There are certain songs where, from the moment you hear them, you know they are special.
These songs may not be at the top of the charts. They may not even get celebrated by the critics. Even so, they find a way to stay with you.
For me, All That by A.K.A. Fisher has cemented itself as “special”.
“I didn’t really have a plan to make that message into a song necessarily. Until I heard the beat.”
Easily on my list of “most slept-on records of 2021”, but I’m hoping to change that status.
How It Started
“It was kind of a collision of two things at once.”
“In my personal life, I was learning a lot about trusting God as my provider. What that should look like in my daily life. I had to ask myself some hard questions and really check myself. Either I really believe my God has it all and is more than capable of providing everything I could possibly need, or I believe I need to rely on things other than God to survive. To find success.”
“Wouldn’t be any Christian artists watering ANYTHING down for the sake of marketability if we really believed that God was taking care of us on that.”
“I’ll be prosperous as God says I’ll be. There’s nothing anybody can do about it. I need to start living like it, and talking like it, instead of thinking like how the world thinks. God’s math doesn’t even make sense to an economist. Like, how do you feed 5,000 with two fish and five loaves of bread? That’s the God I serve! So I’m straight.”
“The second thing that was happening during this time of heavy, but liberating learning is, J-Notez was in the studio wild’n! When he finished this one and showed it publicly for the first time, I immediately knew I had to have it.”
“Once I heard that beat, I knew I had the song for it. I had been thinking about that topic a lot at the time. It just clicked. I was like, I know exactly what I’m gonna talk about. Had that original version of the song written in like 15 minutes.”
“Once I laid my vocal tracks I sent it over to Wrecktify. I felt like the hook needed some harmonies, layers, and whatnot. He loved, loved the hook, and immediately was like, yeah I wanna get on this.”
“He knocked his part out super quick too actually.”
“It all came together really fast for sure. His (Wrecktify) adorable little kid Hudson even sings some like background ad-libs on the track.”
“We had a lot of fun.”
“Once we had all the vocals on the original version, we felt pretty strongly about it as a single for the album. We couldn’t get the hook out of our heads. That’s when I started working out the ideas for the music video.”
“I have such strong feelings about all of the songs on this project for different reasons. Looking at it as objectively as I can, in terms of hit potential, I suppose All That would have to be top three [on the album]. If we’re talking about just my personal favorite tracks, it’s definitely somewhere in my top five. The remix certainly bumps it up a notch or two higher.”
Why All That for a remix?
“I think primarily it was the overwhelmingly positive response to that hook. It just really stuck and I felt like maybe we could push it further.”
“I also didn’t hear much about my original verse which I thought had some really solid wordplay. Being somewhat competitive as an emcee, I was excited about the possibility of having another shot at my approach to the verses. I just tried a more aggressive and rapid fire style the second time around.”
“It worked out great approaching V. Rose about it.”
“She actually really liked the original style and also the original music video with the references to the old Nickelodeon All That TV show. We had no idea about this when we reached out.”
“It turned out, she is good friends with Kel Mitchell from the original show. So to her, the nostalgic concept was dope!”
“Once we found out about that, we just felt this was clearly arranged by God. We knew we had our first remix.”
“I wanted to build on the message of the original version. I had more to say. It worked out great to have the opportunity on a remix. I just knew I wanted to come out of the gate CRAZY to set the tone and make sure when you heard it, you knew right away, that that this remix was going to be a wild ride.”
“The remix took me like a day and a half to write. I was really happy with the flow and everything right away. I knew pretty quickly how I wanted my flow to feel on the beat.”
“All of the artists on the remix are people who I felt had a very unique sound.”
“They also demonstrated authenticity outside of their music in the way I’ve been treated by them, or have seen them treat people. That’s always a priority to me.”
“I don’t care if you’re the biggest artist in the world or if you only got a couple hundred views on YouTube, if you got a unique sound and I see you walking the walk too, I’m tryna build with you. God-willing.”
“The trick in doing a posse cut is maybe all the individual styles are a little too different to fit together on a record. Maybe it’s too many ingredients that don’t work together, or don’t make for an enjoyable combination. As different as everybody’s styles are on this track, we heard the pieces together once and immediately knew it was going to work.”
“That’s one of my favorite things about music. Putting things together and then it works perfectly. That’s a great feeling.”
“I got to work with my man DJ Dream214 again for that.”
“The idea [exisited] from pretty early on, even before the song was finished.”
“I wanted to recreate really iconic moments from the original All That TV show. I started brainstorming like, what would be the most easily recognizable scenes to recreate; which one did I think I could realistically pull off? Ultimately, I settled on Pierre Escargot (fortunately, we found a studio that actually had a bathtub in it), Ed from Good Burger, Ask Ashley, and the Vital Information desk.”
“There are even little Easter eggs in there for the real fans. Like the ear of corn on the desk, which was made to look like a giant ear of corn by putting it next to the globe.”
“It was definitely one of the silliest shoots I’ve ever been a part of. Working with DJ Dream214 is always a great experience.
A.K.A. Fisher’s new album, In the Ruins of Dreamland, is available across digital music retailers now. Support directly on Bandcamp: Tentmaker Music