Photo: PenPushas
  /  07.29.2021

For “Studios Sessions,” we delve into the stories behind the long hours in the studio and all that goes into making an album by talking with artists, producers, engineers, photographers, and more who are intimately connected to the recording process with some of the biggest artists in the world. These are the stories that rarely leave the booth.

Yung Marley is one of those figures in the Atlanta music scene whose reputation precedes him. He’s gained so much respect from artists like Lil Yachty and Sada Baby that they’ve worked with him, as well.

“This nigga Sada Baby will cut off all of the lights in the studio. It’s pitch black dark and he doesn’t want anybody saying anything. This dude starts dancing in the middle of a session. I’ve seen him do some crazy shit, no bullshit,” Marley told REVOLT.

In this installment of “Studio Sessions,” the entrepreneurial rapper discusses why he loved recording Big Shark during the pandemic, unreleased collaborations with Sada Baby and Lil Yachty, and the rapper he’s smoked the most cannabis with in the studio. Read below!

Who was the first major artist you were in the studio with?

Lil Yachty. A lot of his homeboys knew a lot about me, so they were talking about me a lot and he wanted to meet me and kick it. He called me up one day and I pulled up to the house and kicked it from there. We’ve been tight ever since. That was about two or three years ago. It took a minute for us to get in the studio because everyone didn’t know I rapped.

What was Yachty’s creative process in that session?

He went right in. He’s very talented and hella creative. He went in and it didn’t take him any more than 10 minutes to lay his part. It took me a little longer (laughs). I don’t even know how he thinks of some of that stuff.

What was your process in the studio with him?

I was overthinking a lot of bars, for real. I didn’t want to redo it because I knew he was listening to see what I was going to say, so I was overthinking it. I still used my best bars (laughs).


How do you feel you being in the cannabis game helped you get these studio sessions?

All these rappers are rapping a life I live. It wasn’t too hard. They know this shit is real over here. I didn’t connect with Yachty because of the bud. He really wanted to get in the studio with me because he loved my vibe. It wasn’t cannabis-related.

Are there any studio connections you’ve made that were cannabis-related?

I’m not going to lie, most of the relationships I have came off the cannabis. My relationships with Key Glock and Dolph started from cannabis. It was just about bud and vibing out. He just found out I rapped recently. He heard my album and he’s impressed. I don’t like to rush it. I just like to vibe and whatever happens happens. I know so many A-list celebrities, I could’ve pushed the issue like, “Let’s record right now.” It wouldn’t have been the same, so I like for it to be all organic. 

How did you connect with Sada Baby?

I connected to him through my boy. They came to Atlanta, and you know everyone has to tap in with the real ones. He just pulled up and it was brotherly love. It’s been lit ever since. He’s really my brother. He comes to Atlanta, he lives in my house (laughs). 

What’s your creative process with Sada?

That dude is a beast. He’s a real animal. I’ve never seen anyone work as hard as Sada Baby. He does five or six records and then does a video. His work ethic is unmatched, for real. That dude goes crazy.

Do you try to match that intensity when you two are in the studio?

I ain’t going to lie, I do be trying to keep up with him. I love the way he raps and the way his brain works. Everything I rap is all facts and stuff I do every day. A lot of their stuff be really thought of and stuff. Sada does it effortlessly. They always call me and recite one of my bars. It lets me know niggas are really listening. 

Sada Baby is a character. What’s the funniest thing he’s done in the studio?

This nigga Sada Baby will cut off all of the lights in the studio. It’s pitch black dark and he doesn’t want anybody saying anything. This dude starts dancing in the middle of a session. I’ve seen him do some crazy shit, no bullshit.

What rapper smokes the most with you?

Skooly. In a day, we’ve smoked at least four ounces, easy. Every blunt I smoke is seven grams, so you have to think four blunts is an ounce for me. 

What do you need in the studio to make your music?

It all depends. Sometimes I want the vibe to be bright and lit. It depends on the type of song I’m recording. As long as I have some ice, soda, water, a lot of grabba, and my key people in the studio, I’m good. I don’t need everybody in there. My sessions are lit. You don’t know who you’re going to see. I’ve had everybody in there.

What is your sound?

It’s diverse because I’m outside of the box. I’m from Atlanta, so everybody thinks I’m supposed to rap a certain way, but I’v been blessed to see other things in the world. I’m diverse. I might come from melodic to trap. There isn’t any box for me.

What session was jam-packed with stars?

I recently had Reese LaFlare, Sonny Digital, Skool, Trinidad James, Lil Yachty, Mike Will Made-It. It was crazy shit, but this is on the regular. 

Skooly is one of 2 Chainz’s main artists on his T.R.U. label. How did you two connect?

Skooly is my brother. We’ve been locked in about 10 years. He lives with me and everything. He doesn’t leave my side. I’ve been watching him record for his whole life. 2 Chainz loves the whole movement I have going on and salutes it. 

How did the pandemic affect how you recorded Big Shark?

I loved it. It made me really get locked in the studio for real. It gave me more time to master my craft. I’ve was always recorded, but I wasn’t comfortable putting out the music because I’m all about quality control. I was in the studio every day.

What unreleased music do you have?

I have a lot of crazy shit in the cut with Yachty. I also have some stuff with Sada Baby. I have a Sharklato compilation about to drop with everybody on it. I’m going to book my own tour. The sky ain’t the limit no more, it’s beyond that. 


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