, and I can just learn something from them and then create something even bigger. That\u2019s really what I\u2019ve been looking for. That\u2019s what I get excited about. And I haven\u2019t ran across it much in the musical space, more so in a fashion space, but that\u2019s kind of what I\u2019d be looking for, bro.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:819px\">\n<div class=\"c-lazy-image  lrv-u-border-a-2\">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((1024\/819)*100%);\">\n<p>\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-flex lrv-u-flex-direction-column lrv-u-align-items-center\">\n<p>\t\t\t\t\t<span class=\"u-border-color-black u-border-lr-2 lrv-u-padding-tb-025 lrv-u-padding-lr-075 lrv-u-border-b-2 lrv-u-width-100p lrv-u-text-align-center a-font-basic-secondary-s\">Gunna and Turbo<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"lrv-u-text-transform-uppercase lrv-a-font-body-xs lrv-u-margin-t-050 lrv-u-text-align-center\">Seb Espino*<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How do you approach the creative process? Do you start with a melody, or how does it work for you?<\/strong><br \/>I start with a color really. You know what I mean? I honestly start with a color, and a lot of times what helps me find that color is whatever mood I\u2019m in or whatever mood that whatever artist that I\u2019m working with is in. And then I try to work backwards, because for me, with music, I see it in colors in an oddly type of way. It\u2019s more so my music speaks to my senses more than it does to my ears solely. So that\u2019s kind of like my process. And sometimes I\u2019ll start with the drums. I remember being in the studio one night, had an hour left in the session, and was not really inspired that night. I just seen like a dark brown color in my mind, almost like a Cactus Jack type or beef and broccoli type of brown.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd I started with the drums, just crazy bass, 808, crazy sounding drums, and from that point, kept building and put a couple chords on top of it, and it was done. And that was the process for that night. And I think that song ended up being \u201cSwing My Way\u201d for Offset. So it\u2019s like sometimes it starts with the melody, sometimes it starts with the drums, sometimes it starts with just a metronome. I\u2019m just open to whatever my mind and my spirit is telling me at the time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Do you have interests more broadly in arts and visual art or fashion or anything like that?<\/strong><br \/>Yeah. Hell yeah. Visual arts, architecture all the way down to, I guess you could say landscaping. You know what I\u2019m saying? Oddly enough, when people yards or their flowers are decorated in a certain way, I kind of pull from all of those type of visual things. As I\u2019m getting older, I\u2019m starting to have a love for just architecture and just seeing different buildings or the history of different things, and I haven\u2019t all the way figured out how it bleeds into my music. Some way, somehow, I just find a way to do it. But I kind of have to get into that zone. I haven\u2019t figured out how to put it to you in words.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Even thinking about some of your production, there\u2019s sort of a cinematic quality to it as well.<\/strong><br \/>Yeah. Yep. I mean, it\u2019s just kind of what comes. Like I said, I get into a zone. I can\u2019t really explain it. If you ever get a chance to just see me work, it\u2019s like when I catch an idea, I get completely focused on that idea, and it\u2019s almost, it\u2019s so many things that\u2019s just pouring into my mind and I\u2019m trying to figure out how to do it, how to put it into my music. I can\u2019t explain it, but it is something similar to what you\u2019re saying. Just like I might see something, or I always have, like those guys on YouTube that make castles out of mud and shit. I\u2019ll have that playing in the studio and just watch them and just make a soundtrack for that, I guess. And sometimes it\u2019s cinematic, sometimes it\u2019s just ghetto and it\u2019s raw, but it is Turbo\u2019s music.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>In addition to the new Gunna project, you have some stuff on this new Offset record. What was the process working with him like?<\/strong><br \/>With Offset, it was a challenge in the beginning because I think we weren\u2019t used to working with each other, and I like to move stuff around in the Pro Tools session. Like if he raps one way, I might go and put what he thought was a hook into a verse and what he thought was a verse into a hook. And he wasn\u2019t loving that at first, and we would kind of bump heads on what was the song and what wasn\u2019t the song, or whatever. But I think after Swing My Way came out and him being so confident about that song and then me seeing what it did from the visual to how his fans reacted to it, we started to communicate way better just about music and just personally. So it was that, you know what I mean?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWe had to kind of, I\u2019ve worked with him before, but I haven\u2019t worked with him now on the solo stuff. So we almost had to relearn each other. And honestly, the relationship is way better than before. It\u2019s way closer. So we got a lot of stuff in the vault. I think I got two or three on this next album, and he\u2019s dropping. Cool.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How important is that for you and the artist to build a genuine relationship?<\/strong><br \/>It\u2019s super important for me because that\u2019s where all my success came from. A lot of the people that I have huge songs with were my friends, and we spend time together outside of the studio, or we spend a lot of time in the studio just talking about life and whatever, however, and that as a producer helps me to make the soundtrack for their life that they\u2019re finna tour with or get synced to a movie or be able to do all of these radio shows with. It just kind of helps me understand it a little bit better. So I try to get to know whoever I\u2019m working with before we start working together, because then it\u2019ll last longer and it won\u2019t be just cookie cutter.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Who are some of the artists you\u2019ve worked with in the past that you\u2019ve been able to build that with?<\/strong><br \/>Moneybagg Yo. We just had \u201cWhiskey Whiskey\u201d come out with him and Morgan Wallen, that did really well, went gold in a month. That was super surprising to me. But it was one of those type of relationships where he\u2019s from Memphis, I\u2019m from Atlanta, but we usually connect through a mutual friend in L.A. a lot together. We\u2019ll spend hours talking. We was just talking about mutual funds the other day, you know what I mean? And investing. And I was teaching him about some of the stuff that I do as far as with my investments or my brokerage accounts, and finding different ways to just pull from the resources we already have. And it\u2019s like, I don\u2019t know, man. It\u2019s a real genuine conversation, a real genuine friend at that point. It\u2019s not really about just send me some beats or whatever. So that\u2019s the first person that pops into mind outside of somebody like Gunna. But yeah, Bagg for sure. Shout out to him.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Memphis is interesting with the country sound that they\u2019ve got going right now<\/strong><br \/>Yeah, I had a few country records come out in 2024, and that was my first introduction to working with country artists or really just the writer world that they got going on over there. But I was really thankful to be able to catch one with Morgan and for it to kind of be a crossover between a hip-hop and a country, and people actually resonated to it. So yeah, Nashville is different, but I love Nashville.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Have you been working with country artists lately?<\/strong><br \/>Yeah, a lot of country writers. I had a song come out with Charlieonnafriday in 2024 called \u201cWhen It Rains,\u201d and that was a good song. That was something that was full country. I\u2019ve worked with Breland and his writers a lot. We got a bunch of just crazy shit in the stash. And then I did a lot of stuff with Charlie Handsome for Post and Morgan, stuff that just hasn\u2019t come out yet.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What\u2019s it like translating what you do, coming from the rap world, and working in that environment?<\/strong><br \/>I think it\u2019s more so like I\u2019m adding value by my frequencies. They kind of have a way that they do things, but me coming from my world, it\u2019s like we have a way of doing our own things. So I can honestly say I kind of was bringing frequency to those rooms, whether it was lower frequencies, because that\u2019s what I\u2019m used to in the hip-hop world, or just a certain sound that this person might\u2019ve not have been thinking of because they\u2019re so used to doing acoustic guitar or just real drums instead of programmed drums. Just that type of input. But honestly, I think it was more of a learning experience for me than anything else. I was learning how they do things and how people, they have the writers and the writers come up with the records, and just their process. That\u2019s something completely different from the hip-hop world.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>When you think about your project, what do you think about when you structure an album for yourself?<\/strong><br \/>You know how some of the best movies in the world started from a book? I kind of want to put that into the perspective of my album. You know Turbo as the producer, but you don\u2019t really know Turbo as or, okay, well, I\u2019ll say you\u2019ll know Turbo as the hip-hop producer or the trap producer, but you don\u2019t know Turbo\u2019s real broad span of music, because I haven\u2019t done it with any of those type of artists yet. So with my album, I kind of want to open the listeners and all of my fans\u2019 ears to how broad my music discography and just my mind goes with music and not just hip-hop trap rap. So that\u2019s really my goal, to paint the picture. I feel like me and the stuff that I did from the Babys and the Gunnas and the Thugs and the YSL stuff was just the start. That was my book. And even still, that was a great fucking book, if you\u2019re a book reader, you know what I mean? But everybody\u2019s not a book reader. You\u2019ll have to see the movie. And my album is basically the movie.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/turbo-producer-gunna-wizkid-country-1235414237\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>There are a handful of hip-hop producers you can argue have served as architects for the sound of modern rap. Turbo, sometimes known as&#8230;<\/p>\n","protected":false},"author":5,"featured_media":44714,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-44713","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/44713","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=44713"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/44713\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/44714"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=44713"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=44713"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=44713"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}