![](https://uproxx.com/wp-content/uploads/2020/04/bey-tfeat-uproxx.jpg?w=1600&h=495&crop=1)
Mike Dean is a true Houston legend. His creative energy has been deeply-rooted within the Dirty South culture since the early ’90s, as evidenced by his work with the Geto Boys and Scarface. While he is mostly known for his work with multi-platinum superstars Kanye West and Travis Scott, being from H-Town, he’s also worked with one the biggest entertainers on the planet, Beyonce.
During an Instagram live interview with Uproxx, Mr. Dean went off on the keys to Queen Bey’s “Love Drought,” one of the songs he produced on her surprise, Peabody Award-winning album Lemonade.
“I made that beat all by myself,” he revealed. “That beat didn’t change from the minute I created the beat. I just gave it to Beyonce… Ingrid [Burley] wrote it.”
Beyonce and Dean’s relationship goes far beyond Lemonade, though. Mike first met Bey back when she was just a teenager.
“I think the first time I met her she was like 14 and her dad brought her in when I was working with the Geto Boys,” he revealed. “She was too young to sing on some of the stuff back then. You know, for the subject matter we had it didn’t really work out. I met her again for the ‘Gangsta (Put Me Down)’ music video, another Geto Boys song that we did. I mean she’s great. She’s great to work with.”
As the world tries to adjust while on lockdown because of COVID-19, Mike got high and put together a compilation of the music he created while doing Instagram live sessions in his studio, aptly titled 4:20.
Each session features him jamming out on his guitar and doing his thing on the synths. He called it the most creative thing he’s ever done high and from just one listen, it certainly is a one-of-a-kind experience. If you were ever curious about the inner-workings of a musical mastermind, 4:20 is the perfect beat instrumental to massage your mind as you blow a few joints in the air.
Fans can expect an additional instrumental EP and another EP to follow with major collabs.
Check Mike Dean’s 4:20 EP below.