DEDICATED TO THE ART OF HIP-HOP BEATS.
- RAYDO
- BRONX, NY, United States
- WELCOME , I GO BY THE NAME OF RAYDO. I WAS RAISED IN THE SOUTH BRONX, NEW YORK CITY SINCE THE AGE OF SIX YRS OLD.GROWING UP IN THE BRONX I WAS SORROUND BY THE ELEMENTS OF HIP-HOP, GRAFFITI , DEEJAYING, BREAKDANCING, RAPPING. I HAVE CREATED THIS WEBSITE TO PRAISE & PAY HOMAGE TO THE MEN & WOMEN BEHIND THE BOARDS MAKING THE BEATS FOR ALL YOUR FAVORITE ARTISTS.REMEMBER HIP-HOP IS NOT DEAD AS LONG AS THE BEATS KEEP BANGIN'.
Monday, February 28, 2011
Mr. Collipark Talks Soulja Boy's Decline, Pop Rappers Ruining Urban Music
The musical mind behind mid-‘00s smashes for Bubba Sparxxx (“Ms. New Booty”), David Banner (“Play”), and longtime collaborators the Ying Yang Twins (“The Whisper Song”) has formally resumed crafting club-ready confections following a few years removed from the limelight. Mr. Collipark (f/k/a DJ Smurf, a/k/a Beat-In-Azz) will be making his humble request to return to dominating dance floors on Wednesday (March 2nd) with the release of his digital mixtape, the aptly titled Can I Have The Club Back, Please?
This past Tuesday (February 22nd) one of the forefathers of both Crunk and Snap music spoke with HipHopDX about the aforementioned mixtape release (which will be available for free download at ColliparkMusic.com featuring his reunion with the Ying Yang Twins after a nearly five year creative separation, and which boasts appearances from Bubba Sparxxx, Young Money Records’ Lil Chuckee and several other southern stars-in-the-making. The CEO of Collipark Music (distributed by Interscope Records) additionally discussed with DX his previous discoveries Soulja Boy and Hurricane Chris, and how their careers have been affected after splitting from their musical mentor.
Smurf also spoke about how all artists in Urban music are being adversely affected by the Pop-Rock stylings currently reshaping the sound of a culture rooted in drum-driven, dance floor friendly breakbeats.
And lastly, the nearly 20-year veteran of the Atlanta music scene revealed if it was he who in fact inspired the early sound of Outkast and the Dungeon Family.
HipHopDX: Before we get to why you want the club returned to your possession, I need you to tell me why four years later I still bump [Young] Jeezy’s “What You Talkin’ Bout” like the shit dropped yesterday?
Mr. Collipark: [Laughs] That’s ‘cause we put that soul into it, man. That’s a labor of love. When we do records, it ain’t just like a manufacturing – we get ‘em in and get ‘em out. I never did records like that. We put a lot of work and feeling into the records that we do.
DX: Is that pimpilicious production your best work you think?
Mr. Collipark: [Short pause] No. I mean, you know what I think? I’ve done so much different styles of stuff … Like I always say [that] the stuff that I did for Jeezy, [“Trap Star” and “What You Talkin’ Bout”], is some of my most proud work, because that was like me and B.G. helping him at a time when people thought that he was over. That was when he broke off from Cash Money Records. That was when he left [Bad Boy Records and Boyz N Da Hood]. And we were able to get some real good quality music outta that, and that’s because I really went at that like, Man, somebody’s [career] is depending on these records. So, I take the most pride in those records…when it comes to stuff outside of my club stuff.
DX: Speaking of, will the sound of Can I Have The Club Back, Please? be more fly-sounding pimp shit like that Jeezy track ….
Mr. Collipark: No, not at all. I mean, the Jeezy stuff was kinda like – If you know any of my old work back when I was making albums, my first album as an artist [in 1995], when I was being called DJ Smurf, was called Versastyles. And I had all kinds of beats on there, like stuff that even back then was ahead of its time. So, I’ve always done all different types of music. But my love has always been [for] the club, uptempo stuff, ‘cause that’s what I grew up on.
When I think of the club I think of girls shakin’ and sweatin’, and guys’ backs up against the wall and the girl’s behind up on they crotch. I wanna go back to those days.
DX: So is there anything like the Ying Yang Twins’ “Whisper Song” sound?
Mr. Collipark: Yeah, we got one on there. I tried to address the different styles of music that people came to know me for on this mixtape. It’s really like to re-familiarize the people who already know about what we did and get them back involved, and then to get this new generation. So, Ying Yang is involved in like four or five records on there – one, “Boomerang,” which has that classic “Whistle While You Twurk,” Ying Yang type sound, and then another one that addresses the “Whisper” type sound, but they not whispering on it. It’s called “You Know You Like That” – very nasty, but it’s so clever the way they can make stuff so nasty sound so … In they way it’s pimperish. Like, “The Whisper Song” was a pimp record to me. So they have a way of making those kind of records to where people – especially guys, I think guys get into those kind of records just as much as the girls do.
DX: Now the obvious question: Why a mixtape? I thought you were beyond doing this stuff and were in CEO mode with Collipark Music?
Mr. Collipark: I brought my group, Treal Lee & Prince Rick, over here from Dallas to do a promo run. I don’t get out to the clubs like I used to. So, we did a big club run where we hit most of the clubs in Atlanta. And the club scene was just so sad to me, because nobody looked like they were really enjoying themselves. It was just all these people packed in these buildings and not partying. They was in there just socializing, and on their phones and talking and emailing and tweeting and stuff like that. It was really disappointing to me just to think, when people used to say “Atlanta nightlife,” it was like the place to be. You knew what it was. When Lil Jon and Ying Yang and all that stuff was out, you knew when you went out in Atlanta you went out to party. Well, that’s not what I saw. So that’s when I said, “This is partly my fault, because we stopped making the type of music that was the soundtrack for that scene.” And so I said, “Well, I’m not gon’ complain about it, I’ma get back in the studio and attempt to bring that vibe back to the club.”
DX: So were you like officially retired as a beatmaker?
Mr. Collipark: Nah, I just stopped. Really, when Ying Yang and I split it was the chemistry – we used to do that music with such ease that when we split it’s almost like, Man, why try to create that sound with somebody else? I didn’t want it to sound like a cheap knockoff or somebody trying to rekindle the vibe of what he had with somebody else. I didn’t want that on me; I didn’t want that on them. So I just kinda stopped doing it. And so with this mixtape that’s why I called them back in when I decided to do it. Like, they had to be a part of the sound.
DX: So you’re back in the music making mode, but I mentioned you had been in the CEO mode. So is the Interscope situation still in effect?
Mr. Collipark: Yeah, I still have my situation over there at Interscope [Records]. With any relationship you go through the good times and the bad times. And it’s not just Interscope, it’s all the majors now. I don’t like the way that they’re presenting the type of music that I like to do. Because, the way that the business is now it’s five times harder to introduce a Soulja Boy to the game than it was three years ago. People think Urban music is dead. Everything is Pop. Even the Urban music that they putting out now, it’s Pop. You got very few Urban acts that are making true Urban music. And so, I don’t wanna change what I do just because they’re saying that it doesn’t sell anymore. So I’ve just had a problem – Like with Treal Lee & Prince Rick, we’ve got a record called “Throwed Off (Fuck Everybody)” that I took back totally independent just because I didn’t wanna say that that type of music is dead. And I think that’s a big reason why Urban music isn’t selling, because we’re emulating somebody else’s music now. Nobody’s looking at us to be the trendsetters right now, so that’s why it’s not selling. The people who are meant to set what’s supposed to be cool are not setting what’s supposed to be cool right now. We walking around with skinny jeans and funny haircuts now. And that’s not where we come from. We’re doing what somebody else is already doing. So, I’m not bowing down to that.
DX: Preach. Preach. I been waiting for somebody to speak on this. You don’t wanna hate on what B.o.B.’s doing, or Eminem’s doing or Kid Cudi’s doing, but man, this could like literally be the slow death of Urban music like you said.
Mr. Collipark: Well, I think it’s actually fixing itself now. Because, you’re looking at the artists, [they] are coming back - the artists that are building their own fan base, outside of the system. You take like a Lil B, artists like that, even a Wiz Khalifa, artists that had to step [back independent] - both of those artists I mentioned had major label record deals. They had to get kicked out of the system, and go back and do it the way that they wanted to do it, then get a true fan base, and then get back in the system. Lil B is still independent, but Wiz, he got back re-signed over to Atlantic [Records]. Those are prime examples of people not taking the time to present this music and shape it and mold it and put it out there the way that it’s meant to be put out there, instead of just being a cookie cutter, get him in the studio with this producer ‘cause he’s hot. And if this don’t work, that’s your ass. Well we put you in the studio with a will.i.am, it didn’t work; that’s your ass. Well, will.i.am ain’t the type of producer I needed to be in the studio with in the first place.
DX: Speaking of artist’s fates in this new music market, I just have to ask, do you think Soulja Boy woulda seen this decline in popularity he’s experiencing with his third album if he hadn’t stepped away from working with you?
Mr. Collipark: Well, I always think two heads are better than one. So, in that respect - I think the chemistry was always what [we both] brought to the table …. And I think once you break anybody’s chemistry up – if anything is different in anybody’s circle you’re gonna see a difference in the results, for better or for worse. More times for worse than for better, but … He’s still signed to Collipark [Music]. [But] it’s just that, I’m not that much of a CEO to the point to where I’m gonna try to force somebody to do something in a fashion that they don’t believe in. He wanted to do it his way; he did it his way. And those were the results. I had nothing to do with how that project was done, so…that’s the results.
DX: Another younger artist you had a heavy hand in was Hurricane Chris. I personally thought he shoulda kept rockin’ wit’chu, ‘cause that joint you did for him, that “Playas Rock,” was really the best commercial look he had. Was it sort of the same situation with him where he wanted to branch off and do his own thing?
Mr. Collipark: That was a more complicated situation, where it was other people involved in it. But, at the end of the day, yeah. I don’t force [situations], because I know my value; I know my worth to a situation. So I’m not gonna force somebody to have success. So, people thought that they wanted to go a certain route, and I just stepped away from it. Had he gone on to become the artist that I know he could have become, I still would have been [there] for him. But again, I have the way that I see I think it ought to go. And, when we all on the same page it works well. When we all start looking in different directions then it’s bad for everybody.
DX: So are you still looking for that next Soulja Boy or Hurricane Chris …. ?
Mr. Collipark: I got that next thing: Translee. I haven’t signed him; I’m just working with him, ‘cause I don’t wanna taint what he has. I believe in full expression, so I’m just kinda overseeing what he’s doing right now. … I think he’s what’s going on now meets what I do. And what separates him from everybody out there is that he makes me feel like when I first started listening to east coast Rap, but [he’s] not an east coast rapper. It’s like, what he brings to the game now is how I felt when I first started listening to other types of Hip Hop other than Luke and [DJ] Magic Mike. We always felt out of place when stuff like Leaders Of The New School or A Tribe Called Quest - all that east coast stuff was kinda foreign to us. So when we heard it, it was always like, it was good, but it was kinda weirdo, to the left for us. Well, Translee represents the first – to me – artist from the south that does that. But it don’t make me feel like I’m listening to a weirdo. [Laughs]
DX: This final question I have for you…I can pretty much guarantee you’ve never been asked this question before. Most folks know Smurf started out back in the day producing mostly Bass music [driven] selections for ATL pioneer MC Shy-D. What most people don’t know is that Shy-D’s “Back To Decatur” was very Organized Noize-ish before Outkast debuted. Do you think you at all influenced the signature sound of the Dungeon Family?
Mr. Collipark: Um…I would have to say no. I would have to say no simply because that stuff at that time – I wanna say we were all cookin’ around the same time. Unless they were really just looking at what we were doing, and with like a fine-tooth comb, I just think we kinda were in the – Let me tell you something about where Atlanta was then, as opposed to where it is now: we didn’t know we were getting record deals. Even when I got with [MC] Shy-D, he was in between record deals. It wasn’t like it was a given to have a record deal with somebody. We didn’t know we were getting record deals so it was our job to be creative and bring something to the table that was creative, and that’s when you get music from the soul. Nobody’s got that in their music no more, especially on the Hip Hop side, that I’m hearing from Atlanta. Everybody’s hittin’ the club, swagged up. And even that music, it’s like it’s coming through a cookie cutter right now. So, back then we didn’t have to be in the same crew; we were all just trying to be creative with what we were trying to present to the music scene.
You know what? If you ask [Organized Noize] that question, and they said yes, I would be – that would be an honor. I would be very, very shocked to hear that that record influenced what they were doing. Because honestly, when I heard that first Outkast album [Southernplayalisticadillacmuzik], I couldn’t tell what inspired them. And that’s difficult for me. Like, to hear a record to where you hear it and you be like, "Damn! What was he thinking about when he did that?" You don’t get that. That first Outkast album, being from Atlanta, that sound was not introduced to nobody. So it was like, I spent that whole album wondering what the hell they was on. [Laughs]
50 & David Guetta
Saturday, February 26, 2011
Friday, February 25, 2011
Alex Da Kid Working On Skylar Grey's Debut Album
Following the release of Eminem’s “Love The Way You Lie,” Dr. Dre’s “I Need A Doctor,” and numerous other songs, Wisconsin-born singer Skylar Grey has steadily made an impact on the Hip Hop world with her vocals.
Grey performed alongside Dr. Dre and Eminem during the 53rd Annual Grammy Awards and now the singer is working with producer Alex Da Kid on her debut solo album. The British producer recently spoke to MTV’s RapFix about working with Gray and launching his own label.
"I'm working on Skylar's project, and I'm really excited about that,” Alex Da Kid explained to MTV News. "She's the first artist signed to my label. I'm just wrapping up my label situation right now, and that's my main focus."
Alex Da Kid also spoke briefly on his experience working with both Dr. Dre and Eminem.
“I met Em before I met Dre and Em is like a joker,” said Alex Da Kid. “He definitely doesn’t act like someone that’s sold the most records of this decade. So once you’re around him for two minutes you kinda just fall into a pattern of joking around and having fun. And when I met Dre for the first time…[he’s] kind of just way more relaxed and all about the music. I think once you’re around people that just love music as much as we all do it kinda just all makes sense.”
There’s still no word yet on when Grey’s debut album will be released; the album will be the first project released through Alex Da Kid’s label.
Raekwon Expresses Faith In Future RZA Led Projects
Raekwon tells iHipHop why it's important to have RZA production involved in future Wu-Tang projects.
Despite some of their previous disagreements over Wu-Tang Clan’s production style, Raekwon says he has no doubts in RZA’s production abilities in any future endeavors. Back in 2007, Rae was very outspoken about RZA’s production style, saying RZA was “trying to create too much of an orchestra, piano.” Ultimately, Raekwon and RZA reconciled, but there hasn’t been a proper Wu-Tang Clan album since 2007’s 8 Diagrams.
With individual members concentrating on solo efforts, or non-RZA led projects such as Wu Massacre and Shaolin Vs. Wu-Tang, Rae explained that a project sonically led by RZA could still be successful.
“He would definitely have to govern it,” Rae told iHipHop, in regards to RZA taking the production reigns. “But more or less, we would definitely have to seek other ways of making it more classical. It’s just all about RZA being able to not work as hard as he has to.”
RZA is currently shooting his directorial debut, The Man with the Iron Fists, which has limited his production work. In the interim, producers such as Allah Mathematics and Bronze Nazareth, who Rae refers to as “another Wu disciple” have handled a bulk of the production duties. Ultimately, Rae says the long-since buried spat between RZA and himself turned out to be a positive.
“I think that’s what people want to see anyway,” Raekwon added. “They wanna see cats come together and rhyme over a Just Blaze or a Kanye [West] or whoever. Maybe even a new cat.”
As previously reported, Raekwon’s Shaolin Vs. Wu-Tang will be released on March 8. Havoc, Sean C & LV, Alchemist, Erick Sermon and Bronze Nazareth are among the producers listed on the project.
Exclusive: Producer Hires Musicologist For "Mrs. Officer Lawsuit" vs Lil Wayne
A producer who claims he made the original beat for Lil Wayne's hit single "Mrs. Officer" has hired an expert witness to testify on his behalf, relating to a copyright infringement lawsuit.
Michael 'Mali Boy' Bradford filed the original lawsuit in January of 2009, claiming that he made the original beat for the hit single, which features crooner Bobby V.
Bradford's lawsuit claims he made the original track five years before it was reworked by producer Deezle, who was given credit for the song, which is featured on Wayne's hit album Tha Carter III.
According to Bradford, he made the original beat on an instrumental track titled "Popeye."
That track was turned into a song named "Crush" by an artist named Sky, which the lawsuit claims Lil Wayne allegedly would have had access to.
Bradford, who is currently fighting a motion to dismiss the claim, has hired Dr. Felicia M. Miyakawa of Middle Tennessee State University to testify on his behalf.
Dr. Miyakawa, who is an Associate Professor of Musicology and Assistant Director of the MTSU School of Music, claims that there is enough evidence to take the matter to trial.
"Hip-Hop producers have become adept at reducing samples to smaller and smaller chunks of sound and reordering sampled bits so that the source material will be unrecognizable," Dr. Miyakawa wrote. "But if random V103 audience members can hear these striking similarities, clearly the producer of 'Mrs. Officer' did not hide the source material and in particular the riffs - adequately. Further, these riffs are the most identifiable parts of a larger groove that establishes the identity of a previously copyrighted song."
Producer Darius "Deezle" Harrison also sued Lil Wayne for nonpayment of $2.5 million worth of royalties on the hit single "Mrs. Officer."
By Nolan Strong and Grandmaster Grouchy
Michael 'Mali Boy' Bradford filed the original lawsuit in January of 2009, claiming that he made the original beat for the hit single, which features crooner Bobby V.
Bradford's lawsuit claims he made the original track five years before it was reworked by producer Deezle, who was given credit for the song, which is featured on Wayne's hit album Tha Carter III.
According to Bradford, he made the original beat on an instrumental track titled "Popeye."
That track was turned into a song named "Crush" by an artist named Sky, which the lawsuit claims Lil Wayne allegedly would have had access to.
Bradford, who is currently fighting a motion to dismiss the claim, has hired Dr. Felicia M. Miyakawa of Middle Tennessee State University to testify on his behalf.
Dr. Miyakawa, who is an Associate Professor of Musicology and Assistant Director of the MTSU School of Music, claims that there is enough evidence to take the matter to trial.
"Hip-Hop producers have become adept at reducing samples to smaller and smaller chunks of sound and reordering sampled bits so that the source material will be unrecognizable," Dr. Miyakawa wrote. "But if random V103 audience members can hear these striking similarities, clearly the producer of 'Mrs. Officer' did not hide the source material and in particular the riffs - adequately. Further, these riffs are the most identifiable parts of a larger groove that establishes the identity of a previously copyrighted song."
Producer Darius "Deezle" Harrison also sued Lil Wayne for nonpayment of $2.5 million worth of royalties on the hit single "Mrs. Officer."
By Nolan Strong and Grandmaster Grouchy
Thursday, February 24, 2011
Fat Beats Is Opening A Pop-Up Store In Brooklyn Next Week
The September shuttering of deified NYC record store Fat Beats was a somber occasion for hip-hop fantatics nationwide, the definitive marking of the end of an underground-rap era, a sad sign of the times that surprised no one and depressed everyone. (The tiny West Village spot's going-away party was pretty great, though, if you managed to get in.) Fatbeats.com lives on, though, and now comes word that every so often they'll invite everyone to Brooklyn for a little party at their warehouse.
"FB BK is an event, which we will be holding once a month, during which we will make a section of our BK warehouse available to the public as a retail space," the Fat Beats braintrust tells us. "FB BK will be reminiscent of the atmosphere and energy that the NY and LA stores once exuded. We have DJs of note spinning throughout the day, such as DJ Evil Dee, DJ Spinna, and Rich Medina." The first such fete happens next Saturday, March 5, from noon to 8 p.m., giving vinyl obsessives citywide a chance to catch up with old friends and see what that Madlib's been up to lately; April's party will probably be Record Store Day-themed, of course. Fat Beats' warehouse is at 110 Bridge Street in Brooklyn, on the third floor, and clearly they've gussied it up for you. Do drop by.
Lil Jon To Release "Crunkest Hits" Collection, Tracklisting Revealed
Hits with Usher, Ying Yang Twins, Too Short, Mystikal, Krayzie Bone and Jadakiss return the CD on March 8th's compilation.
Atlanta, Georgia rapper/producer/deejay Lil Jon will release a Crunkest Hits collection on March 8th. The releases comes courtesy of The Orchard, who purchased TVT Records, where Jon was an artist throughout the early '00s.
The Tracklisting To Lil Jon's Crunkest Hits:
01. Get Low featuring Ying Yang Twins
02. Bia’ Bia’ 2 featuring Too Short & Chyna White
03. Yeah! featuring Usher
04. Throw It Up featuring Pastor Troy
05. I Don’t Give a Fuck featuring Mystikal & Krayzie Bone
06. What U Gon’ Do featuring Lil Scrappy
07. Put Yo Hood Up
08. Get Crunk featuring Bo Hagon
09. Nothins Free featuring Oobie
10. Who U Wit
11. Stop Trippin’ featuring Ludacris
12. Cut Up
13. Knockin Heads Off featuring Jadakiss & Styles P
14. Weed N Da Chopper featuring Project Pat
Infographic - The Rise & Fall of Lil Jon
A linear look at how Jonathan Smith went from the multi-platinum "King of Crunk" of the dance-floor to hustlin' pizzas and getting face time with Donald Trump.
Around the time that Rap was almost reduced to ringtones and instructional dance songs, a deejay/producer-turned-rapper named Jonathan Smith prevailed as not only the self-proclaimed “King of Crunk,” but just as well the Darth Vader of the dance-floor. The So So Def DJ’s standout ascended as one of Hip Hop’s stars, after years in the shadow.
With stage-props like gasoline cans, Crunk Juice-filled pimp cups, Elvis Presley sunglasses and enough jewelry to make Slick Rick blush, Lil Jon assumed the role of a celebrity long before he ever was one - a winning formula still employed by today’s hopefuls. Soon enough, Lil Jon screamed his way into becoming a household name, and even won over a few skeptics - with some help from Dave Chappelle, Usher and his BME label minions. Today, he's doing everything from selling pizzas on Manhattan sidewalks, to being Donald Trump's Apprentice to deejaying sweaty, fist-pumping, not-so-Crunk dance-clubs across the club. Although loud and colorful, Lil Jon's reign at the top was short like leprechauns
Around the time that Rap was almost reduced to ringtones and instructional dance songs, a deejay/producer-turned-rapper named Jonathan Smith prevailed as not only the self-proclaimed “King of Crunk,” but just as well the Darth Vader of the dance-floor. The So So Def DJ’s standout ascended as one of Hip Hop’s stars, after years in the shadow.
With stage-props like gasoline cans, Crunk Juice-filled pimp cups, Elvis Presley sunglasses and enough jewelry to make Slick Rick blush, Lil Jon assumed the role of a celebrity long before he ever was one - a winning formula still employed by today’s hopefuls. Soon enough, Lil Jon screamed his way into becoming a household name, and even won over a few skeptics - with some help from Dave Chappelle, Usher and his BME label minions. Today, he's doing everything from selling pizzas on Manhattan sidewalks, to being Donald Trump's Apprentice to deejaying sweaty, fist-pumping, not-so-Crunk dance-clubs across the club. Although loud and colorful, Lil Jon's reign at the top was short like leprechauns
Swizz Beatz Hits the Studio With U2′s Bono!!
WHATEVER comes from this is bound to be legendary!! Swizzy is working on his album so this collab would be amaaazing!!
Tuesday, February 22, 2011
Monday, February 21, 2011
Sunday, February 20, 2011
Friday, February 18, 2011
Happy Birthday Dr. Dre
Andre Romelle Young (born February 18, 1965), primarily known by his stage name Dr. Dre, is a record producer, rapper, record executive, and actor. He is the founder and current CEO of Aftermath Entertainment and a former co-owner and artist of Death Row Records, also having produced albums for and overseeing the careers of many rappers signed to those record labels, such as Snoop Dogg, Eminem and 50 Cent. As a producer he is credited as a key figure in the popularization of West Coast G-funk, a style of rap music characterized as synthesizer-based with slow, heavy beats.
Dr. Dre began his career in music as a member of the World Class Wreckin’ Cru and he later found fame with the influential gangsta rap group N.W.A with Eazy-E, Ice Cube, Mc Ren, and DJ Yella which popularized the use of explicit lyrics in rap to detail the violence of street life. His 1992 solo debut, The Chronic, released under Death Row Records, led him to become one of the best-selling American performing artists of 1993 and to win a Grammy Award for the single “Let Me Ride”. In 1996, he left Death Row to establish his own label, Aftermath Entertainment. Under that label, he produced a compilation album titled Dr. Dre Presents the Aftermath in 1996, and released a solo album titled 2001 in 1999, for which he won the Grammy producer’s award the next year.
During the 2000s, he focused his career on production for other artists, while occasionally contributing vocals to other artists’ songs. Dr. Dre signed Eminem and 50 Cent to his record label in 1996 and 2003 respectively while contributing production on their albums. Rolling Stone named Dr. Dre among the highest-paid performers of 2001 and 2004. Dr. Dre has also had acting roles in movies such as Set It Off, and the 2001 films The Wash and Training Day.
DJ Muggs is currently working on Bass For Your Face
DJ Muggs of Cypress Hill recently spoke on his musical influences and revealed that he’s a fan of Dubstep, a genre that he says reminds him of Hip Hop’s early days.
“I first experienced dubstep for the first time about six years ago. It reminded me of Hip Hop,” DJ Muggs explained. “Like the energy, and the rawness of the music, and the rawness of the crowds is what reminded me of Hip Hop in the 80’s. I was like ‘this shit right here is banging.’ It had the same spirit as Hip Hop so I think that’s what drew me to it.”
DJ Muggs is currently working on Bass For Your Face, an album that’s expected to be released later in the year.
“It’s nothing but bass music. So then again anything with bass in it. Combining sounds, combining Middle Eastern sounds with Hip Hop with the dubstep,” said DJ Muggs. “I mean just combining with different things and experimenting. Brining our own sound and our own style.”
Thursday, February 17, 2011
Slaughterhouse Has Recorded with Dr. Dre, May End Up On "Success Is Certain"
The Slaughter camp has already signed with Shady and now they have new material with Slim's mentor, Dr. Dre.
While Slaughterhouse supporters have been anxiously awaiting any new music from the latest Shady Records signees, they have been treated to an EP. Fans can also expect some more independent solo cuts from the SH crew members, as they finish out contractual obligations. Still, this doesn't mean fans won't get anything to be excited over before hearing the Shady debut of the crew. In fact, fans may get to hear Slaughter over the Good Doctor soon. In a recent interview with Vibe, Royce spoke on the possibility of a Dr. Dre-produced Slaughterhouse track being on his next independent solo release, Success Is Certain.
“The first thing that popped into my mind—I don’t even want to say,” Royce said when asked about potential surprises. "Dr. Dre and Slaughterhouse—there’s a possibility. [There’s] a song that exists but I’m still deciding if I'm put it on there or not.”
While Slaughterhouse supporters have been anxiously awaiting any new music from the latest Shady Records signees, they have been treated to an EP. Fans can also expect some more independent solo cuts from the SH crew members, as they finish out contractual obligations. Still, this doesn't mean fans won't get anything to be excited over before hearing the Shady debut of the crew. In fact, fans may get to hear Slaughter over the Good Doctor soon. In a recent interview with Vibe, Royce spoke on the possibility of a Dr. Dre-produced Slaughterhouse track being on his next independent solo release, Success Is Certain.
“The first thing that popped into my mind—I don’t even want to say,” Royce said when asked about potential surprises. "Dr. Dre and Slaughterhouse—there’s a possibility. [There’s] a song that exists but I’m still deciding if I'm put it on there or not.”
Lex Luger Talks Working with Kanye West, "Taylor Gang"
Lex Luger talks working with Wiz Khalifa on "Taylor Gang" and why he was scared of Kanye West.
From Rick Ross's "B.M.F." to Waka Flocka Flame's "Hard in the Paint," producer Lex Luger has hooked up some of today's biggest artists with certified hit records. Now, Complex caught up with the Virginia beatsmith to discuss working with Kanye West on his and Jay-Z's recent single "H.A.M." The producer admits that he was actually scared to work with the Chi-Town legend.
"When Kanye [first] called me, he said he wanted to fly me out to New York so I flew out a month late," he recounted. "I didn’t want to fly out there at first. It was coming too fast for me, really. How I go from Milwaukee in the basement to Kanye—one of the biggest artists out right now—wanting my sound, wanting me to do his record? I was scared. But I went down there because it felt like an opportunity. He told me he loved my drums. He said with my drums and his sound, it would go perfectly. And I was ready to do it. But at the same time, I had to work. I felt like I wasn’t on Kanye’s level. I went back and I worked for about six months, I didn’t talk to Kanye or nothing. I called Gee Robinson because me and him cool, I sent him some stuff, I sent Kanye some more stuff, just going back and forth. Me and Kanye are still working."
Luger also talked about his recent production on Wiz Khalifa's single "Taylor Gang." He explained that the beat is actually from up to three years ago, and while he won't be contributing any other beats to the PIttsburgh emcee's major label debut Rolling Papers, he will link up with Wiz for his next project.
"That particular beat [for 'Taylor Gang'] is an old beat," he said. "That’s probably from ‘07, ‘08. I had Wiz’s e-mail because Wiz has always been kind of like an Internet guy. He’s always been all over the Internet, so when he first was really popping I hollered at him. And then he reached out to me and wanted to do some work with me. I had heard the song about a year ago. It had leaked out, but no one knew it though. And I guess he remastered it and put it out now. Wiz just got back with me recently and let me know that everybody likes it, and that he want to put it out there. And I was like ‘Yeah, go for it.’ But as far as being in the studio together, we haven’t done anything like that yet. That song is going to be on his album, but it’s going to be the iTunes bonus. [I don’t have other songs on his album] because his album is so close. But I talked to him, and he said he’d give me at least three [beats] on the next album."
From Rick Ross's "B.M.F." to Waka Flocka Flame's "Hard in the Paint," producer Lex Luger has hooked up some of today's biggest artists with certified hit records. Now, Complex caught up with the Virginia beatsmith to discuss working with Kanye West on his and Jay-Z's recent single "H.A.M." The producer admits that he was actually scared to work with the Chi-Town legend.
"When Kanye [first] called me, he said he wanted to fly me out to New York so I flew out a month late," he recounted. "I didn’t want to fly out there at first. It was coming too fast for me, really. How I go from Milwaukee in the basement to Kanye—one of the biggest artists out right now—wanting my sound, wanting me to do his record? I was scared. But I went down there because it felt like an opportunity. He told me he loved my drums. He said with my drums and his sound, it would go perfectly. And I was ready to do it. But at the same time, I had to work. I felt like I wasn’t on Kanye’s level. I went back and I worked for about six months, I didn’t talk to Kanye or nothing. I called Gee Robinson because me and him cool, I sent him some stuff, I sent Kanye some more stuff, just going back and forth. Me and Kanye are still working."
Luger also talked about his recent production on Wiz Khalifa's single "Taylor Gang." He explained that the beat is actually from up to three years ago, and while he won't be contributing any other beats to the PIttsburgh emcee's major label debut Rolling Papers, he will link up with Wiz for his next project.
"That particular beat [for 'Taylor Gang'] is an old beat," he said. "That’s probably from ‘07, ‘08. I had Wiz’s e-mail because Wiz has always been kind of like an Internet guy. He’s always been all over the Internet, so when he first was really popping I hollered at him. And then he reached out to me and wanted to do some work with me. I had heard the song about a year ago. It had leaked out, but no one knew it though. And I guess he remastered it and put it out now. Wiz just got back with me recently and let me know that everybody likes it, and that he want to put it out there. And I was like ‘Yeah, go for it.’ But as far as being in the studio together, we haven’t done anything like that yet. That song is going to be on his album, but it’s going to be the iTunes bonus. [I don’t have other songs on his album] because his album is so close. But I talked to him, and he said he’d give me at least three [beats] on the next album."
Showbiz Declares D.I.T.C. "A Wrap," Explains Origins Of KRS-One's "Godsville"
The veteran beatmaker, who taught DJ Premier how to chop, reveals his long fractured crew is beyond repair, and discusses his new KRS-One collabo LP.
If you didn’t know before I guess you know now, Showbiz is back.
One-half of one of the 1990s most acclaimed Hip Hop duos, Show & A.G., (who together comprise one-fourth of the legendary Diggin’ In The Crates crew) has reemerged on the scene after a lengthy hiatus from constructing new music to introduce his brand of boom bap beats from a bygone era to a new generation of Hip Hop heads.
An equally prolific producer in a crew that includes legendary trackmasters the likes of Lord Finesse, Buckwild and Diamond D, Show has resurfaced alongside one of his non-Diggin’ Bronx brethren, KRS-One, for a collaborative long-player entitled Godsville. The ‘90s flavored collection (released digitally this week, with a physical CD release due March 8th) boasts a bevy of neck-snapping selections including the horn-blessed reintroduction of real Hip Hop “Improve Myself,” a head-nodding life lesson from The Teacha aptly-titled “The Truth,” and the past-meets-present Bronx union “We Love This,” which shines a much deserved spotlight on the BX’s newest star-in-the-making, Fred the Godson.
Late last Wednesday (February 9th), Showbiz spoke to HipHopDX about his history with KRS-One, and broke down how that history ties into the title Godsville. One of Hip Hop’s original boom bap suppliers additionally revealed to DX the role a fellow producer he once mentored played in bringing Show back to the beatmaking game. The Diggin’ In The Crates crewmember also revealed some sad, but ultimately not surprising, news about his long splintered musical family. And lastly, the 20-year vet took a brief stroll down memory lane to reveal if Da Beatminerz are really beat biters, if Show is in possession of any previously unheard Big L verses, if he and A.G. might revisit their classic ’95 release, Goodfellas, and if Greg Nice and Tupac really helped hospitalize him on one unforgettable night in 1992.
HIPHOPDX: Before we get to Godsville, I recently had the pleasure of conducting a really dope interview with DJ Premier to commemorate the 20th anniversary of [Gang Starr’s] Step In The Arena. In that interview your name came up a couple times, with Preemo giving you major props for his early development as a producer. Is it fair to say that Showbiz helped groom the guy who would go on to become Hip Hop’s G.O.A.T. producer?
SHOWBIZ: Yes, basically because – [Laughs] I mean, [DJ] Premier doesn’t lie, he tells me every day that [I mentored him]. It’s a thing that with me [though], I don’t put a lot of stuff on Broadway. But, the whole chopping [samples] and all of that, I basically brought that to the game, and showed everybody how to do it. But I never ran around saying that while I was out [during] the whole 20 years I was doing what I was doing. Preem helped me a lot in my career also, on a lot of levels. He was in the business before me and he did a lot of things for me also. So we have that type of relationship. It ain’t like I did for him, or I showed him things [and he didn’t do anything for me]. He’s done just as much for me. That’s why our relationship is real solid. … Him even giving me a spot to rock at [in HeadQcourterz Studios] is real…it’s unbelievable.
DX: Let’s get to Godsville. First off, why that title?
SHOWBIZ: Because where I’m from, [Forest Houses in the Bronx], our neighborhood was called “Godsville.” [In the late ‘80s there were] a lot of Five Percenter [Nation of Gods and Earths members], and it was nothing but Gods in there. Every guy you’d see was a Five Percenter. And at that time, the music that was [played in the neighborhood] was strictly [KRS-One]. That’s all we rocked was KRS. [Boogie Down Productions], that’s all we rocked. All of the radios, and everything we did, it was all B.D.P. We was from the Bronx, and he represented us. He just had the [MC] Shan thing jump off, and then he came out with Criminal Minded. So, that whole period I dedicated this album to, being that he was the one that was rockin’ at that time. … It’s just a dedication to my hood, and to that time [and to] making an album with the guy that we was actually listening to at that time.
DX: This is the first time you worked with KRS since “A Friend” from I Got Next, correct? What took so long for y’all to reconnect?
SHOWBIZ: Well…I haven’t seen him. [Laughs] It’s just that simple, I haven’t seen him. I was in North Carolina for a couple years. I was away for awhile. And I hadn’t seen Kris to…maybe two years ago …. And then I wasn’t ready. I’m only now getting ready, as far as musically and getting back into my thing because I have a studio to go into all day and do what I do.
DX: So you were down in North Carolina like hangin’ out with Big Daddy Kane? [Laughs]
SHOWBIZ : Nah, [Big Daddy] Kane is not too far from me but…I had moved my mother down there a while ago, like in the early ‘90s when I first was rockin’ [with A.G.] And my mother had became ill, and I had to go down there and take care of her until she passed. And when she passed, I stayed down there for like a year or two. … Then I came back [to New York] and had got the studio with Preem.
DX: And so when you first ran back into KRS did you say, Hey, we need to do a whole project?
SHOWBIZ: Nah, it didn’t happen like that. I ran into him [at HeadQcourterz but] he wasn’t even in the studio with Premier. He was in the other studio, the other room with [Charlie Rock]. And there was a little incident in the studio that night where some guy had wanted to see KRS that KRS had ran into earlier that day. And long story short, me and him started talking after the incident. He was in my room, so I was playing beats and he just was like, “Yo, what’s up? Let’s get in poppin’. We got enough beats?” I’m like, “Yeah, I got enough joints.” And he knocked out four joints right there, came and knocked another eight out. He came with a little suitcase: one of them carry-on’s like when you go to the airport. He had that full of rhymes. So we just got busy up in there.
DX: I just wanna segue here to educate the uninformed about your history with KRS. “Sound of da Police” was your first big production credit outside of the Diggin’ camp. But 17 years later, is KRS’ classic indictment of the po-po your personal favorite track you’ve constructed in your 20 year career?
SHOWBIZ: It’s one of them. But I don’t have like a personal favorite track that I [made]. I think it’s like four of ‘em that’s on the same level as [“Sound of da Police”] – off of [Show & A.G. albums] and stuff like that. But, that’s definitely one of ‘em. Of course it’s the most successful one that I’ve done.
DX: Were you in the studio when he recorded his verses?
SHOWBIZ: Nah, I wasn’t there. I laid the beat first, and he came after.
DX: So when you heard that officer breakdown, from “overseer” to “officer,” were you like, He just went crazy [with his flow]?
SHOWBIZ: Yeah, but you know, I was amazed like – I’m a fan. I’ve been a fan from, like I said, back in the Godsville days. So, just him even coming to my house, like to see him pull up…I was like, “KRS coming to my crib. This is crazy!” But, after hearing the track I just was like – And I ain’t even know it was gon’ be a single. So once it was a single, it was just like, "Wow, this is crazy." I’m glad he rocked it; I’m glad it was a single, and it was one of the highlights of my life.
DX: Since you contributed to Return of the Boom Bap, are you puttin’ in any work on Return of the Boom Bip?
SHOWBIZ: I don’t know; I wanna see how they do that. Because, I don’t wanna bully foot they project because I got my own with him. So, him and Preem just gonna go in and do what they do. I’ll just remain next door, being quiet. [Laughs]
DX: [Laughs] You mentioned [there are] a few other tracks that might be on par with “Sound of da Police.” I think one of ‘em is the remix you did for the Artifacts’ “The Ultimate.” And so I was wondering if you’ve gotten it in with El and Tame for their reunion project?
SHOWBIZ: Nah, I haven’t. I haven’t got up wit’ ‘em. If they check [for] me I’d be down. I’m in work mode right now. … I haven’t been putting a lot of stuff out lately, but I’m in work mode right now. I’m on my way to the studio as we speak.
DX: Your producer-for-hire credits seemed to shrink after the ‘90s came to a close. Are you still submitting beats to artists or - ?
SHOWBIZ: Well I really never was submitting beats. That’s never been my thing. Buckwild always done it, and Diamond [D] does it, but that never was my thing. I never done that. Like, I always had a lot of independent stuff out with my crew. ‘Cause I really want my crew to rock over my beats. I never was the type to submit [tracks to artists]. I’d never be going to people’s sessions and be playing beats for them, that never was my thing. I did [“Sound of da Police”] because that was Kris, and he came to me. … And when I did “A Friend” and [“Blowe” featuring Redman, preceded by “Represent The Real Hip Hop” featuring Das Efx], he came to me. When he comes to me, of course I’m in. But, I don’t run up on people. I never did. I never was that type of dude. That’s why I never had a lot of production [credits] on a lot of people’s stuff. Even with the Artifacts, they came to me for the remix. … I always wanted my crew to shine. So, most of my beats was on my crew [members projects]. Most of ‘em, whether it was with A.G., Party Arty and them…Milano…it was always people in my crew…
DX: You mentioned A.G., I wish he would’ve taken some beats from you for that Everything’s Berri project. I interviewed him last summer, and he said y’all still support each other, but were you really in support of that softer sound he came with though?
SHOWBIZ: I’m supportive of what he does ‘cause I see him reaching; he trying to grow. And there was a time where I was more musical and he couldn’t understand it. But now he’s growing into that, and I want him to grow into something more musical outside of him just having a mindset that he just gotta impress the people from the hood. ‘Cause it’s a global thing right now. [So], I definitely support him. I don’t know if I woulda made a whole album like he do, and I gotta give him credit for even reaching like that. Because, he ain’t in a box because everybody wants him to rhyme a certain way or rhyme off of certain beats. So I gotta give him credit for even reaching to do some shit like that, ‘cause you gotta have a lot of confidence in yourself to even make a move like that. And I understand that, because I know where he’s at wit’ it mentally. I sit down and I talk to him, so I already know where he’s going at wit’ it. He’s just gonna do him; he just wanna do what he feel at that moment. So, I gotta give him credit for that.
DX: I gotta ask, Raekwon, AZ, hell now even Ja Rule’s coming with a sequel to his most successful album, so when are we getting that Goodfellas Pt. II?
SHOWBIZ: Not a chance. Me and A gon’ rock, but there’s not gonna be a part two to [any of our albums]. I don’t believe in that. It works for some people, don’t get me wrong. It worked for Dr. Dre, it worked for Raekwon and them, but I don’t think it would work for us because…we’ll just try to do something else.
DX: I kinda wish that album would be noted more, ‘cause it seems like when cats discuss the long list of classic LP’s that dropped in ’95 Goodfellas isn’t always mentioned in the same company as the purple tape or The Infamous the way it should be.
SHOWBIZ : Yeah. But, I think more people gravitated towards Runaway Slave than Goodfellas. I mean, I see that [album included] in certain lists or whatever the case is. But you gotta understand, those were bigger artists at the time than what me and A were. I think we contributed to our own style of Hip Hop, and we brought stuff to the table. But at the same time, the reality is they were bigger artists than us [so] of course they gonna get mentioned a lot more than us. ‘Cause if you ain’t really a Hip Hop head like that, you wouldn’t really know. Like, how big Wu-Tang [Clan] was, we wasn’t like that. But Diggin’ In The Crates definitely, we represented and we brought something to the table.
DX: I had that tape though, and I gotta say, 15-plus years later “You Know Now” sounds just as gloriously menacing to me as it did in 9-5.
SHOWBIZ : Ah, thanks man, ‘preciate that.
DX: Yeah, they don’t make grimey goodness like that no more, sadly.
SHOWBIZ : I’ma tell you the truth, since the Internet came out, and since I started getting on the Internet, I never knew that our music had that type of effect on the amount of people it did. I didn’t know people really wanted that [type of music], because before the Internet you were only known as far as [doing] shows or [having your songs] on the radio. I had no way of knowing how the fans felt, at all. So it’s only now coming to light when I’m looking at the Internet and seeing – I’m like, “Wow, I didn’t know that.” But, that grimey sound is where it’s at. I’m actually about to put out a project with nothing but that.
DX: Like a compilation project?
SHOWBIZ : Nah, first I’m doing the beats, then I’m trying to drag ya man [A.G.] in so we can do that grimey album. ‘Cause that’s what a lot of people wanna hear, man. It ain’t a lot of that going around.
DX: Just a suggestion, I’m not a producer, but you gotta take a vocal sample from “Next Level” and cut it into a new track: “Showed all these corny muthafuckas what Hip Hop supposed to sound like.”
SHOWBIZ : [Laughs] Aww, that’s funny. That’s crazy. The game has changed so much, but I ain’t mad at it at all. It’s a beautiful thing to me. I love every minute of it.
DX: Let me end with one loose question. I just gotta ask this, [after producing] Nice & Smooth’s “Blunts” [in 1994 and then] when you heard Smif N Wessun’s “Bucktown” [later that same year] were you like, "These bitin’ muthafuckas?" [Laughs]
SHOWBIZ : Let me see, how can I say this without – Everyone knows, and it doesn’t even matter because…back in the ‘90s we all [sampled the same] records that other producers [previously used]. You went and found a record that [A Tribe Called Quest] used or whatever. But, that [sample], I’m known for that record, ‘cause that record is the one I did [“Hold Ya Head” from Runaway Slave] with [in 1992] – that Jack Bruce [sample, “Born To Be Blue”]. So, I already knew [Da Beatminerz] got it because of…somebody told ‘em. I don’t know who told ‘em, but…I wasn’t mad at it. I just was like, "Yo, this is Hip Hop." Because, I got records that other dudes did and I chopped that same record up that they used. This is Hip Hop. I would never look at it like, "Oh, y’all bit." This is Hip Hop; I don’t own the rights to that shit. They used it, and they hooked it up. I love that record too! Word, I was like, “That shit is hot!” But I definitely had it first though. [Laughs]
DX: [Laughs] It wasn’t like when you see Evil Dee y’all get into it or something? [Laughs]
SHOWBIZ : Oh, hell no! That shit was all live, but I knew somebody told him my little secret though. [Laughs]
DX: [Laughs] Hey, I could take this walk down memory lane with you all night for real, but I wanna save myself having to transcribe a three hour long interview. [Laughs] So before I let you go, any other projects besides the Godsville project and this stuff you’re working on with A.G. …?
SHOWBIZ : Well, I got three guys: my man Milano, D-Flow and my man Gauge. And the name of the group is called Barbarian. … So that’s the next joint that I got, and it’s very nice. … That, and I got a couple of instrumental ‘90s joints coming out, with the raw, grimey sound.
DX: This is all still D.I.T.C. Records?
SHOWBIZ : Oh yeah…
DX: So you’re the one putting out all these [Rare & Unreleased D.I.T.C. albums]?
SHOWBIZ : Yeah, I’m doing all of that. [Laughs] All of that stuff was just sitting there, and people was asking me for them [songs]. [So] yeah, I threw that out. Nobody else better be throwing that out.
DX: Well, I was gonna ask you, any feelings on Big L’s brother putting out [Return of the Devil’s Son]? It’s like, he wanted to put out something, but he really didn’t need to do that.
SHOWBIZ : Yeah, but what can I do? That’s [Big] L’s brother. And, I’m not gon’ beef wit’ it. I like Don; Don is a cool dude. And whatever he wanted to do I’m supporting him. But, I don’t think I woulda put out anything that’s…re-releasing tracks that was out [already]. But, it’s all love over here. I’ma do whatever he ask me to do as long as it ain’t hurting me.
DX: Just for the sake of the heads who are curious, do you have any previously unheard L verses in the vault still?
SHOWBIZ : No way. Nah, man, everybody asks for that. But, nah, we don’t. L, he has a lot out there, but I just don’t have ‘em. But he definitely has albums worth of material with a lot of little producers he was working with – three tracks here, two tracks there. He definitely has a lot. [And] if they get ‘em together, they’d definitely make a nice album with ‘em. Because, that was towards the end, and he was getting vicious [and recording as much as he could] towards the end.
DX: People forget back in the ‘90s it wasn’t like you could do a whole mixtape from your bedroom. Like, going to the studio was -
SHOWBIZ : That’s the thing that we always [say] that, you know how much it cost to go to the studio back then?! We wasn’t wasting no songs! Everything we recorded, we using that shit! You talking hundreds of dollars an hour, man! Are you crazy?! It was a different thing; Pro Tools wasn’t poppin’ like that back then. So it was a different ballgame back then.
DX: I guess while I got you here…I’ve done interviews in the last few years with O.C., Lord Finesse, and every interview it’s like, Is there ever gonna be the other Diggin’ album? And O.C. told me a few years ago that you were the one who actually convened like a Godfather-style pow-wow, and something was supposed to come of that and never did. Why not?
SHOWBIZ : Huh? I did what? You lost me…
DX: Yeah, O.C. said you got everybody in the same room and said -
SHOWBIZ : I did that …. But, that’s not gonna happen again. With D.I.T.C., that’s not gonna happen. It’s a wrap.
DX: Wow.
SHOWBIZ : It’s definitely a wrap. The majority of us is cool, but…it’s not gonna happen. Everybody is grown, and creatively we in different spaces. And it was things that happened that’s not gonna – that’s gonna probably prevent us from being creative and comfortable with each other. But you know, that’s how the music industry is. It breaks up a lot of people. And it’s sad that that’s a reality, but…it definitely is.
DX: Damn, I don’t wanna end on a sad note. Let’s end on a positive note. When I interviewed A.G., he talked about [how] Tupac was like the biggest Show & A.G. fan, ever. And, he came to your crib one time or something like that?
SHOWBIZ : Yeah, he came to my crib, [and] got me fuckin’ drunk and high at the same time. I wound up in the emergency room, B.
DX: [Laughs]
SHOWBIZ : [Laughs] Word up, man. Fuckin’ wit’ that nigga, man.
DX: This is while he was in New York filming Juice?
SHOWBIZ : Juice had just came out I think. But he was here already, [and] Greg [Nice] is…aww man, I love Greg. Greg is my dude, [and] Greg called me like, “Yo, me and ‘Pac coming over right now. He got some alcohol and some weed.” I’m like, “Yeah, whatever.” Man, they come over…that was the worst fuckin’ mistake I made that year.
But, it was all love though. The last time I saw ‘Pac he was like, “Yo, I’m mad at you, man. The remix of ‘Fat Pockets’ ain’t on the album. I went through every song looking for that shit.” That’s my man. Rest in peace to that brother.
by Paul W Arnold
If you didn’t know before I guess you know now, Showbiz is back.
One-half of one of the 1990s most acclaimed Hip Hop duos, Show & A.G., (who together comprise one-fourth of the legendary Diggin’ In The Crates crew) has reemerged on the scene after a lengthy hiatus from constructing new music to introduce his brand of boom bap beats from a bygone era to a new generation of Hip Hop heads.
An equally prolific producer in a crew that includes legendary trackmasters the likes of Lord Finesse, Buckwild and Diamond D, Show has resurfaced alongside one of his non-Diggin’ Bronx brethren, KRS-One, for a collaborative long-player entitled Godsville. The ‘90s flavored collection (released digitally this week, with a physical CD release due March 8th) boasts a bevy of neck-snapping selections including the horn-blessed reintroduction of real Hip Hop “Improve Myself,” a head-nodding life lesson from The Teacha aptly-titled “The Truth,” and the past-meets-present Bronx union “We Love This,” which shines a much deserved spotlight on the BX’s newest star-in-the-making, Fred the Godson.
Late last Wednesday (February 9th), Showbiz spoke to HipHopDX about his history with KRS-One, and broke down how that history ties into the title Godsville. One of Hip Hop’s original boom bap suppliers additionally revealed to DX the role a fellow producer he once mentored played in bringing Show back to the beatmaking game. The Diggin’ In The Crates crewmember also revealed some sad, but ultimately not surprising, news about his long splintered musical family. And lastly, the 20-year vet took a brief stroll down memory lane to reveal if Da Beatminerz are really beat biters, if Show is in possession of any previously unheard Big L verses, if he and A.G. might revisit their classic ’95 release, Goodfellas, and if Greg Nice and Tupac really helped hospitalize him on one unforgettable night in 1992.
HIPHOPDX: Before we get to Godsville, I recently had the pleasure of conducting a really dope interview with DJ Premier to commemorate the 20th anniversary of [Gang Starr’s] Step In The Arena. In that interview your name came up a couple times, with Preemo giving you major props for his early development as a producer. Is it fair to say that Showbiz helped groom the guy who would go on to become Hip Hop’s G.O.A.T. producer?
SHOWBIZ: Yes, basically because – [Laughs] I mean, [DJ] Premier doesn’t lie, he tells me every day that [I mentored him]. It’s a thing that with me [though], I don’t put a lot of stuff on Broadway. But, the whole chopping [samples] and all of that, I basically brought that to the game, and showed everybody how to do it. But I never ran around saying that while I was out [during] the whole 20 years I was doing what I was doing. Preem helped me a lot in my career also, on a lot of levels. He was in the business before me and he did a lot of things for me also. So we have that type of relationship. It ain’t like I did for him, or I showed him things [and he didn’t do anything for me]. He’s done just as much for me. That’s why our relationship is real solid. … Him even giving me a spot to rock at [in HeadQcourterz Studios] is real…it’s unbelievable.
DX: Let’s get to Godsville. First off, why that title?
SHOWBIZ: Because where I’m from, [Forest Houses in the Bronx], our neighborhood was called “Godsville.” [In the late ‘80s there were] a lot of Five Percenter [Nation of Gods and Earths members], and it was nothing but Gods in there. Every guy you’d see was a Five Percenter. And at that time, the music that was [played in the neighborhood] was strictly [KRS-One]. That’s all we rocked was KRS. [Boogie Down Productions], that’s all we rocked. All of the radios, and everything we did, it was all B.D.P. We was from the Bronx, and he represented us. He just had the [MC] Shan thing jump off, and then he came out with Criminal Minded. So, that whole period I dedicated this album to, being that he was the one that was rockin’ at that time. … It’s just a dedication to my hood, and to that time [and to] making an album with the guy that we was actually listening to at that time.
DX: This is the first time you worked with KRS since “A Friend” from I Got Next, correct? What took so long for y’all to reconnect?
SHOWBIZ: Well…I haven’t seen him. [Laughs] It’s just that simple, I haven’t seen him. I was in North Carolina for a couple years. I was away for awhile. And I hadn’t seen Kris to…maybe two years ago …. And then I wasn’t ready. I’m only now getting ready, as far as musically and getting back into my thing because I have a studio to go into all day and do what I do.
DX: So you were down in North Carolina like hangin’ out with Big Daddy Kane? [Laughs]
SHOWBIZ : Nah, [Big Daddy] Kane is not too far from me but…I had moved my mother down there a while ago, like in the early ‘90s when I first was rockin’ [with A.G.] And my mother had became ill, and I had to go down there and take care of her until she passed. And when she passed, I stayed down there for like a year or two. … Then I came back [to New York] and had got the studio with Preem.
DX: And so when you first ran back into KRS did you say, Hey, we need to do a whole project?
SHOWBIZ: Nah, it didn’t happen like that. I ran into him [at HeadQcourterz but] he wasn’t even in the studio with Premier. He was in the other studio, the other room with [Charlie Rock]. And there was a little incident in the studio that night where some guy had wanted to see KRS that KRS had ran into earlier that day. And long story short, me and him started talking after the incident. He was in my room, so I was playing beats and he just was like, “Yo, what’s up? Let’s get in poppin’. We got enough beats?” I’m like, “Yeah, I got enough joints.” And he knocked out four joints right there, came and knocked another eight out. He came with a little suitcase: one of them carry-on’s like when you go to the airport. He had that full of rhymes. So we just got busy up in there.
DX: I just wanna segue here to educate the uninformed about your history with KRS. “Sound of da Police” was your first big production credit outside of the Diggin’ camp. But 17 years later, is KRS’ classic indictment of the po-po your personal favorite track you’ve constructed in your 20 year career?
SHOWBIZ: It’s one of them. But I don’t have like a personal favorite track that I [made]. I think it’s like four of ‘em that’s on the same level as [“Sound of da Police”] – off of [Show & A.G. albums] and stuff like that. But, that’s definitely one of ‘em. Of course it’s the most successful one that I’ve done.
DX: Were you in the studio when he recorded his verses?
SHOWBIZ: Nah, I wasn’t there. I laid the beat first, and he came after.
DX: So when you heard that officer breakdown, from “overseer” to “officer,” were you like, He just went crazy [with his flow]?
SHOWBIZ: Yeah, but you know, I was amazed like – I’m a fan. I’ve been a fan from, like I said, back in the Godsville days. So, just him even coming to my house, like to see him pull up…I was like, “KRS coming to my crib. This is crazy!” But, after hearing the track I just was like – And I ain’t even know it was gon’ be a single. So once it was a single, it was just like, "Wow, this is crazy." I’m glad he rocked it; I’m glad it was a single, and it was one of the highlights of my life.
DX: Since you contributed to Return of the Boom Bap, are you puttin’ in any work on Return of the Boom Bip?
SHOWBIZ: I don’t know; I wanna see how they do that. Because, I don’t wanna bully foot they project because I got my own with him. So, him and Preem just gonna go in and do what they do. I’ll just remain next door, being quiet. [Laughs]
DX: [Laughs] You mentioned [there are] a few other tracks that might be on par with “Sound of da Police.” I think one of ‘em is the remix you did for the Artifacts’ “The Ultimate.” And so I was wondering if you’ve gotten it in with El and Tame for their reunion project?
SHOWBIZ: Nah, I haven’t. I haven’t got up wit’ ‘em. If they check [for] me I’d be down. I’m in work mode right now. … I haven’t been putting a lot of stuff out lately, but I’m in work mode right now. I’m on my way to the studio as we speak.
DX: Your producer-for-hire credits seemed to shrink after the ‘90s came to a close. Are you still submitting beats to artists or - ?
SHOWBIZ: Well I really never was submitting beats. That’s never been my thing. Buckwild always done it, and Diamond [D] does it, but that never was my thing. I never done that. Like, I always had a lot of independent stuff out with my crew. ‘Cause I really want my crew to rock over my beats. I never was the type to submit [tracks to artists]. I’d never be going to people’s sessions and be playing beats for them, that never was my thing. I did [“Sound of da Police”] because that was Kris, and he came to me. … And when I did “A Friend” and [“Blowe” featuring Redman, preceded by “Represent The Real Hip Hop” featuring Das Efx], he came to me. When he comes to me, of course I’m in. But, I don’t run up on people. I never did. I never was that type of dude. That’s why I never had a lot of production [credits] on a lot of people’s stuff. Even with the Artifacts, they came to me for the remix. … I always wanted my crew to shine. So, most of my beats was on my crew [members projects]. Most of ‘em, whether it was with A.G., Party Arty and them…Milano…it was always people in my crew…
DX: You mentioned A.G., I wish he would’ve taken some beats from you for that Everything’s Berri project. I interviewed him last summer, and he said y’all still support each other, but were you really in support of that softer sound he came with though?
SHOWBIZ: I’m supportive of what he does ‘cause I see him reaching; he trying to grow. And there was a time where I was more musical and he couldn’t understand it. But now he’s growing into that, and I want him to grow into something more musical outside of him just having a mindset that he just gotta impress the people from the hood. ‘Cause it’s a global thing right now. [So], I definitely support him. I don’t know if I woulda made a whole album like he do, and I gotta give him credit for even reaching like that. Because, he ain’t in a box because everybody wants him to rhyme a certain way or rhyme off of certain beats. So I gotta give him credit for even reaching to do some shit like that, ‘cause you gotta have a lot of confidence in yourself to even make a move like that. And I understand that, because I know where he’s at wit’ it mentally. I sit down and I talk to him, so I already know where he’s going at wit’ it. He’s just gonna do him; he just wanna do what he feel at that moment. So, I gotta give him credit for that.
DX: I gotta ask, Raekwon, AZ, hell now even Ja Rule’s coming with a sequel to his most successful album, so when are we getting that Goodfellas Pt. II?
SHOWBIZ: Not a chance. Me and A gon’ rock, but there’s not gonna be a part two to [any of our albums]. I don’t believe in that. It works for some people, don’t get me wrong. It worked for Dr. Dre, it worked for Raekwon and them, but I don’t think it would work for us because…we’ll just try to do something else.
DX: I kinda wish that album would be noted more, ‘cause it seems like when cats discuss the long list of classic LP’s that dropped in ’95 Goodfellas isn’t always mentioned in the same company as the purple tape or The Infamous the way it should be.
SHOWBIZ : Yeah. But, I think more people gravitated towards Runaway Slave than Goodfellas. I mean, I see that [album included] in certain lists or whatever the case is. But you gotta understand, those were bigger artists at the time than what me and A were. I think we contributed to our own style of Hip Hop, and we brought stuff to the table. But at the same time, the reality is they were bigger artists than us [so] of course they gonna get mentioned a lot more than us. ‘Cause if you ain’t really a Hip Hop head like that, you wouldn’t really know. Like, how big Wu-Tang [Clan] was, we wasn’t like that. But Diggin’ In The Crates definitely, we represented and we brought something to the table.
DX: I had that tape though, and I gotta say, 15-plus years later “You Know Now” sounds just as gloriously menacing to me as it did in 9-5.
SHOWBIZ : Ah, thanks man, ‘preciate that.
DX: Yeah, they don’t make grimey goodness like that no more, sadly.
SHOWBIZ : I’ma tell you the truth, since the Internet came out, and since I started getting on the Internet, I never knew that our music had that type of effect on the amount of people it did. I didn’t know people really wanted that [type of music], because before the Internet you were only known as far as [doing] shows or [having your songs] on the radio. I had no way of knowing how the fans felt, at all. So it’s only now coming to light when I’m looking at the Internet and seeing – I’m like, “Wow, I didn’t know that.” But, that grimey sound is where it’s at. I’m actually about to put out a project with nothing but that.
DX: Like a compilation project?
SHOWBIZ : Nah, first I’m doing the beats, then I’m trying to drag ya man [A.G.] in so we can do that grimey album. ‘Cause that’s what a lot of people wanna hear, man. It ain’t a lot of that going around.
DX: Just a suggestion, I’m not a producer, but you gotta take a vocal sample from “Next Level” and cut it into a new track: “Showed all these corny muthafuckas what Hip Hop supposed to sound like.”
SHOWBIZ : [Laughs] Aww, that’s funny. That’s crazy. The game has changed so much, but I ain’t mad at it at all. It’s a beautiful thing to me. I love every minute of it.
DX: Let me end with one loose question. I just gotta ask this, [after producing] Nice & Smooth’s “Blunts” [in 1994 and then] when you heard Smif N Wessun’s “Bucktown” [later that same year] were you like, "These bitin’ muthafuckas?" [Laughs]
SHOWBIZ : Let me see, how can I say this without – Everyone knows, and it doesn’t even matter because…back in the ‘90s we all [sampled the same] records that other producers [previously used]. You went and found a record that [A Tribe Called Quest] used or whatever. But, that [sample], I’m known for that record, ‘cause that record is the one I did [“Hold Ya Head” from Runaway Slave] with [in 1992] – that Jack Bruce [sample, “Born To Be Blue”]. So, I already knew [Da Beatminerz] got it because of…somebody told ‘em. I don’t know who told ‘em, but…I wasn’t mad at it. I just was like, "Yo, this is Hip Hop." Because, I got records that other dudes did and I chopped that same record up that they used. This is Hip Hop. I would never look at it like, "Oh, y’all bit." This is Hip Hop; I don’t own the rights to that shit. They used it, and they hooked it up. I love that record too! Word, I was like, “That shit is hot!” But I definitely had it first though. [Laughs]
DX: [Laughs] It wasn’t like when you see Evil Dee y’all get into it or something? [Laughs]
SHOWBIZ : Oh, hell no! That shit was all live, but I knew somebody told him my little secret though. [Laughs]
DX: [Laughs] Hey, I could take this walk down memory lane with you all night for real, but I wanna save myself having to transcribe a three hour long interview. [Laughs] So before I let you go, any other projects besides the Godsville project and this stuff you’re working on with A.G. …?
SHOWBIZ : Well, I got three guys: my man Milano, D-Flow and my man Gauge. And the name of the group is called Barbarian. … So that’s the next joint that I got, and it’s very nice. … That, and I got a couple of instrumental ‘90s joints coming out, with the raw, grimey sound.
DX: This is all still D.I.T.C. Records?
SHOWBIZ : Oh yeah…
DX: So you’re the one putting out all these [Rare & Unreleased D.I.T.C. albums]?
SHOWBIZ : Yeah, I’m doing all of that. [Laughs] All of that stuff was just sitting there, and people was asking me for them [songs]. [So] yeah, I threw that out. Nobody else better be throwing that out.
DX: Well, I was gonna ask you, any feelings on Big L’s brother putting out [Return of the Devil’s Son]? It’s like, he wanted to put out something, but he really didn’t need to do that.
SHOWBIZ : Yeah, but what can I do? That’s [Big] L’s brother. And, I’m not gon’ beef wit’ it. I like Don; Don is a cool dude. And whatever he wanted to do I’m supporting him. But, I don’t think I woulda put out anything that’s…re-releasing tracks that was out [already]. But, it’s all love over here. I’ma do whatever he ask me to do as long as it ain’t hurting me.
DX: Just for the sake of the heads who are curious, do you have any previously unheard L verses in the vault still?
SHOWBIZ : No way. Nah, man, everybody asks for that. But, nah, we don’t. L, he has a lot out there, but I just don’t have ‘em. But he definitely has albums worth of material with a lot of little producers he was working with – three tracks here, two tracks there. He definitely has a lot. [And] if they get ‘em together, they’d definitely make a nice album with ‘em. Because, that was towards the end, and he was getting vicious [and recording as much as he could] towards the end.
DX: People forget back in the ‘90s it wasn’t like you could do a whole mixtape from your bedroom. Like, going to the studio was -
SHOWBIZ : That’s the thing that we always [say] that, you know how much it cost to go to the studio back then?! We wasn’t wasting no songs! Everything we recorded, we using that shit! You talking hundreds of dollars an hour, man! Are you crazy?! It was a different thing; Pro Tools wasn’t poppin’ like that back then. So it was a different ballgame back then.
DX: I guess while I got you here…I’ve done interviews in the last few years with O.C., Lord Finesse, and every interview it’s like, Is there ever gonna be the other Diggin’ album? And O.C. told me a few years ago that you were the one who actually convened like a Godfather-style pow-wow, and something was supposed to come of that and never did. Why not?
SHOWBIZ : Huh? I did what? You lost me…
DX: Yeah, O.C. said you got everybody in the same room and said -
SHOWBIZ : I did that …. But, that’s not gonna happen again. With D.I.T.C., that’s not gonna happen. It’s a wrap.
DX: Wow.
SHOWBIZ : It’s definitely a wrap. The majority of us is cool, but…it’s not gonna happen. Everybody is grown, and creatively we in different spaces. And it was things that happened that’s not gonna – that’s gonna probably prevent us from being creative and comfortable with each other. But you know, that’s how the music industry is. It breaks up a lot of people. And it’s sad that that’s a reality, but…it definitely is.
DX: Damn, I don’t wanna end on a sad note. Let’s end on a positive note. When I interviewed A.G., he talked about [how] Tupac was like the biggest Show & A.G. fan, ever. And, he came to your crib one time or something like that?
SHOWBIZ : Yeah, he came to my crib, [and] got me fuckin’ drunk and high at the same time. I wound up in the emergency room, B.
DX: [Laughs]
SHOWBIZ : [Laughs] Word up, man. Fuckin’ wit’ that nigga, man.
DX: This is while he was in New York filming Juice?
SHOWBIZ : Juice had just came out I think. But he was here already, [and] Greg [Nice] is…aww man, I love Greg. Greg is my dude, [and] Greg called me like, “Yo, me and ‘Pac coming over right now. He got some alcohol and some weed.” I’m like, “Yeah, whatever.” Man, they come over…that was the worst fuckin’ mistake I made that year.
But, it was all love though. The last time I saw ‘Pac he was like, “Yo, I’m mad at you, man. The remix of ‘Fat Pockets’ ain’t on the album. I went through every song looking for that shit.” That’s my man. Rest in peace to that brother.
by Paul W Arnold
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Beats From J Dilla, Pete Rock, will.i.am and More Come To BBE Mix CD
BBE's "The Beat Generation" has a tenth anniversary, an event marked by a new compilation disc holding many beats crafted by legendary hands.
In honor of the 10-year anniversary of the Beat Generaton series, BBE is releasing The Beat Generation 10th Anniversary Collection, a compilation disc that will feature tracks by Jay Dilla (as Jay Dee), DJ Jazzy Jeff, Pete Rock, Madlib and will.i.am, among others. The project will release on March 29.
The Beat Generation series has been significant in its work with a diverse group of talent. Dilla, Jazzy Jeff and others were able to work magic under the series and their work continues to inspire many around the world.
In 2002, Jazzy Jeff spoke to HipHopDX about what The Beat Generation allowed him to do.
"Just the idea of somebody giving you the creative freedom, and that's one of the reasons I didn't go first or second or third in this series. When someone gives you that kind of freedom, what [the] hell am I gonna do with this kind of freedom when no one has ever given it to me? It wasn't until Jay Dee kind of did his (Welcome 2 Detroit), he set the tone for everybody like, 'Okay, I see where he's going…oh man, he's going for some hardcore Hip Hop... It's not about doing a genre of music, it's about letting you know what makes you up as a producer. How fucked up is it that a little, tiny label out of London gives you this type of freedom, and Sony don't? The hard thing is, once you start doing records like that, you kind of ask yourself, 'How can I go back to doing anything else?' "
In honor of the 10-year anniversary of the Beat Generaton series, BBE is releasing The Beat Generation 10th Anniversary Collection, a compilation disc that will feature tracks by Jay Dilla (as Jay Dee), DJ Jazzy Jeff, Pete Rock, Madlib and will.i.am, among others. The project will release on March 29.
The Beat Generation series has been significant in its work with a diverse group of talent. Dilla, Jazzy Jeff and others were able to work magic under the series and their work continues to inspire many around the world.
In 2002, Jazzy Jeff spoke to HipHopDX about what The Beat Generation allowed him to do.
"Just the idea of somebody giving you the creative freedom, and that's one of the reasons I didn't go first or second or third in this series. When someone gives you that kind of freedom, what [the] hell am I gonna do with this kind of freedom when no one has ever given it to me? It wasn't until Jay Dee kind of did his (Welcome 2 Detroit), he set the tone for everybody like, 'Okay, I see where he's going…oh man, he's going for some hardcore Hip Hop... It's not about doing a genre of music, it's about letting you know what makes you up as a producer. How fucked up is it that a little, tiny label out of London gives you this type of freedom, and Sony don't? The hard thing is, once you start doing records like that, you kind of ask yourself, 'How can I go back to doing anything else?' "
"Intro 2 Another Intro" [LISTENING PARTY]
Monday, February 14, 2011
Stargate Talks Producing Wiz Khalifa's "Black And Yellow" And "Roll Up"
A Norwegian production duo probably isn’t the first guess that would come to mind when trying to figure out who did one of the biggest rap anthems of 2010. Not because Stargate (Tor Erik Hermansen and Mikkel S. Eriksen) aren’t known. But more because they’re known for producing pop smashes like Beyonce’s “Irreplaceable,” Rihanna’s “What’s My Name,” and Katy Perry’s “Firework.” However, for Pittsburgh’s Wiz Khalifa, they made perfect sense when it came time to find his first single. Linking up in New York last spring, they ended up working on seven songs (four of which will be on his major label debut, Rolling Papers dropping March 29) including his top five Pittsburgh Steelers-reppin’ smash, “Black And Yellow,” as well as his second single, “Roll Up.” We caught up with Stargate earlier this week at Roc the Mic studios in Manhattan to talk about the process of working with Wiz and why they haven’t worked with more rappers in the past.
On Producing “Black And Yellow”
Tor Erik Hermansen: “We first heard about him from [our manager] Tim. I don’t know where Tim heard about him, but one day Tim came in and played us some mixtape stuff. We were just blown away by his flow, and also his musicality. I think we heard instantly that he had a melodic sense in his approach to writing music, but also in the tracks he chose, and that they had some movement in them. He came through last spring, listened to some tracks, and he was like ‘Yup. I’ll get on that.’ And he was honest with us. He said, ‘I need that radio shit that you guys do.’”
Mikkel S. Eriksen: “Tim was talking about Wiz way back, at least a year before we actually worked together. ‘Black And Yellow’ was the second song we wrote. Even back then, just listening to the hook and the beat, we could tell that this was something great from the beginning.”
Tor Erik Hermansen: “He came with his crew, and they all had a blast. The whole Taylor Gang. There were people in and out of the room, but he had a good sense of himself. When he needs to work, he’s on. He stayed here all night and finished up his verses. We stayed, and made sure that the hook was 100 percent. We worked three or four days I think. We did probably about three or four songs the first session, and then two or three others the second session. ‘Black And Yellow’ took probably about a day. 12 hours. He wasn’t in the booth for 12 hours. He wrote everything here, but who knows. He may have had that idea, and just waited for the right track. I think he did the hook on that one first actually. And we kind of went back and forth a little bit, on the structure, but it was all him pretty much in one go. And he did his verses. I don’t think he even went back and re-recorded anything. What you hear is what he did. We didn’t necessarily understand the scope of how big ‘Black And Yellow’ was, and all it meant. We knew he was from Pittsburgh, and we knew he had a black and yellow ride, but it took us a moment to really get that this would become an anthem for Pittsburgh. Obviously, the fact that the Steelers are in the Super Bowl doesn’t hurt the record either.”
On Producing Wiz’s Second Single, “Roll Up”
Mikkel S. Eriksen: “That was the second session.”
Tor Erik Hermansen: “He came through and he was like, ‘I need some more.’ Sometimes we have artists coming in, and they get one hit, and leave. But Wiz said, ‘I need that sound. I love what we did together on ‘Black And Yellow,’ and I feel good about it. So let’s see if we can knock another one out.’ I don’t remember the order, but he did write everything in one day. We tweaked the hook a little bit, to make sure it was tight, and that was it. It’s easy when you have someone like Wiz, who knows what he wants to say. He knew why he wanted to make that record and why he had picked that beat.”
Mikkel S. Eriksen: “He heard the track, and said, ‘That’s perfect, I want to make one for the ladies,’ and that’s what he did.”
Tor Erik Hermansen: “I think he likes surprising people. You see that title and you think ‘Roll Up,’ oh, of course. But you hear the record, and it’s not what you think it is. Same with “Black and Yellow.” He adds a couple layers to his records. The reason I think why he’s going to be successful, in addition to his flow, is that he wants big records. He wants to be on the radio. He wants to be on the big stage, not just the little clubs. That’s what excites us. Someone who’s not afraid of, ‘Fuck it. I’m going to go for it, and be as big as I can.’ Also, a lot of people would maybe take out that bridge, and be like ‘Nah, we can’t have a bridge. This is rap, we don’t use bridges.’ He was like, ‘That’s another exciting part. Let me fuck with that.’ And the fact that he kind of sings a little bit, and uses his melodic voice, makes it interesting. And I also respect him, because instead of having someone else singing his hooks, like a lot of rappers would do like, ‘Yeah, let me get this star over here, or get this established artist,’ he’s like, ‘No, I want to do the whole record myself.’ He’s pretty versatile. And that’s one of the trademarks of an artist that can go far. He’s not afraid to branch out and try different things.”
Mikkel S. Eriksen: “Yeah, because he was laying harmonies. He was doing all that shit. Very open. If you give him a suggestion then he’ll go in and try it.”
Click next to see Stargate talk about making "Stoned" and working with other rappers!
On Making “Stoned”
Tor Erik Hermansen: “‘Stoned’ was a quick one. I love the fact that the record is just telling a story. It’s personal, unfiltered, and real. I always think there’s something special about an artist’s first record. I mean, he’s had the mixtape shit out, but he’s never had a real album out. But to listen to that album that was written before he became a star, that’s always fascinating, whether it was Jay-Z’s first album, or it was a Tracy Chapman album. That album was made when he was still poor, when he was still struggling, still trying to come up. He remembers it fresh. He knows it, because he’s in it right now. So after that, you have to kind of re-live it to keep it real, but right then it’s who he is. And he’s doing Coachella this year, which I think is going to be great. And by the time Coachella is here, I think he might have had another big record, so he’s going to go there looking like a star. After we did ‘Stoned,’ his label got real stressed, and they were like, ‘This is not what we need. This is too this, and this is too that.’ His A&R Zvi, who signed him, and has been our point person the whole way, he’s got a great sense for Wiz, and where he needs to go. He’s a real guy with good ears. But he came here to get a hit, so when he didn’t hear a hit within the first 30 minutes, he got a little nervous. [Laughs.] We were like, ‘Chill out. This is the get-to-know-you song. This is the one where we feel each other out. We’re just playing around having a good time. Don’t panic, don’t try too hard. It’ll come.’ And sure enough, on the second record, when he started laying that hook down, we knew we had something special. And everyone else heard it too.”
Mikkel S. Eriksen: “You never know, ‘Stoned’ might be a hit too. It’s a great record, too.”
On working with rappers
Tor Erik Hermansen: "Obviously we’ve got the Rihanna and Drake record so we’ve dabbled in it, but we haven’t made full-on hip-hop records until Wiz. We’ve done some Nas stuff (‘Not Going Back’ and ‘America’), back in the day, too. We have such versatile tastes. I’m just as excited by making a Rihanna record, or a Beyonce record, as I am by making a hard rap record. It’s all music to us, so we always felt that we could do it, but no rapper came through our door looking for us to do a song together. We’ve done some stuff with Norwegian groups, but to make real hip-hop you’ve got to come to America. We always wanted to do it, but all we needed was a break. I think a lot of the established guys, they have their own people that they’re comfortable with. I think what we needed was to get with someone new, that was open minded and excited by what we do, and that’s what Wiz did. He’s a smart guy. We’re excited. We have people coming to us all the time now. Jay-Z actually came up to me the other day and said ‘I need one of those ‘Black and Yellow’ beats for J. Cole.’ [Laughs.] And then he said, ‘Shit, I need one of those ‘Black and Yellow’ beats for myself.’ So we were like ‘You know where to find us.’”
Friday, February 11, 2011
!llmind and Uzi Scott
Underground producer !llmind has linked up with Bay Area emcee Uzi Scott aka Lefty of the Bash Bros for a new project Ill Thoughts EP, due out later this year. Like !llmind's collaborative LP with Brooklyn's Skyzoo last year Live From the Tape Deck, this latest EP will feature the New Jersey producer handling all of the beats while Uzi takes care of the rhymes.
"We coming together to create some psychedelic hardcore Hip Hop," said Uzi Scott. "We really looking to test the waters and if the public demands it, we will head back in to deliver more. It's a pleasure to go in with such a talented producer, in my eyes he is one of the best all around producers that the Hip Hop genre has to offer."
Thursday, February 10, 2011
Apollo Brown, J. Rocc to Release Instrumental Albums
Detroit's Apollo Brown and California's J. Rocc prepare instrumental LPs for this March.
Between the January release of Madlib's Medicine Show No. 11: Low Budget High-Fi Music and the impeding release of DJ Premier's long-awaited Beats That Collected Dust, Vol. 2 later this year, 2011 is shaping up to be the year for instrumental LPs. Now, two of underground Hip Hop's top producers, Apollo Brown and J. Rocc, are slated to drop instrumental LPs next month.
This March 1, acclaimed beatsmith Apollo Brown will release his second instrumental project Clouds via Mello Music Group. the Detroit producer has put together a compilation of beats that will highlight versatility and introspection as an artist.
Although Clouds marks his first release of the New Year, Brown kept busy last year with his release The Reset and his instrumental album Skilled Trade. He also collaborated with Boog Brown on Brown Study and Journalist 103 and DJ Soko as the Left on the critically acclaimed LP Gas Mask.
Following Apollo Brown, J. Rocc of the World Famous Beat Junkies will release his debut instrumental album Some Cold Rock Stuf via Stones Throw this March 7. The California producer and DJ to Madlib and J Dilla has crafted an album of "instrumental Hip Hop...electronic music...dance music...smoke tracks...assorted cold rock stuff."
Stones Throw is preparing to release Some Cold Rock Stuf on both CD and triple LP, with one of three bonus mystery discs included in each format. The vinyl LP will also include a double sided poster and sticker sheet, and the CD will be released in a custom 12-panel digipack.
Wednesday, February 9, 2011
Tuesday, February 8, 2011
Pam Grier Joins The Cast Of RZA's Film, "The Man with the Iron Fist"
Drake's boyhood crush shares details about RZA's directorial debut, "The Man with the Iron Fist."
A little over a year ago, RZA got the green light to begin filming The Man with the Iron Fist, a motion picture that would allow him to put his love for movies into his directorial debut. It was picked up by Universal in May and buzz grew as stars became attached to the film, including Lucy Liu and Russell Crowe. Pam Grier, who is also linked with the film, recently Tweeted an update on the film.
Crowe recently spoke to Courier Mail about the project and why he's on board with Bobby Digital.
“Bobby’s been a martial arts enthusiast his whole life and Universal has given him a $20 million budget to live out his martial arts fantasy,” he noted. “He’s come down to Australia and done various favours for me, including some connected to Souths [Crowe’s rugby league team in Australia] Imagine that the team walks into the studio and RZA from Wu-Tang Clan is there to teach them how to rap. You have to repay the favours in life, you know. So when ‘The Man With the Iron Fists’ came up, I accepted it. It’s an opportunity for me to have fun.”
A little over a year ago, RZA got the green light to begin filming The Man with the Iron Fist, a motion picture that would allow him to put his love for movies into his directorial debut. It was picked up by Universal in May and buzz grew as stars became attached to the film, including Lucy Liu and Russell Crowe. Pam Grier, who is also linked with the film, recently Tweeted an update on the film.
Crowe recently spoke to Courier Mail about the project and why he's on board with Bobby Digital.
“Bobby’s been a martial arts enthusiast his whole life and Universal has given him a $20 million budget to live out his martial arts fantasy,” he noted. “He’s come down to Australia and done various favours for me, including some connected to Souths [Crowe’s rugby league team in Australia] Imagine that the team walks into the studio and RZA from Wu-Tang Clan is there to teach them how to rap. You have to repay the favours in life, you know. So when ‘The Man With the Iron Fists’ came up, I accepted it. It’s an opportunity for me to have fun.”
J.U.S.T.I.C.E. LEAGUE TO PRODUCE NEW TECH-N9NE MATERIAL
Just a few weeks ago ROOKBEATS tweeted that the monster production team is indeed working with the most successful underground Hip-Hop artist TECH N9NE.
The RZA Says He Won't Sue Game
RZA says the legal beef between him and Game won't go any further.
Although previous reports, as well as back-and-forth statements, indicated that the Wu-Tang Clan's RZA would be suing The Game for illegally using one of his beats, it appears that the matter has been settled.
RZA addressed the matter last week, but never indicated that he would not be taking legal action. The legendary producer quashed rumors that he would be suing Game over the track "Heartbreaker," which was featured on the West Coast emcee's Purp & Patron: The Hangover mixtape. The track was produced by RZA, and features Lil Chuuuch.
“I COULD NEVER TAKE GAME TO COURT... I LOVE THAT DUDE...HE IS MY FAVORITE FROM THE NEW GENERATION OF WEST COAST M.CEES..." wrote RZA in a statement, according to MTV. "ALSO LIL CHUUUCH IS THE LAST YOUNG MAN I TOOK ON AS A STUDENT AND HE WAS ORDAINED BY MY FIRST STUDENT ASON UNIQUE...SO ITS A GOOD LOOK THAT HIM AND GAME BLESSED THE SAME TRACK... ITS JUST WE DIDNT AGREE TO RELEASE IT OR GO THRU THE PROPER CHANNELS...I'M IN ASIA AND NOT IN TUNE WITH THE CURRENT EVENTS... BUT I'M SURE ALL WILL END UP AMICABLE...LONG LIVE HIP HOP... WUTANG FOREVER...I WILL SEE YOU SOON MY BROTHER... PEACE RZA”
As of press time, Game has yet to respond to RZA's statement.
Although previous reports, as well as back-and-forth statements, indicated that the Wu-Tang Clan's RZA would be suing The Game for illegally using one of his beats, it appears that the matter has been settled.
RZA addressed the matter last week, but never indicated that he would not be taking legal action. The legendary producer quashed rumors that he would be suing Game over the track "Heartbreaker," which was featured on the West Coast emcee's Purp & Patron: The Hangover mixtape. The track was produced by RZA, and features Lil Chuuuch.
“I COULD NEVER TAKE GAME TO COURT... I LOVE THAT DUDE...HE IS MY FAVORITE FROM THE NEW GENERATION OF WEST COAST M.CEES..." wrote RZA in a statement, according to MTV. "ALSO LIL CHUUUCH IS THE LAST YOUNG MAN I TOOK ON AS A STUDENT AND HE WAS ORDAINED BY MY FIRST STUDENT ASON UNIQUE...SO ITS A GOOD LOOK THAT HIM AND GAME BLESSED THE SAME TRACK... ITS JUST WE DIDNT AGREE TO RELEASE IT OR GO THRU THE PROPER CHANNELS...I'M IN ASIA AND NOT IN TUNE WITH THE CURRENT EVENTS... BUT I'M SURE ALL WILL END UP AMICABLE...LONG LIVE HIP HOP... WUTANG FOREVER...I WILL SEE YOU SOON MY BROTHER... PEACE RZA”
As of press time, Game has yet to respond to RZA's statement.
Monday, February 7, 2011
AN ARMY THRU ONE PT.1 COMING SOON!!
RAYDO will be realeasing his debut production album this Spring.It features new artists such as YOUNG PHOENIX, F.E.R.N., STAXX CORDERO ,L.T., plus more. All beats produced by RAYDO.
THE BEAT CLASH
THE BEAT CLASH
The DMV Area's Premier Producer Battle
Returns
saturday February 19, 2011
Hosted by STEF is Dope
16 Producers
Judges
J Scrilla Inner Loop
Mark Henry 368 Music Group
SlimKat 78 Low Budget
$200 Cash Prize
Studio Time Package From DC House Studio
Video Interview on ForTheDMVonly.com
Rules:
First Round 16 Producers - 8 Match Ups | 2 Beats Per Match | Judges Vote
Second Round 8 Producers - 4 Match Ups | 2 Beats Per Match | Judges Vote
Semi-Finals 4 Producers - 2 Match Ups | 2 Beats Per Match | Judges Vote
Finals 2 Producers - Last Match Up (crowd vote) | 3 Beats | Crowd Vote
*Each Beat 1minute 30 seconds
@ Everlasting Life Cafe
2928 Georgia Ave NW
Washington, DC 20001
The DMV Area's Premier Producer Battle
Returns
saturday February 19, 2011
Hosted by STEF is Dope
16 Producers
Judges
J Scrilla Inner Loop
Mark Henry 368 Music Group
SlimKat 78 Low Budget
$200 Cash Prize
Studio Time Package From DC House Studio
Video Interview on ForTheDMVonly.com
Rules:
First Round 16 Producers - 8 Match Ups | 2 Beats Per Match | Judges Vote
Second Round 8 Producers - 4 Match Ups | 2 Beats Per Match | Judges Vote
Semi-Finals 4 Producers - 2 Match Ups | 2 Beats Per Match | Judges Vote
Finals 2 Producers - Last Match Up (crowd vote) | 3 Beats | Crowd Vote
*Each Beat 1minute 30 seconds
@ Everlasting Life Cafe
2928 Georgia Ave NW
Washington, DC 20001
Nottz Details His Contributions To Dr. Dre's "Detox" Album
Famed Virgina producer/emcee Nottz released his first solo album last year in You Need This Music. Additionally, the longtime hit-maker for Busta Rhymes, Ghostface Killah and Little Brother produced Rah Digga's comeback album, Classic, and a free mixtape with Asher Roth, Rawth EP . With a banner year in 2010, Nottz may get a massive commercial breakthrough this year, should Dr. Dre finally decided to release Detox. Speaking with Conspiracy Worldwide Radio last evening, Nottz touched on his long-standing contributions to Dr. Dre's third and final ensemble album.
"When [Dr. Dre] first started talking about Detox, I had the first joint on that album. Now, I have the first joint on this [latest working version] of the album," said Nottz, referring to Dre's work in the early '00s as well as more recent creations. "The first song, Game did a verse to it, and Dre was on it; they rapped on the intro of the album," he revealed. "I never heard it, but Dre and them told me about it, that it was hot. Just Blaze told me that he heard the joint [and thought] it was crazy [also]."
Although Nottz did not indicate which songs, that initial early '00s Detox production would later be used by two then-Aftermath Entertainment artists. "I had did two versions to the track," Nottz said, before Busta Rhymes and Stat Quo both recorded to the song.
As far as the title of the early incarnation of Detox, Nottz also revealed that Dre and Game were going to kick the album off with a song title "As God As Might Witness," he said, before hesitating "or something like that."
Nottz, who on several occasions flew to California to work in Dr. Dre's recording studio compound, has watched Detox shift in sound and focus. On his first encounter with Dr. Dre, Nottz said that the N.W.A. alum played him 40 beats, all rooted in the sound employed on his 1992 solo debut The Chronic. Noting that Dre's production team, which once included Scott Storch, Mike Elizondo and Mel-Man, now includes Dewaun Parker, Che Vicious and others has changed, Nottz revealed that a more recent sampling of Detox sounds was built upon "30 east coast tracks." Nottz, who has worked with some of New York Hip Hop's biggest names said, "It threw me off, 'cause it was all east coast records. Then he scrapped all of them, threw them out." Despite the change of sonic climate, Nottz rests assured, "I think he kept like two of my joints." The producer is also under the impression that both Jake One and DJ Khalil have confirmed placements on the album, expected to release this year.
Then again, Nottz can only be so sure. As this Detox album has changed and evolved throughout the last decade, Conspiracy Worldwide's host, Mista Montana, asked Nottz how certain he was that he still had that Detox intro, the veteran confirmed, "We got checks cut, but you know, records don't make albums."
Friday, February 4, 2011
Mr. Collipark Returns With March Mixtape, "Can I Have The Club Back, Please?"
The '00s hitmaking master says he's been away too long, and has a March 2 mixtape planned to reclaim his dance-floor and ringtone throne.
For the last decade, Atlanta, Georgia-based producer Mr. Collipark (f/k/a DJ Smurf) has developed and produced hits for Soulja Boy and the Ying Yang Twins. After a mostly quiet two-year period, the Collipark Records founder and CEO announced this morning that he will release a free mixtape next month, Can I Have The Club Back, Please?
The digital mixtape will release on March 2. “I wanted to create one project that combines young and veteran artists to revitalize the club music that I made popular,” said Mr. Collipark in a press statement. The College Park native's catalog includes "Crank That (Soulja Boy)," "A Bay Bay" and "Wait (The Whisper Song)."
Thursday, February 3, 2011
Kno Served with Cease and Desist Over Samples
The Cunninlynguists' primary producer has been served with a cease and desist over samples used on their '06 LP 'A Piece of Strange.'
It's been nearly two decades since Biz Markie's landmark sample clearance case in 1991, and Hip Hop artists are still reeling in its wake. Now, Cunnin;ynguists producer Kno is latest beatsmith to feel the industry's wrath, as the producer was served with a cease and desist order over his group's album A Piece of Strange.
The QN5 producer received the cease and desist last year after the representative from an as-of-yet unidentified artist illegally sampled in one or more of the songs off the group's '06 album. According to aboveGroundMagazine.com, YouTube members' comments about Kno's use of samples may have inadvertently prompted the suit. Kno took to the QN5 message board to explain that although he understands sampling clearance laws, he's willing to take the risk because of his love for the music.
"[A Piece of Strange] would have cost $3+ million to clear all of the samples on it - but some people have told me it literally saved their lives," he said. "Should it not exist? Should I now be lectured on legal morality by people with just as many skeletons in their closets and blunts in their ashtrays just because they want to defend their right to talk about samples on one of the biggest websites in the world?" (aboveGroundMagazine.com)
He also added, "The music I make infringes on copyrights. I am aware of this and have been aware of this, that is why I don’t stress getting rich off of it, I tell people to download it if they want to and I sink any money I do make back into making more records...I am not 'blaming fans,' I’m stating facts...public discussion of specific instances of copyright infringement in my work is making it impossible to even create the music period, even if I were to give it away for free. It would still end up on YouTube and I’d still get served by Google-searching lawyers and publishing houses who think they might be able to squeeze money out of me." (aboveGroundMagazine.com)
Although Kno's comments about his future in music may appear dismal, the famed independent producer explained to aboveGround in a recent email that he will only quit making music if it is an absolute necessity.
"I said, again, i[f] ‘X, Y and Z’ happens I won’t have any other choice," he explained. "If THAT happens, then I will quit due to necessity. That hasn’t happened, so I am not quitting. I feel like the guy who makes a passing remark about a bad day at work only to have 10 of his co-workers call his boss jockeying for his ‘eminently opening position’. I get to work Monday and there’s a bunch of ‘We’ll Miss You, Bob!’ cards on my desk." (aboveGroundMagazine.com)
Despite Kno's recent sampling issues, the Cunninlynguists are preparing to release their fifth album Oneirology on March 22 via QN5 Records. Kno also released his debut solo LP Death is Silent last year to critical acclaim
Wednesday, February 2, 2011
J Dilla: the Mozart of hip-hop
'His music is full of subtle things' … J Dilla. Photograph: Johnny Tergo/AP
The classically trained virtuoso Miguel Atwood-Ferguson grew up listening to Mozart, Beethoven and Chopin. He started playing the violin when he was four, began composing orchestral music at 10 and took up the viola at 12. The first musician he truly loved was Bach, but Atwood-Ferguson knows precisely what drew him to the music of James Yancey, aka Jay Dee, aka J Dilla.
"Dilla is a modern genius," he says. "Everyone has genius within them, but not everyone, for whatever reason, manifests it. But Dilla did. He stood for taking a great risk on different levels, for continuous hard work and for courage. He is a modern genius because he captured and represented the spirit of a particular time. What he did was so deep that he has influenced a huge amount of modern music. In an age when many of his peers are still more interested in vanity, Dilla was more interested in exploration through music. And that is why he is a modern genius."
Born in 1973, James Yancey grew up in the Conant Gardens neighbourhood of Detroit and began making beats at home when he was just 11 years old. His mother was a singer and his father, Beverly, played piano and bass; together they had an a capella jazz group, and there would always be singing at home. By the time he was in his early 20s Dilla's music – full of rich, utterly unique drum sounds, warm, muzzy instrumentation and endlessly inventive melodies – was so popular he was getting called at home by A Tribe Called Quest, De La Soul and Busta Rhymes. In 1996, Tribe were Grammy-nominated for their Dilla-produced album Beats, Rhymes and Life – but he had to be strongly persuaded to even attend the ceremony. "He didn't really want to fuck with none of that," Tribe rapper Q-Tip told Vibe magazine a few years later. "And I don't blame him."
Dilla died from a lupus-related illness nearly five years ago in February 2006. In 2007, on what would have been Dilla's 33rd birthday, Atwood-Ferguson and independent hip-hop champion and producer Carlos Niño released their brass, strings and woodwind version of Dilla and Common's Nag Champa for free download. They created the track in Niño's LA apartment with just one microphone, recording one instrument at a time. An EP that featured more of Dilla's works – Antiquity, Nag Champa, his old group Slum Village's Fall in Love and A Tribe Called Quest's Find a Way – followed a few months later.
In February last year, Atwood-Ferguson put a 60-piece orchestra together to play a special tribute concert for Dilla at an arts centre in LA. Dilla's mother, Maureen, was a special guest and the night, Suite for Ma Dukes, was named in her honour. The CD and DVD recorded that night show Dilla's music to be, by turns, fantastically complex and head-noddingly simple, while Atwood-Ferguson's orchestrations are overpoweringly alive with the possibilities of where this brilliant musician, someone who made startling records with De La Soul, Janet Jackson, Erykah Badu and Common, among a wealth of others, could have gone next.
"There is a depth and honesty in his music, in the way his beats meld together," Atwood-Ferguson says. "His music is full of subtle things that most people aren't aware of – and they shouldn't have to be. People should just enjoy it."
Dilla was, perhaps, the only hip-hop producer to have studied the cello ("Not the instrument of choice in the ghetto," as his mother puts it in the sleevenotes) as a child, and his work is full of the sort of subtle but powerful differences that a composition-based education might provide, as Atwood-Ferguson noticed when he broke down the pieces ahead of arranging them for the orchestra.
"Dilla loves five-bar loops," he says. "He loves sevens and elevens as well, but within the phrases of five, he will have different parts of the beat looped in threes, fives and sevens a lot as well. Two of my other favorite musicians, Billie Holliday and Elvin Jones, very naturally phrase in three, five, and seven as well, without even seemingly being consciously of it."
The normal hip-hop loop will be a strict four-bar pattern, but Atwood-Ferguson doesn't think Dilla was ever trying to be unsettling or overly technical. "He just loved the effect music could have on himself and others," he says. "As listeners, we're not supposed to notice those things. Dilla was purely about expression, he was trying to say that life is beautiful, we are lucky to live it, we need go for whatever it is that is in our hearts."
What is remarkable about Suite for Ma Dukes is how relatively obscure Dilla productions like Don't Nobody Care About Us or Gobstopper have been entirely reinvented, the breadth and depth of his textures and ambitions highlighted by these new arrangements. Atwood-Ferguson broke down his chosen pieces into a variety of different elements, including the meaning of the song and emotional content. The melodies, harmonies and basslines from any samples used in the original recordings were recreated.
"There are actually hundreds more steps to this whole process," he says, "but I will spare you them! To be honest, two of his most famous pieces, Fall in Love and Stakes Is High, I found difficult, so I plan to revisit them. They're not even close to the level of magic that I want them to be at."
Dotted among Dilla's compositions are two pieces by minimalist French pianist and phonometrician (someone who measures sounds), Erik Satie. "Satie, Ravel, Debussy and Poulenc are all impressionistic composers," Atwood-Ferguson says. "Dilla's music definitely has a lot of parallels with those people. Their music centres around love, passion, joy, fascination, imagination and lust. Dilla made very sensual music. What was important to me was to bring love and appreciation to Dilla's legacy, I hope it shows the profound humanity and depth of heart which he consistently operated with."
Dilla's illness first came to light after he returned home with flu from a European tour in 2002. His mother took him straight to hospital where a blood test showed he had both lupus, an auto-immune disease that causes inflammation and organ damage, as well as thrombotic thrombocytopenic purpura, a blood disorder that causes microscopic thromboses to form in the blood vessels.
By the late summer of 2005, Dilla was bedridden in Cedars-Sinai hospital in LA, where Eazy-E and the Notorious B.I.G. had died. Although he was insured, the bills for his long hospital stays were huge, more than $200,000 each. He needed dialysis three times a week and that alone cost nearly $2,000 a session. Prescriptions could run to $2,000 a time. Specialists were more than $6,000 a week. But still Dilla worked. He had his studio moved into his room, determined to finish his latest album, despite the pain and discomfort. His mother would massage his hands when they became swollen and painful.
He released the album Donuts on his 32nd birthday, 7 February 2006. He died three days later, leaving two daughters, Ja'Mya, now nine and Paige, 11. He also left a large unpaid tax bill and such a mess of rights issues around the use of his beats – many given out freely on CDs to friends before his death – that the executor of his estate (also his accountant) Arty Erk, had to take out an ad in Billboard in April 2008 requesting that people stop using his client's work. A viper's pit of claims and counter-claims have followed, with his mother and his children all suffering. Bearing all that in mind, it's some sort of miracle that Atwood-Ferguson has brought the focus back to Dilla's music while passing on part of the proceeds from the concert and its digital offshoots to Dilla's mother and his estate,
"It was a magical night," Atwood-Ferguson says of the event. "In an age when hip-hop music is so frowned upon, an event like this one was just a little indicator that, in fact, it deserves profound respect and is just as valid as any other art form. Mrs Yancey was in tears – she was glowing with appreciation, pride and wonderment. Some of the most meaningful moments in my entire life were spent getting to enjoy that whole experience with her."
So, has the whole experience made you want to orchestrate other modern composers' music, I ask?
"Most assuredly," he laughs. "Jimi Hendrix. Stevie Wonder. John Coltrane. The Beatles. James Brown. This is just the tip of the iceberg."
Suite for Ma Dukes is out now on Mochilla. To mark what would have been J Dilla's 37th birthday, there are three J Dilla Changed My Life events: at the Deaf Institute, Manchester, on 4 February; at the Scala, London, on 6 February; and at Jam, Brighton, on 9 February
Timbaland Prevents Foreclosure On His $2.6 Million Condo
Timbo was alerted to the problem thanks to the intervention of a Detroit newspaper.
Timbaland must be a pretty busy guy because he nearly lost his Miami condo for failure to pay some minor assessment fees. According to The Detroit News, the building’s owner placed a lien on the producers pad to the tune of $ 18, 833 back in August. The lien was due to what they claimed was nonpayment of quarterly condo assessment fees. The fine had grown to $27,000 before The Detroit News contacted Timbo. At which point the rappers reps made the full payment and prevented the foreclosure that the buildings lawyers had threatened.
The man born Tim Mosley isn’t hurting for cash though. His financial reps claim that this was all just a big misunderstanding. Appearantly, Timbaland, like most entertainers, delegates these kinds of responsibilities to a team of financial advisors. These advisors claim that they were never sent a notice of the bill. So, thanks to the Detroit News they were made aware of the fine and paid it off in a timely manner.
Timbaland is currently putting the finishing touches on the third volume of his Shock Value series. The album’s first single is expected to be released to radio on February 22nd.
Timbaland must be a pretty busy guy because he nearly lost his Miami condo for failure to pay some minor assessment fees. According to The Detroit News, the building’s owner placed a lien on the producers pad to the tune of $ 18, 833 back in August. The lien was due to what they claimed was nonpayment of quarterly condo assessment fees. The fine had grown to $27,000 before The Detroit News contacted Timbo. At which point the rappers reps made the full payment and prevented the foreclosure that the buildings lawyers had threatened.
The man born Tim Mosley isn’t hurting for cash though. His financial reps claim that this was all just a big misunderstanding. Appearantly, Timbaland, like most entertainers, delegates these kinds of responsibilities to a team of financial advisors. These advisors claim that they were never sent a notice of the bill. So, thanks to the Detroit News they were made aware of the fine and paid it off in a timely manner.
Timbaland is currently putting the finishing touches on the third volume of his Shock Value series. The album’s first single is expected to be released to radio on February 22nd.
Tuesday, February 1, 2011
The RZA Speaks On Game Lawsuit
The Wu-Tang Abbot gives his side of his recent controversial lawsuit.
Much has been made of recent reports that RZA filed a lawsuit against west coast emcee The Game.
In an exclusive interview, Game confirmed to HipHopDX that the Wu-Tang head honcho did indeed send a cease-and-desist to Game over the song “Heartbreaker,” which appeared on Game’s latest mixtape, Purp & Patron.
Now, the RZA has taken to two forums to give his side of the story. First, the legendary producer took to Twitter:
Tired, and on this twitter to respond while I am in China working. I have nothing but love for Game.about 10 hours ago via webRZA!
RZAWU
Later, he provided a more detailed account to The Wake-Up show’s King Tech.
“The issue boils down to we, wanted to get the song on the album that was coming out for Game at the time,” explained the statement. “We went to the studio that night and Game felt the track and it was all good. The issue came about when it did not make it to the album because there was not enough time to clear the track. We spoke with Tony Martin, who informed us that the track would not be used and if it was, we would be notified. Now, that being said, they put it on a mix tape and never said anything to us; and we got an offer to have the tracked purchased by someone else.
“So this is not anything personal, and RZA has nothing but love for Game, but this is business and in all fairness, it would have been cool if they would have just let us know what the intent was, because we began soliciting the track for purchase and its looks like this was a double sale issue when it wasn’t.”
Game has yet to respond to RZA’s statements.
Much has been made of recent reports that RZA filed a lawsuit against west coast emcee The Game.
In an exclusive interview, Game confirmed to HipHopDX that the Wu-Tang head honcho did indeed send a cease-and-desist to Game over the song “Heartbreaker,” which appeared on Game’s latest mixtape, Purp & Patron.
Now, the RZA has taken to two forums to give his side of the story. First, the legendary producer took to Twitter:
Tired, and on this twitter to respond while I am in China working. I have nothing but love for Game.about 10 hours ago via webRZA!
RZAWU
Later, he provided a more detailed account to The Wake-Up show’s King Tech.
“The issue boils down to we, wanted to get the song on the album that was coming out for Game at the time,” explained the statement. “We went to the studio that night and Game felt the track and it was all good. The issue came about when it did not make it to the album because there was not enough time to clear the track. We spoke with Tony Martin, who informed us that the track would not be used and if it was, we would be notified. Now, that being said, they put it on a mix tape and never said anything to us; and we got an offer to have the tracked purchased by someone else.
“So this is not anything personal, and RZA has nothing but love for Game, but this is business and in all fairness, it would have been cool if they would have just let us know what the intent was, because we began soliciting the track for purchase and its looks like this was a double sale issue when it wasn’t.”
Game has yet to respond to RZA’s statements.
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