"Wyldfyer is the future". That is the most common answer when asked what people think about Wyldfyer's music. Some may think that's pressure but to the up and coming producer, it's just a compliment that he doesn't take too seriously.

It was the college years at Hampton University where Wyldfyer really began his production career. It started with simple beats made with a tape deck, a Casio keyboard, and a CD player. Wyldfyer had taught himself to make beats b4 but now he did it with a purpose. "We use to freestyle late at night. It was just fun. I use to enjoy coming up with new beats for us to flow too. It was just a hobby though."

After a few years at Hampton, Wyldfyer transferred to Morehouse College where he was asked to become a member of an R&B group. It was during that time that the group came in contact with Focus "Focus was the first producer that I ever met. I still remember when we went to Redzone. He was just chilling with a guitar in one hand and an MPC in front of him. His tracks were CRAZY!!! He was accomplished yet he was so cool and humble. I decided right then that this is what I wanted to do."

Wyldfyer went on to earn a BS in Chemistry from Morehouse then on to Georgia Tech to earn a BS in Chemical Engineering. His plan was to get a good job, give back to his family and maybe buy a little equipment to play around with. Although the move to ATL was purely academic, it would change Wyldfyer's life forever. "There's no place like ATL. We use to go to Club 559 every Thursday, Atlanta Live on Friday, and 112 on Saturday. That was three different vibes but all equally dope. I got baptized into the south through 559 and really learned a whole different culture."

Atlanta was considered a black Mecca where one could really build their business if they grinded hard enough and Wyldfyer embodied "the grind". It was 2004 and Jay-Z had just put out the acapella to The Black Album. There were a few remixed versions that were getting major buzz. Wyldfyer decided to remix the album and use it for a demo. Along with his cousin and business partner, Jacobi Jones, Wyldfyer hit the bricks, passing out CD's; leaving copies with Radio Personalities, DJ's and execs. The project received rave reviews. It was featured in "Rolling Out" magazine, a national urban newspaper. The project was even bootlegged. "I had a lot of people asking for a copy. They even wanted to buy it but I didn't want to disrespect Jay in hopes of maybe working with him one day. Everyone kept saying that I had to get a copy to Jay…like it was that easy."

Jacobi passed a copy to then So So Def producer St. Nick. St. Nick loved it and him and Wyldfyer immediately hit it off. "St. Nick really taught me how to PRODUCE, not just make beats. With him, I got a chance to work on a lot of different types of music including a song called, "Time and time again" that ended up on Missy Elliot's album, "The Cookbook". I remember when Blackground Records flew us out to LA to work on a few of their artists. Watching St. Nick was a huge experience." By hanging out with St. Nick, Wyldfyer was able to meet a lot of people in the industry. Of those people, LES proved to be the most valuable.

"When LES heard my project, he loved it but initially he was more interested in having me build his website. I did it hoping to maybe build a relationship and we definitely hit it off. I sent L some beats and he played one for Nas. That ended up being, "Death Anniversary". That was going to be on the new album but this was before the Def Jam situation." That situation would change EVERYTHING.

How ironic was it that by remixing a Jay-Z album, Wyldfyer was able to work with Jay's archenemy, Nas? Maybe it wasn't irony. Maybe it was fate for soon after that song was recorded and leaked, rumors surfaced about Nas going to Def Jam. Soon after, rumors became reality and talks of a Jay-Z/Nas collabo were all over the music world. By this time, Wyldfyer was mass-producing tracks just hoping to maybe land a song on Esco's Def Jam debut. "It was this period where LES really taught me tricks of the trade. He taught me how to chop samples better and loaded me up with some ILL drums. A Nas record is not an easy thing to do. But LES gave me the keys and showed me how to drive. It's no doubt that I owe my whole situation to LES taking a chance on a young cat like me." It was his relationship with LES that led to the creation of one of the most highly anticipated records of all time.

Wyldfyer recalls how the track for "Black Republican" came about. "I was chilling at home when I got a call from St. Nick to come to the studio. He said he wanted me to get some tracks to Goodfella, an artist signed to Blackground Records. I figured that if his name was Goodfella, he was going to need some Mafia type tracks and I love making new tracks for meetings. I decided to turn to the movies since cats were playing out the soul samples. "Scarface" was too 80's so I tried "The Goodfellas" soundtrack. I didn't hear anything in that so I tried "The Godfather". THAT jawn was exactly what I needed. I took some drums from a folder that LES gave me and really layer them up. Then I went searching for a sample to fit. I did a lot of pitch changing and stretching but it finally felt good. As always, I put my hottest joint at #7 on the beat CD.

Once I got to the session, I realized that I had already met Goodfella in LA and he was really a dirty south rapper, not a NY type cat. So I basically wasted my time with that beat. I just tucked it for a rainy day. I really thought that it was too melodic so I didn't send it to LES right away. Then one day I was like, 'What the heck? Let me just send it anyway.' Next thing I know, L hits me up like, ' Yo that "Goodfella1" beat is crazy. I got Nas all over it.' When he cut that joint, it was just crazy. Nas is a true artist. That's all I can say."

One night Wyldfyer got a call from LES. Although they'd talk every night about business, music, or even ideas for songs, there was no phone call that could compare to this one. "All I remember is L telling me that he went to the studio and saw Nas and some empty bottles of liquor. I can't remember if Jay was there or not but Nas turned on the record and there it was. The next thing he heard was, ' I know you can feel the magic baby.' I really can't express what it felt like to know that Nas and Jay were on ONE song together and it was on MY beat…a beat that wasn't even going to see the light of day. By remixing Jay-Z, I was able to get down with Nas and my first song out is a classic with BOTH!!! GOD is good." Wyldfyer went on to produce 3 songs on the album including "Money Over Bullshit" and "Hope."

Of course this is just the beginning for Wyldfyer. "Working with LES, I'm getting the chance to get at EVERYONE, especially New York." Of course that doesn't mean that Wyldfyer's just sitting back. "Man, I'm on EXTRA-grind. L's in NY. I'm in ATL. So of course I'm getting it in down here, building this empire. Big Boss Entertainment is the movement. My cousin Jacobi is running that. Then I got SoundStarr with my man George, aka GA. We got Throwback City, which is a collective between my partners Chriz Clark, my man CYANCE and myself. Chriz and Cyance are two of the illest EMCEES yet so different. Throwback City is on some Tribe called quest/J. Dilla, 1989-95 type hip-hop vibe. We do what we want because it's all about the music. Then there's N.O.V. I can't explain how amazing of an Emcee he is and he JUST turned 21. He's the only artist I know that can rock with ANYONE lyrically on a track and come back to do a club song and NOT sound like he's trying to hard. He's so versatile. And of course you know I'm in the south so I'm getting it in on the local level too. I can do ANY kind of music I want. GOD gave me a gift that I really can't explain it yet but I am using it to it's maximum potential."

When asked what's up next to Wyldfyer, he simply says, "Keep checking your CD covers. It has begun!!!"