By Azzam Bilal 
HangupsMusic.com – Atlanta, the hip-hop landscape has long been fascinated by the internal dynamics of G.O.O.D. Music, the influential label founded by Kanye West that once stood as a bastion of avant-garde production and elite lyricism. For years, CyHi—the artist formerly known as CyHi The Prynce—served as one of the label’s most essential, if often underrated, architects. Known as a "writer’s writer," his pen helped shape some of the most iconic moments in the Ye discography. Now, after years of relative silence and behind-the-scenes maneuvering, CyHi has stepped into the spotlight to provide a searingly honest account of his tenure and the eventual fracturing of the collective. His new six-minute opus, "The G.O.O.D. Ole Days," serves as both a historical document and a personal catharsis, airing grievances that have simmered for nearly a decade.
The track, produced by the duo of Mark Byrd and Phil Blackman, is less a traditional single and more a cinematic monologue. It utilizes a clever narrative device, framing the song as an interview with prominent media personality and podcast host Gina Views. This structure allows CyHi to address specific rumors and industry questions directly, beginning with the elephant in the room: his current standing with Kanye West. When Views asks if a relationship even still exists between the two, CyHi embarks on a lyrical journey that balances deep-seated frustration with a lingering sense of respect for the man who brought him into the fold.
CyHi’s history with G.O.O.D. Music began in 2010, a pivotal year for the label. He made his grand entrance on "So Appalled," a standout track from West’s magnum opus, My Beautiful Dark Twisted Fantasy. Sharing a booth with Jay-Z, Pusha T, and West himself, CyHi proved he could hold his own among giants. However, as "The G.O.O.D. Ole Days" suggests, being a part of West’s inner circle came with a unique set of challenges. CyHi acknowledges that while West is often the catalyst for the label’s creative peaks, he is also the primary source of its internal volatility. "Sometimes Kanye could be a little difficult," he raps, offering a nuanced perspective on a figure often reduced to headlines. He suggests that while the public knows the "beautiful dark twisty" version of Ye—a nod to his 2010 album—CyHi understands the man on a level that transcends the erratic public persona.
The song’s most pointed revelations, however, involve Travis Scott. CyHi’s role as a collaborator on Scott’s 2018 blockbuster Astroworld has been an open secret in the industry, particularly regarding the diamond-certified hit "Sicko Mode." In "The G.O.O.D. Ole Days," CyHi confirms his heavy involvement in the track’s writing process but reveals a breakdown in professional reciprocity. He alleges that despite helping Scott achieve unprecedented commercial success, he was never granted a "swap"—the common industry practice where artists trade guest verses on each other’s projects. CyHi expresses a palpable sense of betrayal, noting that Scott allegedly became defensive when asked to fulfill his end of the bargain. This segment of the song highlights the often-transactional nature of high-stakes hip-hop and the frustration of a veteran lyricist who feels his contributions have been exploited without proper return.
The narrative then shifts to Kid Cudi, whose relationship with Kanye West famously imploded in 2022. The fallout, played out across social media, centered on Cudi’s friendship with Pete Davidson, who was dating West’s ex-wife, Kim Kardashian, at the time. CyHi describes himself as being caught in the crossfire of this high-profile feud. He paints a grim picture of the tension, suggesting that the dispute reached a level of intensity that threatened physical safety. "They said that Ye almost fucked around and killed buddy," CyHi raps, a line that underscores the volatility of the G.O.O.D. Music environment during its final years. He laments that the relationship between Cudi and West remains "muddy," leaving those who care for both parties in a difficult, polarized position.
In stark contrast to the friction with Scott and Cudi, CyHi reserves his highest praise for Pusha T. The former president of G.O.O.D. Music is depicted as a beacon of integrity within a chaotic system. CyHi likens Pusha’s commitment to the collective to Colin Kaepernick’s social activism, stating that the Virginia rapper "took a knee for the team." According to the track, Pusha T never charged CyHi for features or hooks, prioritizing brotherhood and "loyalty in the streets" over financial gain. This bond remained unbroken even as the rest of the label began to disintegrate under the weight of legal battles, personal beefs, and West’s increasingly controversial public stances.
The decline of G.O.O.D. Music is a subplot that CyHi navigates with a mix of nostalgia and pragmatism. At its height, the label boasted a roster that was arguably the most formidable in the genre, featuring Big Sean, John Legend, Common, Mos Def, Q-Tip, Teyana Taylor, and Desiigner. Its production arm, Very Good Beats, was equally influential, housing innovators like Hudson Mohawke and Evian Christ. However, the infrastructure began to crumble in the early 2020s. Def Jam Recordings, which had distributed the label’s output since 2011, officially severed ties with both G.O.O.D. and West following the release of Donda. By late 2022, Pusha T had stepped down from his role as president, citing West’s antisemitic remarks and erratic behavior as the final straw.
CyHi’s own departure from the label occurred much earlier, in 2015, after which he signed with Sony Music. Despite leaving the roster, he remained a frequent collaborator and ghostwriter for West, making his new "tell-all" song even more significant. It represents a final decoupling from the G.O.O.D. Music umbrella. By the end of the track, CyHi pivots toward his future, announcing his upcoming album, The Story of Mr. EGOT. This project will mark his first full-length studio release since 2017’s No Dope on Sundays, an album that, ironically, featured the very artists he addresses in his new song.
The release of "The G.O.O.D. Ole Days" comes at a time when West is attempting to rebuild his own career through the Vultures series with Ty Dolla $ign. While West recently issued an apology in a Wall Street Journal advertisement—attributing some of his past actions to brain damage from his 2002 car accident—CyHi’s lyrics suggest that the scars within the G.O.O.D. Music family run deep. The song serves as a reminder that behind the platinum plaques and artistic breakthroughs, there were real human costs to the label’s "beautiful dark" era.
For fans of the genre, CyHi’s return is a welcome development. Long considered one of the most technically proficient rappers of his generation, his lack of a consistent solo output has been a point of contention for years. With The Story of Mr. EGOT, CyHi appears ready to reclaim his narrative, no longer content to let his best work live in the liner notes of other people’s albums. "The G.O.O.D. Ole Days" is more than just a diss track or a collection of grievances; it is a declaration of independence from a legacy that both defined and confined him. As he closes this chapter of his career, CyHi leaves listeners with a complex portrait of an era that changed hip-hop forever, proving that even the "good" days had their share of darkness.