Welcome to Run Royal. This site is here to share knowledge, opinions, personal experiences and to connect with like minded heads on Hip-Hop music and it’s culture. Straight shooting the substance without bullshit in between. Think of this site as something like a fan boy talk show, with regular segments, known only here as (Know the Ledge). Our store will provide an outlet to release any product that we are directly involved or co sign with. This will come in due time.
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I’ve been a little time poor this week taking on more that I could manage so unfortunately, I didn’t get the chance to dig through my rap 45s. I aint about to start re hashing some one else’s collection so I though Id leave an unrelated Truth and Soul podcast from Danny Akalepse & Gill Parker. Been banging this the last few weeks since it was re upped via the labels soundcloud. Jump off your holidays with a nice mix of hip-hop and soul. While your at it check the Brooklyn label that’s housing some of the best new soul music going.
Tracie and Kerry… Two bad-ass dudes that’ve been done their thing, with feminine names.
Enjoy ya Friday yo!
Though it’s a fine line between ’94 and ’93, outside of 1988 hip hop’s finest year may just belong to 1994, lets take a sec to think back. Illmatic, Ready To Die, Sun Rises In The East, Hard To Earn, The Diary, Southerplayalistic, Tical, Stress: The Extinction Agenda, Ill Communication and the list goes on. What tends to bother me though is when truly defining albums of that particular year are glossed over in favor of what most would consider their more worthy counterparts. Omar Credle’s debut Word… Life fits that category, rarely if ever mentioned alongside 94’s more noteworthy solo debuts from Nas and Biggie. Due in large part to the drained financial coffers of Wild Pitch at the time, OC’s debut somehow slipped through the cracks having never been given the financial support that it rightfully deserved.
OC is a Brooklyn native by way of Queens who found himself living across the street from Pharoah Monch, he debuted on Organized Konfusion’s “Fudge Pudge” way back in 1991 which in turn caught the ear of MC Search who was working for Wild pitch Records. His affiliation to Organized Konfusion has continued to this day but it’s his role in New York’s Diggin In The Crates collective that brought him the most shine. According to folklore it wasn’t actually Buckwild (who produced most of Word… Life) but Fat Joe that secured his eventual membership in DITC by giving the final ok to OC’s induction into the all-borough collective. Now back to Word… Life.
Elevated lyricism, jazzy loops and hard drums are the key to Word… Life, a benchmark release for East Coast rap. It’s easy to compare this album to Illmatic in that both were overseen by MC Search, both were solo debut’s dropped only months apart and both were underpinned by phenomenal single’s, It Ain’t Hard To Tell and Time’s Up respectively. Thats where it ends though, Word… Life for my money probably shares more similarities with Gangstarr’s Daily Operation. Check the title track, i used to bump this joint every Friday night way back when.
I mentioned “Time’s Up” before and its hard not to when talking about anything OC related. Times Up is without a doubt one of the greatest and most profound statements any MC has ever made. Strangely enough it was actually the second single, behind the more commercially oriented “Born 2 Live” which see’s O taking a friends we lost along the way kind of approach. Regardless, Times Up is the centerpiece of this album in that almost everything revolves around it. Roc Raida’s (??) perfect use of Slick Rick on the cut, Buckwild’s rolling down tempo bass and stabs and OC declaration against all that is fake and fraudulent within rap, there hasn’t been many better songs made since, not to mention how heavily jacked this track is, almost every second line can be heard sampled or scratched on someone else’s record which is probably the highest compliment this song can be payed.
Here’s the clip. It has to sit alongside Raw and Shook One’s pt2 as one of the most sampled hip hop songs ever not to mention it’s possibly DITC’s greatest single released.
While Word… Life is probably producer Buckwild’s greatest body of work it also comes with a few healthy assists from DITC alum Lord Finesse and OGee, as well as Organized Konfusion. The Lord Finesse produced “Ga Head” deals with subject matter rarely heard outside of an Eminem song, when was the last time you heard an MC of OC’s status and caliber discuss having his wife leave him not for another man (wait for it) … But for a woman?!?! I said it earlier, elevated lyricism, the perfect wordplay be it battle oriented bravado or introspective philosophy. Check it for yourself.
It’s OC’s everyday approach to the sport of rapping that makes him so appealing. While Nas was touted as the second coming of Rakim pre-Illmatic, O gives you that humility Nas lacks, his voice says that even thugs crack a smile. While Nas might tell you how he snuck an uzi on the Island in his army jacket lining OC would probably describe how impossible it would’ve been to get that uzi onto the Island (of Riker’s i’m presuming) so he left it in the car instead. No posturing, no posing, no fake thuggin just a little mean muggin to make sure the point gets across. Point O Viewz follows Time’s Up and is one of my favourite joints on the album. Buckwild takes a splash of Roy Ayres for O to get loose over and drop some of that everyday i was just talkin about.
Thanks to Fatbeats Distribution Word… Life saw a rerelease back in 2004 to mark it’s 10 year anniversary, in the 10 years that’ve passed since then OC’s debut has begun to finally get the props it deserves. Looking at it in the context of 1994 a lot was happening, hip hop was still riding high off of 1993, Doggystyle and Wu-Tang’s reverberations were still being felt and then along comes Illmatic and Ready To Die. Word… Life today is widely regarded as a must have for any rap fan’s collection but it was actually OC’s PayDay released sophmore album, Jewels from ’97 that brought the attention back to his at-the-time overlooked debut. Unfortunately a string of patchy releases followed which also included a stint on the west coast based Hiero-Imperium label but those missteps wound up culminating in 2012’s OC & Apollo Brown collaboration Trophies, easily O’s greatest and most cohesive album since the 90’s.
Word… Life mighn’t be a masterpiece but it’s pretty close, it’s as solid as any release in DITC’s lengthy catalogue and the fact that OC has managed to stay putting out music for the past 20 years is worthy of accolade in it’s own right. OC has continued to showcase his diversity and lyricism in the many years that’ve followed but Word… Life is a declaration and definitely one of the top 5 releases of 1994 irregardless of where it sits in most of those (ahem) ‘wanky’ blog lists.
I remember years back receiving a textual transmission from my friend and esteemed colleague Proof telling me to check out this blog he’d just discovered called Daily Mathematics. I’d never heard about the blog of which he spoke and in the following text he proceeded to tell me that it was written by a hip hop music attorney and lawyer who wrote these amazing stories about his time within the industry, needless to say i was intrigued. That evening i went to my future wife’s computer and typed Daily Mathematics into its search engine and spent the remainder of the evening glued to the incredible and often hilarious stories on the screen. I stuck with Daily Math for a while, Combat’s insider tales about everyone from Dame Dash to Easy Moe Bee had me hooked, his stories were crack for a confessed rap addict such as myself.
I’ll try not to sound like a Wikipedia entry here but Combat Jack was born Reggie Osse a native New Yorker (Brooklyn to be exact) of Haitian decent. After receiving degree’s from Cornell and Georgetown Law he interned at Def Jam in 1989 where he’d work sample clearances for 3rd Bass’ Cactus Album. From there his credits are endless, after brokering Jay-Z’s first ever deal with Payday Records he’d go on to work with everyone from Bad Boy and Rockerfella to Capone-N-Noreaga and RA The Rugged Man. He also worked as a managing editor at The Source for a minute as well as a very brief stint with MTV, he was hugely involved behind the scenes of a lot of the most popular records of the 90’s. He retired from the music industry unsatisfied and disheartened by its constant fuckery in the early 2000’s.
He started blogging about his time within the industry under the alias of Combat Jack following his retirement and fast gained a following in hip hop blogging’s formative years of 05/06, translating that following on to an online radio show and then on to a prominent hip hop podcast. His broadcast alongside team member and prominent NY sneakerhead Premium Pete is going from strength to strength and has been a weekly must listen for a few years now. The show is an intrinsic look at hip hop and New York culture and i consider it one of the most important documentations we have of hip hop at this point in time. I was a little concerned when Dallas Penn retired from the team last year but the show didn’t miss a beat and has only gotten better in my books.
The guest list over the years is endless, if they were involved in East Coast hip hop anytime from the mid 80’s on then they’ve probably been on the Combat Jack podcast. Recent episodes with Lord Finesse, Freddie Foxxx, Jermaine Dupri, Chuck D, Kane, Cormega and Ice-T have been stellar, jam packed with history, stories and a literal tonne of amazing content. Not to mention episodes with Clark Kent, Bobbito Garcia, photographer Glen Friedman, Spike Lee, the infamous first Dame Dash episode and the episode where Havoc of Mobb Deep said he wrote those tweets about his man Prodigy and that a publicist told him to say he left his phone at a gas station, he continues on essentially calling P a bitch.
No matter how little i know about some of the guests i’m constantly intrigued and usually enthralled by most of the discussions. Like it, follow it, rate it, stream it, listen to it and enjoy it. Go back through the archives and discover something about someone you might know nothing about. The Combat Jack Show is available over at iTunes and Soundcloud and also streams off their website below.
Label: Mello Music Group – LP-MMG026
Label / Catalogue: LP-MMG026
Artists: Apollo Brown, OC
‘Trophies’, the debut collaboration album by D.I.T.C. member O.C. and Detroit, Michigan producer Apollo Brown. This LP was the release of the year for me back in 2012, on heavy rotation. The deluxe edition of the LP came with this little gem of a 45. Both LP and 45 pressed in white with the 45 featuring the two bonus tracks with much a similar tone to the LP. OC’s delivery and cadence sits so well on Apollo’s production. The B-side also features on a MMG Self Sacrifice mix released the same year.
I remember walking upstairs at Rockinghorse Records when it was two levels on Adelaide st, around the corner from where it is now in Brisbane’s Queen Street mall. I was either just 18 or turning 18 when I picked up a flier for an upcoming hip hop gig at Ric’s Café, Trem featuring Rob Nat supported by the 2Dogs and – from memory – Seany B… I won’t bore you with detail after detail, but the following Sunday with the Blackstump cassette blaring out of my cousin’s ride we made the pilgrimage from the far flung southern suburbs of Logan City into Fortitude Valley. No one knew what was to come and where things would head over the coming years but even during those formative stages, the handful crammed in to Ric’s Cafe knew they were watching someone with a firm grasp on the craft of hip hop.
We were young and enthusiastic for live hip hop, particularly local hip hop and performances were sometimes few and far between. I didn’t know a great deal about “the scene” or Trem’s origins at this stage but the following week, or possibly the week following that, i went and got myself a copy of the Sheer Talent 12″(twelve bucks out the second hand crate). Not long after that i got the 12″ Trem was launching that night at Ric’s, Amateurs. Alongside a few other releases of the period i listened to those records intently, they were my go-to-guide, i was already writing and rapping but i learnt and developed thanks to those records. In the years following i found myself blessed to be sharing stages with Trem on more than one occasion, though only ever in a support capacity i still managed to thank the dude for making those two EPs… I figured i owed him that much seeing how i’d probably written ten raps off the back of “Basic Fundamentals”. That shit was straight fire!
When you’re a fan like that you gotta take the time to tip ya hat and with Trem’s Adelaide album launch taking place this Friday Decmber 12th I thought I’d share with you 5 murderous Trem – or Trem assisted – joints pre For The Term Of His Natural Life…
AKA: 5 tracks you probably won’t hear on the night.
Trem – I Can See Clearly
“One sunny summer Saturday at Prahran bowl..” I recall grabbing drinks and going down to Prahran bowl one not so sunny afternoon when i was visiting Melbourne. We were waiting for a soundcheck at Revolver and i was a little disappointed by the tail walking around – or more to the point – the lack of tail walking around. This track is timeless and moves with a Nas-like flow, its effortless even in story mode. The first verse on this can also be heard on The Formula tape where Trem trades bars alongside Brad, Lazy and Rob Nat over a Dilated Peoples beat (i think?).
Prowla featuring Trem – Renown
The Jase remix of this was dope but I can’t go past the original, it’s perfect. I think Renown is possibly the greatest Australian rap song of all time, its that simple. GREATEST! I couldn’t pick one verse over the next, the chorus is intelligent with an amazing flow and the production is flawless… If you don’t own Prowla’s Lonewolf you should do something about that soon!
Lyrical Commision featuring Crossbred Mongrels – Lyrical Mongrels
“I’ve got a twenty ready honey show us all ya axe-wound..” (Rob Nat)
Posse cuts don’t get much better than this track whether they’re American, Australian or Swahili. Lyrical Mongrels is still one of the toughest tracks around and is a quintessential piece of pre-commercial era Australian hip hop with the mighty LC teaming up alongside Adelaide’s Crossbred Mongrels (DJ Debris and Flak). The beat knocks and every rapper goes in hard with Trem rounding things out in style… From the first Culture of Kings record circa 2000.
Trem featuring Rob Natrule and B.A.Lance – Distinguished Gentlemen
This early collab with The Formulators is as insane today as it was the first time I heard it. I can only pay it the ultimate compliment in saying that it sounds like it could’ve been a down-tempo answer to Lord Finesse’s, Percee P and AG featuring classic “Yes You May”. Prowla’s production is hypnotic and each verse is effortless with the flows. If your head doesn’t nod you’re not human… I always liked that shout out to “Blackstump in Brissy gettin bizzy’ at the end too. For no particular reason, i just did.
Lyrical Commission – Press Release
It’s hard to belive this track is 12 years old. It seems like just yesterday we were driving around in Ken Oath’s little blue Gemini bumping the Stage Is Set on repeat. We all loved the album when it dropped – and still do to this day – but the original mix of Press Release stays owning shit! From memory this version didn’t appear on the vinyl in favor of the remix… This track is a barrage of blackout rapping from Brad, Trem and Bob over a fuckin funky loop that we’d hear used again the following year on the DangerDoom project.
Delta – The End Is Near featuring Trem, Motion and Prowla
You could see that collab on paper and know that its going to sound fucking dope… Nuff Said!
This round I thought Id ask Sean B if he wanted to get involved with things, he had the idea of blindfolding us and have us pick something out for the producers to flip. Cheers Sean.
I’ll update this post later in the month when we get the submissions in but for now here’s what we come up with. To be honest, I don’t think we would have had any problems in the ‘house full of heaters’
Label: Pang Productions
Label / Catalogue: PP-016
Artwork: Mr Volkoff
Artists: Must Volkoff, Dialect
Two of the most humble, productive and original artists out of this country coming together for last years, Must Volkoff – White Russian album. Crackin’ swing on the drums, smoked out open keys and samples. I think this might have only come out with a deluxe pack for the album? Absolute cracker. Cheers for hook up Musty, appreciate that.
‘Homeostasis’ got the visuals.
Unless it’s The Godfather II, i’m not much for sequels.
In the sport that is rap music i’ve come to the conclusion that sequels are what rappers do in a vain attempt at reclaiming some form of past glory in an era where music sales are at an all time low, one last moment in an otherwise dimming spotlight. Fat Joe, CNN, Red & Meth, Jay-Z and far too many others have all dropped sub-par sequels to one of their classic recordings. Off the top, the only sequels that i can think of that worked were Raekwon’s OB4CL2 and Prodigy’s HNIC2 and in saying that, i don’t think Cuban Links 2 was exactly what everyone hyped it to be, it was good but a classic?! Nas’ Stillmatic probably deserves a mention also but only time can define a classic so we’ll wait and see…
Now, to the contrary. The possibility of a sequel to Cormega and Tragedy’s timeless track “They Forced My Hand” pricked my ears up when i caught this video last night, the reason for that being that in 2014 i don’t think either QB veteran has been sharper with their pen. Tragedy’s been dropping heatrock after heatrock in the lead up to Magnum Opus and you already know how dope Mega Philosophy is from earlier this year. A Mega and Trag collab is always a welcome thing in whatever form but a sequel to “They Forced My Hand”, if handled by the right producer, could be a very good look for two incredibly sharp MC’s known for reflective and emotive music.
Til then let’s just keep our fingers crossed and hope that Ghost never drops that Supreme Clientele 2 he’s been promising for the past couple years. I’d hate to see another album’s legacy tarnished by a shoddy, inconsistent follow-up.
Here’s “They Forced My Hand” for those that don’t know what the fuck it is that i been talkin ’bout.
I want to first and foremost send massive props out to Robbie at Unkut.com who’s interviewed and shone extensive light on this album and the career of Chill Rob G. A lot of my own knowledge on this album comes directly from the work Robbie has done, that and my pal Lenny who put me on to this back in the early 2000’s. Since then i’ve done my own knowledge on Ride The Rhythm. I’ve hunted it down on Vinyl, CD and even stumbled upon a couple 12″s from it, needless to say it’s become one of my favorite late 80’s rap records.
At this point in 2014 i think its a shame that albums like Chill Rob G’s 1989 debut Ride The Rhythm have gone largely by the wayside. You should consider for a minute the year this album dropped and all that means to rap music, the culture was still young. Paul’s Boutique, 3 Feet High And Rising, No One Can Do It Better, Unfinished Business, The Cactus Album, Ghetto Music, Its A Big Daddy Thing, Iceberg… Get it? Originality was paramount with every single release deserving of its own accolade and merit. Whether you were down with The Daisy Age or As Nasty As 2 Live Crew wanted you to be the music of Hip Hop was a burgeoning cultural movement that was still breaking new ground and defining itself as it had throughout the monolithic years of ’87 and ’88.
Enter in to all this Ride The Rhythm. Expertly produced and crafted by Mark The 45 King, this album is a 101 lesson in breaks and rhymes and should be considered for any list on defining rap albums of the period. Chill Rob is a New Jersey native and was also a member of Mark the 45 King’s original Flavor Unit alongside Queen Latifah, Lakim Shabazz, Apachee, Latee and Lord Alibaski. Mark The 45 King would produce and see the release of this and the debut albums from Lakim Shabazz (who had killed 45 King’s “900 Number” a year or two prior) and Queen Latifah all in a two year period, impressive for even those highly productive days. Chill Rob G’s vocals are as commanding as Chuck D but maintain an almost Rakim like flow and preciseness.
Check the title track. I love this joint and you might recognise the break which was later used on “Buck 50″ from Ghostface’s Supreme Clientele.
I think that the whole Snap jacking Chill Rob for their Euro trash pop hit “Power” has been covered elsewhere ad nauseam, to the point that almost all the info about this album pertains to those happenings. It would probably be remiss not to mention it here seeing that it is such a huge part of this album’s history, for those that don’t know here it is very briefly. Snap – a late 80’s / early 90’s European pop dance duo – sampled vocals from Rob’s song “Let The Words Flow” and neither Chill Rob nor Wild Pitch were too happy about it. A deal was struck between the beefing parties that would see Chill Rob G record his own version of “The Power” over Snap’s music – with the blessing of Wild Pitch who clearly had dollar signs in their eyes. The results weren’t great, Snap had a worldwide hit when they replaced Rob’s vocals with another rapper (Turbo B??!) and Chill Rob didn’t… Have a worldwide hit that is. Here’s the video for it.
I was actually aware of of one song off this album before i knew that i knew it. “Court Is Now In Session” was instantly recognisable to me when i first heard it, though i could never pinpoint where i’d heard it. The 45 King’s use of layered sampling is incredible particularly how he uses multiple records to construct a production that still seems to allow so much room to breathe. His use of Graham Central Station’s drum break from “The Jam” and what appears to be a little pitched up flute is crazy! On top of that, i own the 12″ of this and it contains accapellas of both Court Is Now In Session and Let The Words Flow which is the B-side… I like that kinda thing.
Here’s the official video for Court Is Now In Session.
As with most Wild Pitch Wednesday’s, the releases we focus on are definitely of their era and by that i mean that they sound and look distinctly of the point in time that they were released. While the cover art to Ride The Rhythm leaves a little to be desired – lets be honest, it’s kinda wack – the music this album contains is magnificent. This is the foundation to how Mark The 45 King would wind up producing mega-hits for Jay-Z and Eminem (“Hard Knock Life” and “Stan” respectively) among numerous others. This is also one of the pioneering Jersey records pre-Naughty By Nature and is regarded highly by the handful that know of it’s existence. Chill Rob G’s flow is an effortless barritone of rhythmic and quotable phrasing. Years after this album was released in ’99 Latin funksters Ozomatli teamed up with Cut Chemist and Chali 2na from Jurassic 5 for what was a moderately popular song at the time called “Cut Chemist Suite”, the reason i mention this is because Chali 2na’s chorus is a lyric lifted directly from The Chill One’s song Motivation, “I’m an aristocrat, ghetto diplomat and i’m blessed with the gift of rap”… Check it for yourself.
Unfortunately Chill Rob didn’t make much more music following this album. He did show up on a European 12″ for a couple of verses in the mid 90’s from what i’ve read and may’ve even dropped something as late as 2008 but i haven’t heard it if he did, and to be honest i’m not sure i would’ve been checking for it if he had. I do love this album though and would recommend it to any fan with more than a passing interest in late 80’s hip hop, trust me on this one.
“I might be chill but i’m not frozen…” Once again, that production combined with the flow and voice! The Future Shock.
Man, I feel sorry for whoever bought the one of kind copy of this LP which went for a few milli earlier in the year. I’ve often wondered how much of a head fuck it would be to put a wu tang album together, thinking that hard should have been enough reason for the RZA to call the Wu quits after Iron Flag anyway, it’s a cash cow with the hipsters these days though.
20 something year on and most of us aint expecting a 36 chambers but this shit is just a weird listen from start to finish, almost awkward with the peculiar sung hooks like on ‘Felt’ and ‘mistaken identity’, ABC flows from most members and more wak punch lines ‘than a late John Belushi flick’. Retarded story telling from U-God (standard), as I quote his opening line on ‘Mistaken Identiy’ ‘hunnnnuuuunnnunnnahhh’, dude sounds like a stuttering crack addict (it probably not far from the truth). GZA’s sounding mad wavy from the sauce on ‘Hold the Heater’. Ghost and Deck redeem a few spots here and there but all I see here is a fat Warner Breh check, the RZA fucking off on some magical musical orgy and calling in some old ‘mate’s’ in for few rounds of cluster fuck. No more albums will be a ‘better tomorrow’.
If you see the new Wu Tang – Warner Brother….
This round I thought I’d mix it up and jump out of the comfort zone of just diggin something decent from the crates. My goal was to head to the local Vinnies with $10 and hit up anything, not even Kamahl was off limits for this one..Just grabbed whatever I could for that amount.
Turns out my local only had 6 records. You should have seen the old prunes face light up with delight when I copped all 6 haha. She followed by telling me how much she love the seekers etc..Run Royal stay helping out the needy and unfortunate by coppin’ them dollar joints. 6 clams in total. I had a little video done up of me listening through the records but my camera fucked out at the midway point. Pretty mind numbing stuff even with some comic relief. Maybe next time?
Anyway, this month I invited few more producers than you’ll see posted. They were either too busy, didn’t get the memo or straight pussied out when they heard what I can only describe as a pretty underwhelming sample but, it was all I could really find with some variation throughout. Did some research and this dude has a fuck off discog, I’m suprised I have’nt see more of his shit as most of it would have been pressed here in Australia under ‘Music for Pleasure’. Certainly made all three of us think outside the box a little this round.
Cheers to Lazy Grey and Matty Fresh for getting involved. Much respect!
Sample is The Magic of Kostelanetz – Seventy Six Trombones
This month we throw the 10 seconds out to another one of south sides finest. Dues paid, Servos been catching wreck for 15 plus years. A backbone to the soundscapes of Gaz Hazard and CRS, Servo’s is one of most original and slept on producers here in Australia in my opinion. I had the pleasure of a quick tour of the where the bedroom bangers get dusted.
1. Do you still make beats on Jeskola Buzz? Tell us a little more about it..When did you start using it and who taught you?
Yeah, I still use good ol Buzz tracker. It’s a free sequencer that runs on microsoft.net. I started using it At Bezrocks house (he was the only one with a computer) after Julian installed it and showed us how to use it. I guess I started using it around 2001 – 2002ish? I used it a lot more than Bez. He had a keyboard, he liked recording live sequenced mixes onto a DAT machine. Unfortunately we never did record them shits.
2. Can you remember what the first record you sampled was?
Would have been something like Sergio Mendes? Bez got all his grandmothers records when she passed away, she also donated the first record player that I had that worked properly.
3. Has the way you approach beat making changed since you’ve acquired your most recent piece of equipment/software?
Yeah, I finally got monitor speakers this year. I’m trying to get my stuff up to a better standard than the past however many years. I’m still going to keep the grime in as much as possible, unless it sounds wak and distorted like I tend to make shit! ha
4. Your sound has real lo-fi, crushed feel to it, sometimes it reminds me of some old 36 chambers shit. Is this something intentional, paying homage to the sound, so to speak?
I’ve always liked the grimey sound in music. I had a dodgy first set up running through my phono connection and really never had anything you could call a studio, so I got used to shit sounding dusted. I’ve always liked the sound of vinyl static and degraded samples on tracks, it gives it something else I think.
5. Production influences past and current.
Ummm.. All the usual. Pete Rock, Krush, Onra, Preemo, RZA. I’ve been listening to a bit of Suff Daddy lately.
6. Incredible production but the MC let it down. Name a track or album like this.
Anything U-God raps on. Someone had to say it! Ha, nah there’s a bit of stuff around, especially these days…
7. What do you think gives a producer a signature sound, how much do you think equipment/software and sample selection has to do with it over their processes used?
I think there’s a lot of things.. Beat patterns (drum sequence and samples, swing, effects etc..) sample choice, equipment they use. I tend to pick the drums of producers I like though.
8. How do you feel about this statement in the essence of beatmaking. “I found the same sample via you tube”
I’ve used youtube for sound effects and things. Its a great place to find the og samples of beats you like and shit.. My feeling about sampling songs from youtube…. I don’t think I would. It seems too easy or sumn?
9. You got 5k at your disposal, what are you going to buy for the stoods or would you take the nose blown and hookers route?
Ha.. Id prolly buy a turntable and mixer, with the left overs I’d spend on ‘other pursuits’.
10. What production have you go in the works and who would you like to work with in the future?
I’ve always wanted to work with Len 1. I’ve been working on Gaz Hazards new LP and some CRS stuff. I’m trying to make a tribute mix to BEZROCK as well.. RIP.