"What They Want" is a song by American rapper Russ. It was released on his SoundCloud page on August 19, 2015.[1] Russ included this song on his 12th (and major-label debut) album There's Really a Wolf.[2] The song was mixed, mastered, engineered, produced, written, and performed by Russ.

The song is a response to labels and women who now want to approach him due to his success as a rapper.[3] In the songs hook, Russ states "Dollar signs, yeah, I know it's what they want", as women now want him for his money, and labels want him for the money they can make off of his hard work.

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"What They Want" debuted at number 99 on the US Billboard Hot 100 chart, on the week of November 12, 2016.[4] This became Russ' first song to appear on the chart. Three weeks later, the single reached its peak at number 83 on the week of December 3, 2016.[5] The song also managed to chart at number 12 on the US Rhythmic Airplay chart on the week of December 3, 2016.[6] On July 26, 2021, the single was certified four times platinum by the Recording Industry Association of America (RIAA) for combined sales and streaming units of over four million units in the United States.[7]

In 'What They Want,' Russ delves into the themes of authenticity, industry manipulation, and the true intentions behind people's actions. The song opens with a reflection on his entry into the rap game, suggesting a sense of disbelief or perhaps a critique of how the industry allows certain artists to succeed. Russ uses the metaphor of women, Lola and Catia, to represent the temptations and superficial relationships that come with fame. These women are depicted as being attracted to the lifestyle and benefits associated with Russ's success, rather than to Russ as a person.

The chorus, 'What they want, what they want, what they want / Dollar signs, yeah, I know it's what they want,' is a blunt acknowledgment of the materialistic and opportunistic motives he perceives in the industry and people around him. Russ asserts that he sees through the facade and understands that many are after his wealth and what he can offer them. This realization doesn't seem to surprise him; instead, it reinforces his commitment to self-reliance and skepticism of others' intentions.

Russ also emphasizes his independence and hard work, referring to himself as a 'DIY pioneer' and highlighting his long journey to recognition. He expresses a strong desire to maintain control over his career and finances, rejecting the idea of being manipulated by others. The line 'Pop Pop would be turning in his grave / The day I let someone else become the boss of me' suggests a personal vow to uphold his autonomy, likely influenced by a family value of self-sufficiency. Overall, 'What They Want' is a declaration of Russ's awareness of the industry's greed and his determination to navigate it on his own terms.

Russ (06:56.114)

Although I think your history, you know, once you get into things, you know, once you get into writing tunes, you sort of, or once you get into playing, you develop, you get muscle memory, you get better. You are what you repeatedly do, they say, you know.

Craig Garber (07:14.026)

Yes, for sure. Yeah. Tell the story if you can Russ about your first experience where Cliff Richards and the shadows recorded your song called The Lost City. And your mom gets a phone call about that. I was curious, like did you ever get paid for that? Did you get like publishing writers, anything like that? You did.

Russ (18:49.614)

Well, before we were in from 1970 to get the band together from late 19th, the summer of 1969, Arjun went to Germany and we did what the Beatles did and what a lot of bands did, you know, we played in a club. So instead of going to Hamburg, we went to Southern Germany, which was another 600 kilometers away. You know, we went to Munich and played in this club called the PN club.

You find your voice starts to fail. I went to, I said to this guy, I said to Ziggy in the club, I said, how do bands get through this? He said, you go to the apothec, you buy the anion pills. You take the anion pills with the beer.

Russ (24:30.126)

stayed on the road, stayed on the road and did it. And I felt better when I was on the stage and when I came off the stage. You know, I thought, it was like a long panic attack. It was like a permanent, almost a permanent panic attack.

Russ (28:14.734)

People liked it. I mean the road managers used to come and we did it at Abbey Road like we did all our albums, but most of them at Abbey Road and the roadies were coming in and they said, ah, this is my favorite. Oh, I love this tune Oh, I know all that kind of stuff, you know So we thought and obviously they thought it at CBS as well. So they released that one Yeah, so we did have that feedback, but we got that idea from Germany

Russ (34:33.506)

you know, I bought a house. I put enough money down to buy a nice house and then I still had money. The money was coming in, Three Dog Night did another one of my songs on the next album. So the publisher was well happy. I was going back to the publisher and saying, you know, and they said if you need any more money, they wanted to keep me as a songwriter because I was doing well, you know. So they were offering me money. I thought I could do this.

Russ (37:27.222)

It was very different in the go back to the 60s and 70s. There were record companies. There were record companies, there was no internet. There were record companies signing bands. And if you made it, it was the, you know, it was a pot of gold basically for the band and for the writers as well as for publishing as well. So it was very, it seemed very, very simple.

You know, you were signed to a three, with CBS, you were signed to a three album deal. And to be fair, CBS stuck with you, stuck with you for three albums, you know. Basically, you went on the road, you built up a following, you released the second album, went on the road, you built more of a following, you released a third album. And hopefully one of those albums would, you would have a hit single, which we did with Hold Your Head Up.

Russ (44:00.258)

They recorded it before Rainbow. And then Rainbow recorded it. And then a girl band called, they were Clout, South African band, did a version like mine, very similar. Yeah, and then Sherri and Mary Curry did it, yes. They all got in the charts, they all got in the American charts, that I think was in there four times altogether.

Russ (59:18.754)

To tell me where you are, do do. It was urgent, we played on it and Colin sang it. And we did the backing vocals, Rod and I did, and Jim did the backing vocals. Sound like the zombies actually.

Russ (01:10:45.034)

How about that? He said, if Freddie Beanstock is publisher, who I am at, I signed a song over to Elvis that he never did, but I signed it and I signed it to Freddie Beanstock at Carlin and so I met him, you know. And Lieber and Stoller walked in, so I spent an hour chatting to them about Elvis, you know. They had no idea Elvis was about to die. This was in 77, you know.

Russ (01:14:26.094)

great chorus writer. But I thought I wrote choruses. He writes good verses and stuff and writes great ideas. So we got together. Do you know, we get together. And we get together. It turned out, he lived in Bristol, so for me it was like two and a half hours away. It turned up on a Thursday.

Russ (01:19:31.266)

They want him to sing the song. In South African, Nelson Mandela loves his voice. So he said, I went to my house, comes to my house, we do the demo at my house. He sings it. I engineered it. Chris was there, so we did it together. And then it gets bigger and bigger, and then we put strings on it. We put like a 60 piece string section on it.

Russ (01:20:01.418)

it ended up Trevor Hall producing the thing he produced it in the end because it became this big thing they came back to us somebody suggested Nelson Mandela should say a few words in the middle

Russ (01:20:21.991)

So Nelson Mandela said, would you ask the writers to do it? So I sat down, wrote all this inspirational stuff in the middle. Ooh, we had this South African choir on it as well. Da da da, da da. The generosity of the human spirit can overcome all adversity. With care and compassion, together we can create hope.

Craig Garber (01:35:51.615)

Well, you know, I just want to tell you, you mentioned Jerry Lieber. I had his son Oliver on my show recently. Very successful songwriter. I could send you the, you mentioned how this other guy was an alcoholic. Jerry was a raging alcoholic.

Craig Garber (01:57:39.638)

That is so cool, man. I have, can you show that one more time, please, Russ? Can you show that one more time? Oh, man. And it always had the humbucker in there, did you put that in?

Russ (02:00:39.822)

I used to do, we used to do, we used to do, we used to do hold your head up and then with the hold your head up woman hold your head up woman hold your head up woman hold your head up woman. And I used to spring the guitar around like that and throw it in the air. And the idea was the guitar comes down, grab the guitar, lights go out, finish.

mile and a half from my house and as we were walking along the road there were about seven guys all about my age probably a little bit older 14 15 and as I was walking I was 12 nearly 13 as we were walking along the road I noticed they had slug guns pellet guns and they had

Russ (02:13:07.611)

My mum went to a faith healer later, because I was going backwards and forwards into hospital, I had another operation. So after the first 10 months or so, they let the eye of the cataract come on my eye. So basically they said, you know, when the cataract, it would take a long time for the cataract to come. So after about 10 months or a year, I went back and they took the cataracts off the eye, then I went back in and they tried to put a lens inside the eye and this kind of stuff.

King Khalid at the time, I think Saudi Arabia or whatever, he was in the Middle East. All these various people, these people from, celebrities from England, he healed them, healed them all. And King Khalid gave him a gold watch. 152ee80cbc

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