He has constructed club-cracking anthems for Nicki Minaj, Jeezy, Gucci Mane, Yo Gotti and Young Dolph. His music became radio mainstays last year with two breezy, laidback singles–“California” performed by Colonel Loud featuring Young Dolph, Rico Barrino and T.I. and “On the Way” featuring DJ Luke Nasty.
Under the tutelage of platinum producer/label CEO Mr. Collipark, his production prowess helped jumpstart the careers of Soulja Boy and V.I.C., as well as provided savage soundtracks for Ying Yang Twins. From laying down unpredictable production for Atlanta’s newest superstar-in-the-making Dae Dae, to Wale, Travis Porter and K Camp, to veteran rappers Fabolous and Plies, multi-faceted hip hop/R&B/ EDM beat technician Mr. Hanky is the most accomplished music producer that you may have never heard of.
First off, I have to say that “California” and “On the Way” were breaths of fresh air, but sound nothing like any of the music that you did while at Collipark Music.
Those records are totally different projects from Collipark Music. There are a lot of records that I did that didn’t really have that type of vibe to it. I always did music that was not like the typical stuff from that situation…In the last three or four years, I just started creating a whole new wave, as they call it now. So I just been working with a lot of different artists, developing my own sound, my own artists, everything.
What made you go in a different direction from what’s on the radio nowadays?
I started creating a different sound because everything was starting to sound the same, even with the popular club music. I just didn’t think that was what I needed to do at the time. It was really an experiment.
Seems kind of gutsy.
It was very gutsy. When I did “California,” a lot of the DJs were like “you did this?” (Laughs) It wasn’t the usual ratchet club music. The same thing with “On the Way.” I was going totally against what I was known for.
Now that you’ve started focusing on your own imprint, Mr. Hanky Productions, was it hard for Mr. Collipark to let you go? How is your relationship with him now?
We’re still good. It wasn’t a situation of letting me go. I was over there for eight, nine years. My contract just ran out. We’re still cool. We work together from time to time as well but a lot of times, music makes people grow and want to do things differently.
Are you currently with a label or have a distribution situation?
I’m not with a label. I’m just producing. The independent music scene is crazy right now. I’ve been working with independent artists and developing them and just focusing on making hit records.
I just know you have an album in the making.
I have so many records with big artists to the point I’m getting ready to put out an EP or an album. I’m just trying to find a good situation for it. I got a lot of singles. I’m just cocking back, loaded and ready to go.
Well, I’m sure the labels are beating down your door with contracts in hand.
I have a lot of inquiries but it’s not necessarily the best situations that they’re offering right now. It’s a situation where they’re just throwing anything out there. A lot of people think because they have never heard of you before and they may have heard your records, you might be naïve and try to come at you anyway. That’s why I stay chilled on some of the offers, if you even want to call them that.
But what about publishing deals?
Even on publishing situations, a lot of them didn’t make sense the way they were structured. You’ll be up to your eyeballs in debt while making hit records and somebody else is coming in and getting half the money.
You’d think their offers would be more respectful, considering you have been making hit records for more than a decade now. Plus, you learned the game from Mr. Collipark.
And that’s what’s funny about it. I’ve had situations with certain labels (and I use that term loosely) that come at you crazy when one of my first placements went platinum in 2006 and most of them weren’t even in the business at the time or their labels weren’t even formed at the time.
So you got your start making crunk club songs, and now, you have seemed to reinvent yourself with these smooth, melodic records. What can’t you do?
I can make a song for your local trap artist and then, I can go do something for a gospel or R&B artist. And tonight, we’re doing a Top 40 club record, a pop record. I’m a musician before I’m a producer so I do what feels best.
You’ve worked with artists as diverse as Soulja Boy, V.I.C. and Ying Yang Twins, to Dae Dae, Travis Porter, K Camp and Young Dolph, as well as Wale, Fabolous and Nicki Minaj. Who are some of the artists you are working with now?
I just got out of the studio with Money Bag Yo and dropped off some amazing records with him and YFN Luchi. I’m just working with everybody right now.
I’ve noticed that you have started putting tags on the music you produce. Is there a particular reason for that?
Yeah…and it’s a very good reason. The main reason is because producers who are known take the credit for producers who are not known. And it diminishes the whole craft of it, the whole culture of it.
Has it happened to you?
Yeah, plenty of times. You hear a song in the streets and they say so-and-so did that record, and I’m like “Really?” That’s why I started putting tags on my records. You had to do that because people will just say anything. The other part is that a lot of people are copying other people’s sounds. Nobody is being creative. That’s why I started doing the type of records that I was doing. Every record was sounding like the last record that was on the radio.
What can we expect from Mr. Hanky in the future?
Of course, more hit records and possibly bringing out a couple of artists on my own. I’m definitely dropping an album. I’m just timing it right. I’m trying to do a couple of movie scores. You name it. No limit.
