There was never a case where she was like, “I want this to sound like this.” It was just, “Take these songs and make the best possible production that you guys can do with it.” We got in our room and it was like, what’s the best possible way that we can showcase these songs…? We kind of just did what we felt. Was there a specific style that she was going for when you were coming up with the song at first? She loved it, she was like “Man, I think I wanna use the track for another song!” We were really big fans prior to actually working with her, so just being able to work with her, being in the studio with her, was just a dream come true. We started getting really good buzz because we put it up on YouTube, and people started loving this remix! It ended up on a mixtape, and I actually got to play it for her when we first met. We wanted to do our version of it, so we took the a cappella and re-worked it. Oh, absolutely! What’s crazy is, me and my partner who I took out there to work with me on the album, Caleb Sean… this was 2010, so I’d say maybe two or three years prior, we did her “Single Ladies” track. Was she someone who you’ve always had an interest in working with? That was my first introduction to actually working with her, in New York. We picked out five records, “Best Thing I Never Had” being one of them, and we re-worked those records the whole week while we were out there with her. Can you come out for a week?” I wound up going out there and I bought one of my production dudes, Caleb McCampbell, and Beyonce played us seven records that she loved, but she didn’t like the production on them. She was like, “At the top of the year, I wanna bring you out to New York to help me work on 4.” January 2nd, I got that call, “Yo, Beyonce wants you in New York tomorrow. There was one particular song that I thought the drums could be better on, and she gave me the section and was like “go re-do the drums.” I took the session downstairs, re-worked the drums and she loved it. She invited me up to her floor to listen to some songs that she was working on for 4, so I went up, listened to some songs and gave my critique on some of them. We were in this mansion together that they built that had these three studios, and they built a studio for Beyonce on the third floor. On our second trip-we went to London first-so on our second trip to Australia, we really started to build a working relationship. So, while we working on the Watch The Throne album, Beyonce was out there of course, so that’s when I really started to build a relationship with her. The way I began a working relationship with her was that I worked with Kanye on the My Beautiful Dark Twisted Fantasy album, and I had the honor of going to London and Australia to work with him and Jay Z on Watch The Throne. S1: So, this was actually my first time working with Beyonce, on the 4 album. VIBE: Before you worked on 4, have you ever worked with Beyonce before? And if not, how did she initially get a hold of you? Symbolyc One (S1) was a co-producer on “Best Thing I Never Had.” A Very GOOD Beats signee, S1 has produced for Kanye West (“Power”), Eminem (“Bad Guy” from the Marshall Mathers LP 2”) and The Throne (“Murder To Excellence”).
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