"From here on out, there’s no more Ro Spit, there’s just RSXGLD."



Ro Spit Talks His New Project RSXGLD and How He's Building His Legacy

When Ro Spit started working on his new project RSXGLD with partner and producer 14KT, he had no idea how much the album (and his own life) would change as time progressed. In his most vulnerable project yet, Ro Spit talks losing a parent, politics, familial strife, and his own views of the world – something the artist has never done before. MILK.XYZ sat down with the artist in question to talk the new album, his musical inspirations,  and how Ro Spit and RSXGLD are building a legacy for themselves.

Tell us a little bit about your new album, RSXGLD.

Our new album RSXGLD is a group effort by me and my homie 14KT. We’re both fellow artists and we’ve worked together for years. Personally, I was getting to an end of a solo music career. I was over it and frustrated with the outcome of certain things, but I always wanted to do a project with KT, just me and him. It’s given me a resurgence. From here on out, there’s no more Ro Spit, there’s just RSXGLD.

Is there a unified concept behind the album or theme that ties all the songs together?

The only thing that is unified concept-wise is the fact that KT is the sole producer. He did everything – anything sonically you hear on the album, that’s him. We got a DJ to do some scratches, but other than that it’s all KT producing. Same thing, other than the lyrics of the features, all the lyrics are me. KT also does vocal work with the production, but other than that, everything we try to do or challenge each other to do, we try to get out of our past boundaries. Me personally, I never really cared to know what people thought about me. Through my raps, if people knew what I thought politics or what I thought about the world, I really just wanted people to know I could rap really good. So, I stepped out of by boundaries there. We also stepped out of KT’s boundaries with just doing things other than hip-hop and R&B. We tried to push things like pop levels, ghetto tech levels, and then the cohesiveness of bringing all those songs together to make them sound good together.

Would you say this is your most vulnerable project since you’re getting a little more personal?

I would definitely say this is my most vulnerable project. There are things on there that I’m rapping about that in the past, the album right before this that I did, I spoke a little bit about my father and my relationship with my father, things like that. I went into depth with storytelling on this one and why the issues that are there exist. Even after my father passed, I covered the issues going on with my family since then. I definitely went more into depth than I’ve ever gone before. It’s dope because the feedback that I’m getting from that is awesome. A couple people have already told me that that particular song about my father hit home with them. These are people I’ve known for years, not friends but fans or supporters that I’ve known. I would’ve never known that we shared that in common, a similar relationship with one of our parents.

What was your headspace like when you were creating the album? What was going through your mind?

There was a lot going through my mind at the time since there was so much going on in my life. Family-wise, with what was going on with my father and my family on that side, and then business-wise as well. That year, more than a year, that we were working on the project, business-wise I was in a very bad space. I came through it. It was peaks and valleys. I was here when we started, and then we hit a lull and a lot of people around me didn’t know what was going on business-wise and how bad it may have gotten, and then the turnaround. Then, I think when I first started writing the song about my father, he was alive. My father passed in that year or so, so it was a lot to handle.

What’s most important to you as an artist when you’re putting out a new project?

I’ve been in this for so many years being an independent artist, and that’s one of the things we crossed on the project. Being an independent artist, there’s ups and downs. Doing things that the average artist or the average person that does what I do may never get a chance to do but still feeling like I should be here in my career. Going through that and getting to the point where I’m dealing with the people that hear my music and naturally like it. I could care less if you don’t like this project, or you hate it or you don’t wanna buy it or you have anything negative to say. I put my all into it and it’s for the people that are embracing what I’m doing and embracing my movement, what KT’s got going on. We want it to be organic. I don’t wanna force anyone to like my music. I’m past that. Right now I’m putting music out and seeing where it goes.

Which track are you most excited for people to listen to?

In general, people should just listen to the album as a whole. Two of my favorite songs are “Err’body Know That”. It’s one of those records where it’s just fun, we’re spitting but it has a feel that everybody will hear it and understand. The song we put out the other day, “4 2 1 7 5”, was another one that was crazy and just working with legends like Royce 5’9 and JMSN, how do you mix all that together? What KT was doing on the whole album, the progression, the production, melding two or three songs together into one song that flows so smoothly, you don’t even know it’s 6 minutes 45 seconds or something like that, it’s crazy. Fist pump music, it’s just like Miami on a beach, Pitbull-type, we took a shot at it. Everything we did on the album, we stepped out of our normal realm for what we’re known to do, we bring it back with the beat changing up and bringing you back to what we’re great at. Everything is about the overall sound of the album and how KT put it together.

Do you think the sound has evolved since past projects you’ve put out?

It for sure shows how much I’ve changed, but for real, this album is the first time I’ve been able to lock down in the studio with a producer and come up with ideas and bounce ideas off each other and put everything together. Every one of my other projects, I would get beats from producers, I would rap to them, I would take them to the studio, mix them, sequence them, master them, make sure the producer likes it, then put it on the album. This time, it was like alright let’s sit down and see how we can make this transition so people don’t even feel the transition. It’s that smooth. It’s the entire project. This is the first time it’s been one producer, first time being in the studio and every song I wrote, I wrote it on the spot. I’ve never done that before. Maybe a couple verses here and there, or on a feature, but other than that, not really. Going to the studio with nothing prepared, no thoughts, had a conversation with KT and then wrote on the spot, recorded it, and that was it. We then built off of that.

That’s awesome. Changing gears, can you tell us about Burn Rubber, your sneaker shop based out of Detroit — was fashion always an interest of yours as an artist?

To start, Burning Rubber is the greatest sneaker boutique in the entire world. I always was into style. Hip-hop and fashion practically came out of the womb together. So, I’ve always been the person in my area to be the first one to wear this, try this — people don’t know about this shit and then I start wearing it. Ten years ago, I was blessed with the opportunity to purchase Burn Rubber and it carries on to other parts of my life. I never really felt like I’m working because I enjoy what I do so much. Just being around new sneakers and seeing new clothes months before they come out, pushing this culture, it’s so easy because to mix the two because it always makes sense. If you’re a rapper, day one you gotta express your style in some type of way. Burn Rubber gives me that outlet. It always feels like I’m at home. Whether I’m in the studio or Burn Rubber, they cross paths. Especially with KT’s production, it all blends together.

What are you listening to right now?

Honestly, I listen to my current records. That’s what I listen to. Other than that, I came across Kendrick Lamar’s Good Kid Bad City and I’ve been listening to this one song, I think it’s called “Bad City”, crazy a lot. 60 times driving to work, that much, it’s really good. If I’m not listening to RSXGLD, trying to remember lyrics for shows and everything, it’s slower music — The Internet, I’m a big fan of, OG people, Anita Baker.

What’s next for you?

Right now, musically, I’m 100% RSXGLD. Me as a solo artist, I’m done pursuing that career. I’m going where this RSXGLD train takes me. KT is my producer, he makes beats and DJs and does his own thing. I DJ as well and do other shows or whatever, but rap-wise, if it’s not RSXGLD, it’s not happening. I recorded this whole project in LA – I don’t even have a place in Michigan where I used to record anymore. For the next few months, probably till the summer, depending on how this album takes us, I’m gonna be pushing it. Then, we’ll start working on the next one if it makes sense. Store-wise, we just opened up a store in Tampa. I’m trying to open more stores, we’ve done collaborations with Reebok, New Balance, Sokany, the big shoe brands, clothing brands, and we’ve got some coming up with Reebok, couple other projects on the table for later next year and top of 2019. We’ve got some things in the works, but the thing about Burn Rubber, it’s my bread and butter. It’s gonna be here, I plan on passing it down to my kids, it’s a legacy I’m trying to build.

Image courtesy of Ro Spit

Stay tuned to Milk for more artists who are changing the game. 

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