VICE Films, in partnership with Snoopadelic Films, presents REINCARNATED. The documentary follows Snoop Dogg as he journeys to Jamaica to record an album with Diplo. While there, Snoop finds himself embraced by the Jamaican people, is positively impacted by Rastafarian culture, and becomes reincarnated as Snoop Lion.
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'.
Tuesday, July 31, 2012
Alchemist, Planet Asia, Killer Ben & Tristate Form Durag Dynasty, Prep Debut "360 Waves"
The quartet plans to release its debut, produced entirely by The Alchemist, later this year.
Alchemist, Planet Asia, Killer Ben and Tristate have officially announced the formation of their supergroup Durag Dynasty, with plans to release their debut 360 Waves by the end of the year.
The crew first joined forces on the cut "Spudnik Webb,"which also featured Blu and Killa Kali. The track was released ahead of Alc's Russian Roulette but did not make the final tracklist.
Alchemist, who will helm the entirety of the LP, told HipHopDX in January 2012 that the project was in the works. "I’ve also got the [Durag] Dynasty [Clique] project and that’s going to be coming out of left field, man," he said. Planet Asia also spoke to HipHopDX on the project, stating, "[It] will be one of the best albums of 2012."
Check out the new track "The World's Most Dangerous" below.
@Pharrell Williams In Talks To Become American Idol Judge
Who better to judge musical talent than artist as gifted as PHARELL WILLIAM? US Weekly reports that the Neptunes producer is one of the music stars being considered to become a new judge on in lieu of American Idol Randy Jackson and Steven Tyler's departures. According to the mag's source, Jackson will be assuming a "mentoring" role, leaving two vacancies to be filled next Mariah Carey, who accepted a lucrative deal to become a judge on the reality television series and talent show.
Williams -- who has produced hit records for Britney Spears, Justin Timberlake and Gwen Stefani -- is currently negotiating the terms of his contract. "Everything is looking good, but they're still working out details," an insider tells Us.
Ahem, Williams has also produced hits for Jay-Z, Snoop Dogg, Ludacris, Busta Rhymes, Lupe Fiasco, Clipse and many other Hip-Hop acts. That's just a friendly reminder for all those caught up in his Pop accomplishments.
It will be interesting to see if Skateboard P is indeed able to add "American Idol Judge" to an already crowded resume and schedule that includes overseeing his i am OTHER Youtube channel, running the BBC Clothing Line and dropping a memoir, Places & Spaces I've been , in October, among other endeavors.
What do you think of the prospect of Pharrell Williams getting to decide who the next American Idolwinner will be?
Monday, July 30, 2012
Beedie To Release "Above The Weather EP," Featuring @Buckwild & ID Labs Production
D.I.T.C.'s Buckwild, Statik Selektah, Maticulous and the production team behind hits for Wiz Khalifa and Mac Miller show out on Beedie's August project.
On August 13, Pittsburgh, Pennsylvania emcee Beedie will release his Above The Weather EP. The Varsity Squad member's latest project features production from the likes of D.I.T.C.'s Buckwild, ID Labs, Statik Selektah and Maticulous.
In addition to digital formats, Above The Weather is available on flash-drive and CD, with select bonus cuts available on each.
The tracklist to Beedie's Above The Weather EP is as follows:
01 Old Soul (prod. M-Pyre)
02 The Cloud Life (feat. Gene Stovall) (prod. ID Labs)
03 Jealous (feat. Ricardo Iamuuri) (prod. SoulstarZmuseeQ)
04 Purp (For The First Time) (feat. Gene Stovall) (prod. Oyo Ellis)
05 Miss Me (prod. Hook & Eye)
06 Home (prod. Statik Selektah)
07 Do You (feat. Jon Quest) (prod. Pheolix Nynes)
08 BONUS - Robert Marley (prod. Buckwild)
09 BONUS - Puffin' (prod. Git Beats)
10 BONUS - Vroom (Cruisin') (prod. maticulous)
11 BONUS - What She Wants (prod. SoulstarZmuseeQ)
@PLARGEPRO Large Professor Tells All: The Stories Behind His Classic Records
Main Source f/ Nas, Joe Fatal, and
Akinyele “Live at the Barbeque” (1991)
Album: Breaking Atoms
Label: Wild Pitch/EMI
Producer: Main Source
Large Professor: “I always had that drum loop, the ‘Nautilus’ drum loop. [People sampled that record a lot], but to be right there with it, and just get the drums out of it without all of the bells and all of that—at that time, it was amazing. Like, ‘Oh shit, you got just the drums out of ‘Nautilus’?’ It was tough.
“We had recorded all of the album. The album was done. And we had this last song to do. It was the last session. This was it. We had tried to hook it up other times. Nas said a rhyme on it when we were at another studio, but it just never really came together. There was another studio that we were working at, and it was like we were trying to get a little extra in at the end of a session, and I threw it up, like, ‘Yo Nas, see if you got anything for this.’ So he put something down, and I’m sure it was tough, but the whole idea of it just didn’t come together.
“But this session, I threw the bassline in the beat, and we were all there. Times before, it was like, we were just practicing when I would throw that beat up, because it was just the drums. This time, it was like, ‘This gotta count.’
“I wrote my verse right there. Fatal had a combination of dudes collaborating with him on his verse. Ak was always ready. And Nas, he always has books and books of rhymes. So he took this piece of this rhyme, and that piece of that rhyme, and put it all together.
“We used to wild in the studio. G. Rap kind of started that with us. In the studio in general, dudes used to be on some real wild shit, getting their puff on and drink on, partying, the damn speakers blaring loud. That’s where that chorus came from. [Laughs.]
“It was crazy with ‘Barbeque’ because that was the last song, and so it was like a month or two later, the album was out. There was no in-between time. It wasn’t like I had time to go around the way and play it for people. It was like, ‘We got it in the can, it’s good.’ As soon as we finished that, we were mastering, and then it was like, it went straight to the radio. We were like, ‘Yo, this is it!’
“For all of us in general when the album came out, it was [crazy]. And Nas was like a huge highlight on that joint. And then he started getting his shine on, with Bobbito and [Stretch Armstrong], going up there and gettin’ busy.
“[I originally] met Nas through Joe Fatal, and he had a friend named Melquan that he was getting up with. Nas wanted to record a demo for himself. His mother was funding him to go record a demo. And at that time, my name was kind of ringing bells, like, ‘Yo, there’s this dude out in Flushing that’s making these crazy beats.’ Fatal was putting that out there. So I had to show and prove.
“One day, Melquan [and Fatal set it up], and I was coming out of high school, coming down the steps. And [them and Nas] came by in the cab, like, ‘Yo, we’re gonna make that happen.’ So we jetted back to the crib, I got my machine, and jetted all the way out to some studio—Sty In The Sky Studios in Coney Island, Brooklyn. I made the beat right there, and we recorded the demo. I forgot the name of it, but it was dope though. [We had other demos from that time too that were ill, like] ‘Top Choice of the Female Persuasion,’ and ‘550 Fahrenheit.’ [But they] never came out.”
@IAMErickSermon Tells All: The Stories Behind His Classic Records
Styles P “What, Why, When, Where” (2003)
Album: he Desert Storm Mixtape: Blok Party Vol. 1
Label: Desert Storm
Producer: Erick Sermon
Erick Sermon: “Yo, you got that? Let me hear that. [Listens.] Wow!
Label: Desert Storm
Producer: Erick Sermon
Erick Sermon: “Yo, you got that? Let me hear that. [Listens.] Wow!
“Yeah, DJ Envy had told me to do two records. Styles P and Redman. I did two of them on that album. I forgot all about that. When I talk in articles, and they mention rappers that I worked with, he never comes up.
"He's another icon that's a part of my catalog of music. I fucked with the greatest. But I wasn't a mixtape person. So I never knew if songs like these were being played or heard or not.”
Sunday, July 29, 2012
Torae "Off The Record EP" Tracklist
Brooklyn, New York emcee Torae will follow-up his 2011 studio debut, For The Record with a August 28 companion release. The digital Off The Record EPfeatures production by Da Beatminerz, 9th Wonder and Marco Polo. It will be released on Tor's own Internal Affairs imprint.
1) Intro2) New Day – prod. by Da Beatminerz
3) Steady Mobbin’ – prod. by 9th Wonder
4) Gettin’ Biz – prod. by Khrysis
5) The Journey Pt. II – prod. Marco Polo
6) What Does It All Mean – prod. by Roddy Rod
7) Eat Yall Words – prod. by Eric G.
8) Only Way (Full Version) – prod. by 9th Wonder
9) Over You (Alternate Version) – prod. by E. Jones
Saturday, July 28, 2012
Confessions Of A Record Producer
Author Moses Avalon drops nothing but jewels in this book. I’m not a huge reader myself but when it comes to learning about the music business it can happen two ways: Proactively by you educating yourself, or reactively: by learning from experience be it good or bad. This book does a great job of breaking down publishing and royalties for producers and artist, but has a wealth of knowledge outside of that.
Go grab it from here
@Nas Reveals He Wanted Jay Electronica To Produce Entire Untitled Album [LISTEN]
Nas recently sat down for an informative and extensive interview with the UK's Benji B. During their conversation, the Queensbridge rapper spoke about a wide range of topics including the creation of specific records from his new, critically acclaimed and #1 selling Life Is Good album, his love of Jazz music and hisrelationship with Amy Winehouse. But the most interesting revelation was that the "It Ain't Hard To Tell" rapper's Untitled album was originally supposed to be a collaborative project with the Jay Electronica.
The enigmatic Roc Nation rapper produced the opening track, "Queens Get The Money" on Nas' provocatively titled 2008 album. "I wanted to get him to do the entire Untitledalbum, the N-word album," revealed Nas. "He had ideas, he was pulling records from J Dilla, he was pulling records. He was there with me while I was working on it. He did the first record on there. It would have been so ahead of its time because no one at that time... He wasn't signed, he wasn't out there like that. So it would have been great right now to go back and say, 'Yo, this dude produced my whole album years ago.' That would have been cool. He's ahead of his time like that."
Benji B then did his proper due diligence and noted that a joint Jay Elec and Nas album could still happen.
"Now everyone knows who he is now and some of the mystique would be gone if he did that," answered Nas. "But who knows how it would come out. Probably would be crazy still."
Can you imagine? Remember when Jay Elec allegedly had that EP project in the works with Lil B? Yeah, we'll go out on the limb and say the prospect of a Jay Electronica and Nas project would be more celebrated on these Hip-Hop Internets. But considering we still have yet to get Act II: Patents of Nobility (The Turn), Nas may have been better off keeping it moving.
Friday, July 27, 2012
At 'DC Loves Dilla' Slum Village Says "Dilla Wanted Us To Keep The Legacy Alive"
On Saturday, July 14th at the annual “DC Loves Dilla” benefit concert in the Washington, DC suburb of Silver Spring, MD, the spirit of late producer/rapper James “J Dilla” Yanceywas alive and well. Two of Jay Dee's actual family members and musical partners of his past rocked in honor for the 7thannual tribute and fundraising event. Led by host Grap Luva and complete with a live band that flawlessly replicated some of Dilla's best work and a surprise guest appearance by burgeoning jazz pianist Robert Glasper, the event was exactly what Dilla would have expected according to members of the group where he found his fame, Slum Village.
Slum Village, Guilty Simpson and Frank Nitt (of Frank-N-Dank fame) were the headliners in the tribute event that featured some of D.C.'s best talent in Wes Felton, Maimouna Youssef, Labtekwon, Deborah Bond, Jay Mills and Yahzarah. A brief chat with T3, Young RJ and Dilla's younger brother Illa J revealed that their intention is to keep the producer's name in the conversation and not a ploy for profit.
“I love doing these tributes for my brother,” said Illa J coolly. “I know he's looking down proud and he would want us to keep going no matter what. He was working on this music up until [his death]. This is what he lived for.”
T3 added, “Dilla would have wanted us to keep the legacy alive. I mean I've known that man all my life and he gave me everything so it's only right we keep it moving and hold Ma Dukes down and keep the fans happy with that heat they expect.” Young RJ, the latest addition to the evolving crew that has also included Elzhi and Baatin (now deceased), agreed with his crew members on what Dilla may have envisioned in his passing.
“I talked to him until the end and he worked on this sh-t until his fingers bled. We have to keep it going,” said RJ.
THE AMY WINEHOUSE FOUNDATION ADDS NONOREE GRAMMY NOMINATED PRODUCER @SALAAMREMI TO AMY WINEHOUSEINSPIRATIONAL AWARDS & GALA
July 19, 2012 at 9:06 pm
The Amy Winehouse Foundation (US) adds Honoree
Grammy Nominated Producer SaLaAM ReMI
to Amy Winehouse Inspiration Awards & Gala
Grammy Nominated Producer SaLaAM ReMI
to Amy Winehouse Inspiration Awards & Gala
(July 19, 2012, NYC): The Amy Winehouse Foundation (US) announced today that the multi Grammy nominated producer and songwriter SaLaAm ReMI will be among this year’s recipients of the Amy Winehouse Foundation Inspiration Awards for his work in helping to inspire greatness in others.
ReMI who worked with Ms. Winehouse on her albums Frank and Back to Black as well as producing the posthumously released Amy Winehouse Lioness: Hidden Treasures will be honored alongside the legendary Tony Bennett at the Amy Winehouse Inspiration Awards and Gala on October 11, 2012 at the Waldorf Astoria in NYC. Mr. Bennett was formally announced earlier this summer (http://tmapr.com/?p=1233 ).
“SaLaAM ReMI,” says Amy’s father Mitch Winehouse, “is an extraordinarily talented individual who not only inspired greatness in Amy, but whose artistry has contributed significantly to music culture.
“SaLaAM ReMI,” says Amy’s father Mitch Winehouse, “is an extraordinarily talented individual who not only inspired greatness in Amy, but whose artistry has contributed significantly to music culture.
His illustrious career that includes significant philanthropic work has significantly impacted or developed the careers of other genre defining artists. Amy loved his passion and respected his genius and thought of SaLaAM as family. It is only fitting that he is among this year’s Honorees.”
The red carpeted, black- tie cocktail and dinner event will feature soon to be announced star studded musical guest performances and will be the first of what Mitch Winehouse and Janis Winehouse, Amy’s father and mother, plan to be an ongoing annual event to raise awareness and resources for the Amy Winehouse Foundation in the US.
Launched in NYC on April 11, 2012, the mission of the Amy Winehouse Foundation -US is to support and empower children in need through music therapy and music education. All monies raised in the US will go to US programs.
One of the US Foundation’s first missions is to assist the New Orleans Jazz Orchestra (NOJO), in supporting after school music programs for children in those districts still struggling from the devastation caused by Hurricane Katrina. Mitch Winehouse recently visited the 9th Ward in New Orleans and presented a $10,000 check to NOJO on behalf of the US Foundation.
The Foundation was formally established in the UK in 2011 by Amy’s family in honor of her memory and in keeping with her passion of wanting to help children in need. To date the UK Foundation allocated over £375,000 to various organizations.
For more information about the AWF (US) please visit www.amywinehousefoundation.org
AWF-US/ Mitch Winehouse Media contact: Tracey Miller, TMA, Inc., 609-383-2323, ext.11 or tracey@tmapublicity.com
For more information about the AWF (US) please visit www.amywinehousefoundation.org
AWF-US/ Mitch Winehouse Media contact: Tracey Miller, TMA, Inc., 609-383-2323, ext.11 or tracey@tmapublicity.com
V EXCLUSIVE: RICK ROSS SPEAKS ON ANDRE 3000 COLLABORATION 'SIXTEEN
When the tracklist of Rick Ross’ LP God Forgives, I Don’t hit the Internets, rap heads gasped in anticipation over a feature appearance by the selective OutKast half Andre 3000. Yet Rozay accredits production trio J.U.S.T.I.C.
"What really made this record dope before the collaboratio
The eight-minute
Thursday, July 26, 2012
@Timbaland Jumps into Liqueur Business, Launches “LeSutra”
Following in the steps of Diddy, Snoop, and many other Hip Hop icons
before him, Grammy Award-winning producer @Timbaland, along with his partners, launched a new sparkling liqueur called “Le Sutra.” Timbaland collaborated with Tom Bruno, who co-founded Grey Goose Vodka, Ryan Rosenberg, Adam Berkowitz, and Jonathan Webb.
Timbaland is optimistic that Le Sutra will be well received in the market:
“Everything that I create is groundbreaking, and Le Sutra is no different. With its innovative ingredients and design, I’m confident that we’ll gain a loyal and eclectic consumer base. My infectious style has helped produce career-defining hits for artists worldwide, and now I’m guaranteeing another hit with Le Sutra.”
Inspired by the KAMA SUTRA, Le Sutra will come in four fruity flavors: blueberry, strawberry, grape, and peach. The 30-proof liqueur will be available in 750ml and 375ml bottles and will retail for $29.99 and $19.99, respectively. Watch for it as Timbaland is gearing up for a massive launch party this Labor Day in Miami.
@FIREPLACESTUDIO UPDATE
It is hard to believe that we are over halfway through 2012, so we would like to catch our breath and let you know what we have been up to at the studio.
The studio opened its doors to a long time favorite of ours producer, label executive, and artist 9th Wonder. 9th Wonder locked out the studio for a week to work with the entire Jamla Records crew, including artists Rapsody, Actual Proof, and Big Remo. The studio was bumping all day and all night with a bunch of famous faces coming through like NFL superstar Torry Holt and producer/engineer Terrace Martin. It was a great to have so many talented and nice people in the studio and we hope to have them back very soon.
As spring rolled on our friends in the Hunters dropped by the studio fresh off their tour with The Kills and Jeff The Brotherhood. The Brooklyn-based band brought their brand of heavy, catchy, and noisy rock into the studio to record new tracks for their upcoming EP. The band came in with their producer, the legendary guitar player James Iha, who was on hand to direct them through a long day of tracking. Be sure to catch Hunters on their summer tour with A Place To Bury Strangers.
The studio shifted gears this summer as we got ready for the return of the avant-garde jazz/rock band Big Five Chord. The band, led by guitarist Jon Lundbom, came in to record and mix their new album “No New Tunes” that is being released on Hot Cup Records. This is the third album the band has completed at Fireplace Studios and it is always a pleasure to be surrounded by such great musicians.
Some other notable mentions include producer Wizz Dumb who cut his teeth under the tutelage of renowned artist/producer Timbaland. Wizz locked out the studio for several days to work on a slew of new tracks. We also welcomed back our friends from Solid Music in Sweden, including producer Jason Gil and artists J-Son and Tima who spent a week in the studio writing tracks for Tima’s upcoming album. The studio gained a new client in supermodel and singer Jessica White who came to the studio for several sessions with prominent songwriter Andrea Martin. We also continued to work with Sara Quin of Tegan & Sara who used the studio as a home away from home to write tracks for the group’s soon-to-be-released album.
2012 continues to be a banner year here at the studio and we would like to thank everyone who has played a part.
Wednesday, July 25, 2012
@iamErickSermon Tells All: The Stories Behind His Classic Records
Ludacris “Hip-Hop Quotables” (2003)
Album: Chicken-n-Beer
Label: Def Jam
Producer: Erick Sermon
Label: Def Jam
Producer: Erick Sermon
Erick Sermon: “For that simple beat, Ludacris chased me down for three months. I don't know what it was about that record. He was like, 'Yo E, I need that record for my album.' I used to make beats to freestyle to. I had the CD in my car or something, and I was like, 'Yo, take this CD.' But he needed the session to mix it.
“He was a big Redman fan. He used to come to my house with demos that sounded close to Reggie. I knew him from being on the radio as Chris Lova Lova. He would come to my house with [our mutual friend] Greg Taylor who I did the rim shop with.
“When Ludacris [about to sign] to Def Jam, he called me first. He said, 'Sylvia Rhone's gonna give me a million dollars, and Def Jam is gonna give me $700,000.' I said, 'Go to Def Jam.'
"We had gotten close, and he liked what I was doing and all my albums. I was kind of a mentor to him in certain ways. Even though we didn't have an extensive relationship, he would still call me and ask me.
“[I didn't think he was going to be big like that], but his first record was big in Georgia. It blew up. But I figured they were playing it because he was on the station and one of Atlanta's own, not knowing that it was going to get him a deal. But when you have that much airplay going on, it's going to pick up. And Def Jam saw it.”
@LargeUpdotcom Exclusive: @SalaamRemi Speaks On Amy Winehouse & Reggae by Eddie "STATS" on July 24, 2012
Yesterday marked the one-year anniversary of the death of one of the modern era’s greatest recording artists, Amy Winehouse. As we pointed out in the story we published two days later, “Amy In The Sun,” beyond the vintage soul and jazz she was known for, Amy was also greatly inspired by reggae and Caribbean culture in general, an influence that manifested in a number of great but often overlooked records. As it happens, we just sat down withSalaam Remi, the producer behind many of those records and Amy’s closest musical collaborator, at his Miami studio just the other day (Look out for our full feature on Salaam coming soon). Naturally, Amy came up and, in light of today’s anniversary, we thought it was only appropriate to share that part of the interview here.
On Amy’s Artistry:
“With artists, you just have to inspire them. If you give them something to inspire them, then they give you back something that you could not have asked for that’s bigger than anything you can dream of. That’s how that works. With Amy, I was just able to say stuff to her that made her think she could write what she wanted.”
On Amy’s Love for Caribbean Culture, and the Reggae Recordings Salaam Produced For Her:
On her first album I introduced her to “Moody’s Mood for Love,” which was a jazz record I knew because Frankie Crocker on WBLS would close every show with it. She learned it in a couple days and I was like you know what, let’s do a reggae version just to have a different swing of it. So that became the reggae version on that album. Then “Just Friends,” was really a jazz type song when we originally did and she said let’s make this the reggae song, like we did with the other one. So I flipped the arrangement, and we had that on the second album. And of course she had other songs that she was starting to record where we would flip reggae versions. We just knew we could do that with songs, like turn it on it’s head, let’s just do it that way with the same music. With the musicians we were working with, it was just easy. I’d change the bassline and flip the drums around and next thing you know it starts feeling like the reggae version. And that’s just something that she liked. She was into that type of music. She was into West Indian culture in general. All of her security were Jamaicans. Most of the people she had around her had some type of core West Indian element to it.
She was comfortable with it. When we were in St. Lucia she was writing but relaxing, not being in the cold anymore with Paparazzi chasing her around—they had to stay far in the bushes out there—and figure out what was next.
On Reports That Amy Recorded An Unreleased Caribbean-inspired LP in St. Lucia:
We were there recording and stuff but there was never an album done like that. That was just people talking. Of course we had versions of other songs and we would flip reggae versions. We just knew we could do that. There’s a couple things but none of them are finished. There’s not a reggae album coming out. I could make one but it’s not like it would be recorded to make a reggae album. That wasn’t done.
On Amy’s Posthumous Single “Our Day Will Come”:
“Our Day Will Come” wasn’t recorded as a reggae record, originally. I just thought about what she was singing. We actually did two versions, one with the reggae. And when her family heard that they were like, “That sounds like Amy.” They just felt her spirit was in the room when they listened to that. That’s why that was the single for that album, and it starts the album. Because they just felt, wow, this feels like her.
@blap_events 8/7: @!LLMINDproducer , PNC Radio & @iStandard Presents: BLAP Producer Showcase
Featuring Producers:
Brian Allonce
J. Cardim
Nkay Beatz
David Luke
Asethic
Cas Weinbren
Brian Allonce
J. Cardim
Nkay Beatz
David Luke
Asethic
Cas Weinbren
Hosted by A King
Music by DJ Mark
Music by DJ Mark
Katra Lounge
217 Bowery St New York, NY 10002
217 Bowery St New York, NY 10002
Brought to you by !llmind Productions, PNC Radio and iStandard
Tuesday, July 24, 2012
Monday, July 23, 2012
@plargepro Tells All : The Stories Behind His Classic Records
Big Daddy Kane “Niggaz Never Learn” (1993)
Album: Looks Like a Job For...
Label: Cold Chillin’/Reprise/Warner Bros.
Producer: Large Professor
Large Professor: “That was originally supposed to be a remix for ‘Prince of Darkness,’ I think. That’s a funny story. That was when I was puffin’ mad weed. Rush Management was like, ‘Go to the studio, they want you to do a remix for Kane.’ But I had to get my weed before then.
“So I had to go to Palmetto. I was in the cab, and I brought Neek with me. And I was like two hours late. So I got to the studio, and when I came, I had my drum machine, my weed, and everything I needed. And Mister Cee, he was at the door. And he was like, ‘Yo, you’re a little late. Let’s get to work.’
“And I got in the door, and Kane was sitting on the couch. He had on a hoodie, with the hood on, his fuckin’ boxers, and a 64 ounce of beer. [Laughs.] Yo! I came in, and I said, ‘Yo man, I here. I’m ready to go.’ I didn’t know him. I was up at Cold Chillin’ so we knew of each other, but I had never met him.
“So I’m starting to hook shit up. And he’s like, ‘Yo, turn that shit off for a minute.’ Kane was dead serious, like, ‘What the fuck happened, man? I been in here [for a while]. What’s up?’ I’m like, ‘Yo, my bad, man. I had to go over here, and go over there and shit.’ And he was like, ‘Yo, don’t fuck around. I’m not that nigga.’ He was on some real shit! All I could say was, ‘My bad, man.’ He was like, ‘Yo, I’m telling you, I’m gonna call Francesca [at Rush], and I’m gonna let her know.’
“So I said some shit like, ‘Yo man, Are we gonna work or what?’ And he was like, ‘Go ahead. But I’m gonna let Fran know.’ But yo! [Laughs.] He had the hoodie on with the boxers, and the 64-ounce beer. Kane was flamboyant. He was comfortable at all times.
“I wish it would have been a better, bigger collaboration. I put it together, [thinking] it was for the ‘Prince of Darkness’ remix. But he flipped it, and made it a new song. Then Mister Cee [put all the vocal samples on the hook].
“Everything was smooth, and everything was compensated, but that was crazy, man. I never [had a chance to laugh about it with him, though]. I saw him at Rock Steady one time, and I was standing next to him, and he was like, ‘Yo, what up man. Lookin’ good.’ And that was it, like, ‘Yo, Big Daddy.’ [Laughs.]
“That shit really had my heart beating [though when it happened]. It was like, ‘Oh shit, I pissed Kane off. I got Kane mad right now. He’s upset with me. Damn, man.’ But we just worked, got puffed out and everything. That was a long session. I probably got there at like [midnight], but we broke up out of there at like seven in the morning.”
Sunday, July 22, 2012
@iStandard Exclusive iNterview] @SymbolycOne On Producing Talib Kweli’s “Push Thru” Featuring Curren$y And Kendrick Lamar
The track dropped last night and I’m sure you’ve all heard it! Now you get to hear first hand from Symbolic One himself how Talib Kweli‘s “Push Thru” featuring Kendrick Lamar andCurren$y came about. You also get to find out what Kweli said about the batch of beats S1 sent him, what’s on deck for the producer and more right here exclusively on iStandard.
What’s good S1!? Just got a chance to listen to your new record, “Push Thru,” with Talib Kweli, Curren$y and Kendrick Lamar. Real dope record, congratulations are definitely in order! How did that record come to life? Take us through the process?
Well it’s definitely an older beat. I created the “Push Thru” beat during the time I was working on Kanye’s “MBDTF” album. My homie Oneself sent me some samples and that one caught my ear so I chopped it up and layered strings on it. One of my writers Grey (Glen Reynolds), who writes ton’s of hooks for me, came over to my studio and laced the hook for me. Many times I tried to put drums on it but it actually took away from the beat so I just left them off. When I started working with Kweli I sent him batch of 7-8 tracks and I remember his exact words to me. He said “I haven’t heard a beat collection this dope since I heard Kanye’s back in 2002.” That INSPIRED me! lol Long story short, he got Curren$y and Kendrick on the record and it was a wrap.
Interesting collab, what were your first thoughts when you found out those three were gonna rock on your joint together? Did you ever expect that a collaboration of three such different artists could sound so cohesive?
My first thoughts were this is gonna be Incredible! All 3 emcees are so dope but different from each other so I knew the dynamics of the song would be Crazy!
What was you inspiration behind “Push Thru?”
Just trying to create some real feel good soulful music.
You’ve worked with some incredible artists including Kanye’s for his “Power” record, what is the difference in the record making process between say Kanye and Talib Kweli?
They both just try to make the best music possible. Plain and simple!
Can we expect any more unexpected yet fresh tracks produced by you in the near future? What do you have on deck?
Lots of records Praise the Lord!! lol I got more Talib joints comin’ with Crazy features on them. I got some epic Lupe Fiasco joints comin’. Two on Xzhibit’s new album, Kendrick Lamar, 50 Cent, Malice, Scarface, and of course Kanye records! Rhymefest and I working on a classic hip hop album together too. I’m actually heading to Chicago now. I got some other BIG stuff in the stash but can’t really reveal it right now. In due time….In due time! :)
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