A History Of ASAP Rocky X Clams Casino Collaborations

The hype for ASAP Rocky's second album continues to grow, but Flacko's been less forthcoming than most artists when it comes to details. We don't know any of ALLA's rap features, though we know it will feature R&B genre bender FKA Twigs and Swedish pop singer Lykke Li. We also know one of Rocky's main producers, Clams Casino, will be back--and, for now, that's enough to keep us going.

Without Clams Casino, there might not be an ASAP Rocky. Or, at least, his come-up wouldn't have happened nearly as fast as it did. Of course, it goes vice versa, too. After working with Rocky, Clammy Clams has gone on to produce for Mac Miller, Schoolboy Q, Jhené Aiko, and the aforementioned FKA Twigs. Clams produced five tracks on Live.Love.A$AP, the coming-out tape that brought Rocky instant celebrity. Though it's pretty hard to fuck up a Casino beat, A$AP Clams' chemistry goes unmatched. They brought the world a brand of hip-hop that's emotional, druggy, and chalked full of swag; clique anthems that are simultaneously turned up and down. A strange, indescribable mix that still needs to be explored. On Rocky's debut album, we only got two Clammy beats. Let's hope to get that number back up this time around. 

Here is a history of ASAP Rocky and Clams Casino's work together. Listen through and vote for your favorite A$AP Clams cut in the comments. 

The first Clams Casino beat Rocky ever got his hands on, before the pair ever met each other. Clams discovered Rocky online, liked his style, and reached out to send him some beats. It turns out, he was Rocky's favorite producer. Rocky had already recorded over "Demons", and it sounded so good they had to keep it on Live.Love.A$AP. The formula was already there--druggy, a little depressed--but a sound (and a swag) so pure you can't help but be inspired. 

The opening song to Live.Love.A$AP, the mixtape that put A$AP (and Clams) on the map is one of the most grandiose Clammy beats. The bass connects with crashing cymbals and an echoing chorus of holy chants. Over top stands a cocky kid from Harlem intent on bringing the "trill" to East Coast rap. New age street royalty. 

Perfectly executed pretty boy swag from Rocky, another dreamy vocal sample from Clams. The beat speaks to you, even though it's one sample washed over and over again. True to the title, Clams thumps on the bass when it comes time for the hook--first with the screwed vocals, and then in tandem with Rocky steadily repeating the word "bass". 

Opening with a chilling recording of Ol' Dirty Bastard--"we some partying motherfuckers"--"Leaf" starts out on an ominous note, with Rocky airing all his grievances: "jackers", "backpackers", "hipsters", "phony niggas"... fuck 'em all. A$AP ain't no trendy fun and games; it's built to last. Though Clams is careful to leave room for Rocky's shit-talking, letting drone-y murmurs float in the background, he injects a serious kick drum attack right when Rocky gets most vicious: "little bit of that, little bit of this, get off my dick". Goosebumps. 

We also get verses from Mondre M.A.N. and Squadda B of Main Attrakionz, whose brand of "cloud rap" is inseparable from Clams the man. 

"Wassup" was the first song Rocky and Clams recorded together, and it still stands as one of their best. The way Clams makes the vocals "hum-hum-hum" provides instant gratification. Even with the instrumental alone, it's near impossible not to hear Rocky rapping, "See me in the hood, the gangstas saying wassup". Rapper and producer 100 percent in sync. No one understands Rocky's flow like Clams, and no one rocks a Clammy beat like that pretty motherfucker. 

Live.Love.A$AP featured five Clams Casino beats, making him the most featured producer on the tape. Sadly, we only get two on Long.Live.A$AP, Flacko's debut album--though we can't complain about 40, Hit-Boy, or Danger Mouse.

On "LVL", we hear "Clams Casino, nigga" about eight seconds in, though we already know its his beat. This production is an interesting evolution in the Clams sound, forgoing the druggy-ness of earlier productions for something more club-inspired. He repeats Detroit techno-type synths at different pitches until they melt into a numbing background melody, over which he can really fuck around with his signature vocal mash-ups. This time, he takes a sample of female pop trio Haim singing the word "love". Clams distorts and stutters that "love" into something else entirety--a sound with more inherent emotion than the word "love" itself. 

The gun shot after "Flacko locked and loaded" is another cheeky, but brilliant, touch. 

"LVL" segues right into "Hell", the second straight A$AP Casino collab (though the last on the album). "Hell", unlike its title, is a soft, triumphant instrumental. Rocky stands atop a muted pop melody that eventually decays into a beautiful static. Santigold drops a gorgeous hook, mimicking Clams' barely audible synth melody, that captures that pop energy for just enough time before Rocky's back to preaching his high-fashion ghetto gospel.