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Dubcnn: Okay, cool. So let's look to the future of your own career for a moment. Former Dre keyboard player Scott Storch has gone on to have a hugely successful solo career as a producer. I know you're handling the bulk of The GodBody project and doing some outside work, but do you aim to follow the Storch route and go totally solo?I would hate to say specifically and exactly where I see myself. That's because you never know what opportunities are going to present themselves in the future, and things like that. One of the specific things with me that I would see being different from Scott is that I still want to retain a lot of collaboration throughout my career. I want to be a guy that other producers or other artists or other musicians will call and say, "I want to get in a lab and vibe, besides just necessarily giving me a beat." That's great too. Obviously, I want to do my own imprint and my own thing. I want to be able to be in the position of being, like, a Dre of the future: having your own team and being able to give other people opportunities. For me to not want that, that would kind of be a slap in the face to the opportunity that I have right now.I would think that Dre or anybody – what artist would not want to get as big as you can? I think that there's an element I want to retain, though, within that dynamic – if that makes any sense! I want to keep being a constant collaborator. There are ideas I have that are only going to come into fruition if I form them on my own, obviously. I want to be able to stand on my own two and have my own situation, but I want to work with Dre for as long as I can. I want to retain that relationship. I don't want – I want to work with everybody and not have any of that suffer as a result of me going 'solo,' so to speak.
Dawaun Parker: I'm all for it. You never know when you might hit on something. Sometimes just being in a room with somebody else will make you think of something that you wouldn't have thought of if you were on your own. The weirdest thing can be your muse, so I'm all for it.
QuoteDubcnn: Okay, cool. So let's look to the future of your own career for a moment. Former Dre keyboard player Scott Storch has gone on to have a hugely successful solo career as a producer. I know you're handling the bulk of The GodBody project and doing some outside work, but do you aim to follow the Storch route and go totally solo?I would hate to say specifically and exactly where I see myself. That's because you never know what opportunities are going to present themselves in the future, and things like that. One of the specific things with me that I would see being different from Scott is that I still want to retain a lot of collaboration throughout my career. I want to be a guy that other producers or other artists or other musicians will call and say, "I want to get in a lab and vibe, besides just necessarily giving me a beat." That's great too. Obviously, I want to do my own imprint and my own thing. I want to be able to be in the position of being, like, a Dre of the future: having your own team and being able to give other people opportunities. For me to not want that, that would kind of be a slap in the face to the opportunity that I have right now.I would think that Dre or anybody – what artist would not want to get as big as you can? I think that there's an element I want to retain, though, within that dynamic – if that makes any sense! I want to keep being a constant collaborator. There are ideas I have that are only going to come into fruition if I form them on my own, obviously. I want to be able to stand on my own two and have my own situation, but I want to work with Dre for as long as I can. I want to retain that relationship. I don't want – I want to work with everybody and not have any of that suffer as a result of me going 'solo,' so to speak.^^I Sure Hope he does not get in a sticky situation,where he is willing to collaborate with another beat make,r and that beat maker takes all the credit!!Which is the downside to collaborating!!!However he might just be the edge that some unknown Beat Maker/producers needs to make the transition from just being ok to be a force to be reckon with..The fact that he is willing to stay assisting and helping others,by broadening their scope in the production of Music shows his dedication to the music in My Opinion,rather than the fame and success,which will eventual come via his hard work, irrespective of the capacity his Music Production is!!!We need more people Like this in the Industry!!!!Dubcnn, thanks for the interview!!it Was one Of the Best!!!
Quote from: Blu Lacez on January 15, 2008, 11:44:45 AMQuoteDubcnn: Okay, cool. So let's look to the future of your own career for a moment. Former Dre keyboard player Scott Storch has gone on to have a hugely successful solo career as a producer. I know you're handling the bulk of The GodBody project and doing some outside work, but do you aim to follow the Storch route and go totally solo?I would hate to say specifically and exactly where I see myself. That's because you never know what opportunities are going to present themselves in the future, and things like that. One of the specific things with me that I would see being different from Scott is that I still want to retain a lot of collaboration throughout my career. I want to be a guy that other producers or other artists or other musicians will call and say, "I want to get in a lab and vibe, besides just necessarily giving me a beat." That's great too. Obviously, I want to do my own imprint and my own thing. I want to be able to be in the position of being, like, a Dre of the future: having your own team and being able to give other people opportunities. For me to not want that, that would kind of be a slap in the face to the opportunity that I have right now.I would think that Dre or anybody – what artist would not want to get as big as you can? I think that there's an element I want to retain, though, within that dynamic – if that makes any sense! I want to keep being a constant collaborator. There are ideas I have that are only going to come into fruition if I form them on my own, obviously. I want to be able to stand on my own two and have my own situation, but I want to work with Dre for as long as I can. I want to retain that relationship. I don't want – I want to work with everybody and not have any of that suffer as a result of me going 'solo,' so to speak.^^I Sure Hope he does not get in a sticky situation,where he is willing to collaborate with another beat make,r and that beat maker takes all the credit!!Which is the downside to collaborating!!!However he might just be the edge that some unknown Beat Maker/producers needs to make the transition from just being ok to be a force to be reckon with..The fact that he is willing to stay assisting and helping others,by broadening their scope in the production of Music shows his dedication to the music in My Opinion,rather than the fame and success,which will eventual come via his hard work, irrespective of the capacity his Music Production is!!!We need more people Like this in the Industry!!!!Dubcnn, thanks for the interview!!it Was one Of the Best!!!Props Blu for the feedback. You're very on-point about Dawaun. It was so refreshing to speak to someone who is clearly motivated by the thought of making great music, as opposed to the idea of making a quick buck. After five minutes of talking to this dude, you can tell that he's in it for the long haul. I look forward to hearing some amazing stuff from The GodBody.Also, many thanks for your kind words on the interview. I'm particularly proud of this piece, and glad that you enjoyed it.
Props. Good interview I still haven't read the news on Detox that you promised everyone
be another one of those guys that says, “Oh, Hip-Hop is dead. I like where it used to be,” I think the Hip-Hop of yesteryear is gone. I think that it’s kind of foolish or, uh, too much of a task to hope that you’re going to bring the “Golden Era” back. You know, 1995 or whatever. Thinking that you’re going to be able to get that back, when that era is gone. While we appreciate the aesthetics and the qualities that made that a great time, we’re not about trying to bring that back at all. You know? We’re more about trying to move forward or whatever, with the principles of that time. That was making the best music that we can make, and saying the best lyrics that you can make, and of course having styles, delivery, and all that stuff.
People are trying to have a thought process of, "Well, what is the most catchy? What is going to be the track that other people like?" The general public don't have the same kind of mindset or ears – or, rather, views – as people involved in the business of the game. They don't listen to stuff as astutely, obviously.
Dubcnn: Okay, cool. So let's look to the future of your own career for a moment. Former Dre keyboard player Scott Storch has gone on to have a hugely successful solo career as a producer. I know you're handling the bulk of The GodBody project and doing some outside work, but do you aim to follow the Storch route and go totally solo?I would hate to say specifically and exactly where I see myself. That's because you never know what opportunities are going to present themselves in the future, and things like that. One of the specific things with me that I would see being different from Scott is that I still want to retain a lot of collaboration throughout my career. I want to be a guy that other producers or other artists or other musicians will call and say, "I want to get in a lab and vibe, besides just necessarily giving me a beat." That's great too. Obviously, I want to do my own imprint and my own thing. I want to be able to be in the position of being, like, a Dre of the future: having your own team and being able to give other people opportunities. For me to not want that, that would kind of be a slap in the face to the opportunity that I have right now. I would think that Dre or anybody – what artist would not want to get as big as you can? I think that there's an element I want to retain, though, within that dynamic – if that makes any sense! I want to keep being a constant collaborator. There are ideas I have that are only going to come into fruition if I form them on my own, obviously. I want to be able to stand on my own two and have my own situation, but I want to work with Dre for as long as I can. I want to retain that relationship. I don't want – I want to work with everybody and not have any of that suffer as a result of me going 'solo,' so to speak.
It's all going to be good material, man. It's not going to be typical mixtape stuff where you're just getting tracks that people cut over other people's beats. They're all going to be brand-new songs. Good, good material. Each of the tapes is going to have its own theme too, so it's definitely going to be worth taking the time to investigate The GodBody. It's also enough that it's not going to drag you out. By the time you're done with it, you're going to want to rewind it or be like, "Where's the next one? I hope that next one's coming!"
Dubcnn: We've touched on your interest in collaborating. When you're in the studio, do you prefer working with established MCs like Busta, or newer cats like Bishop and Stat?Well, um, there are various issues. I mean, obviously someone who is an up-and-comer will tend to be hungrier. They'll take a lot of direction or opinion or whatever, easier. They're young and are just trying to get in. It's like, "Yeah, let's just make the dopest stuff we can!" With the veterans, it's harder to have that kind of dynamic – especially with me. I'm still a rookie, so to say. You can't really, uh – with the veterans, you just give them the beat and they do what they want. If you're in with a good guy – someone like Busta, who has a great attitude – they'll say, "Hey, what do you think about that?" He'll ask for feedback and that's great. I would say I like working with veterans because you know that they're skilled and that they're experienced. That's going to speak for itself. It's just easy to get stuff done because they know what they're doing. You know what I'm saying?The newcomers – you mentioned Bishop and Stat – they're already in that category. The rest of the world may not know about them. They are there. Stat's been signed for a long time. He's made, like, six hundred records throughout his career. He knows what he's doing, so them I would probably put in the same category. I don't know if I would necessarily like working with a whole lot of local people, because sometimes that can be frustrating. I hate to sound like, "Oh, you're big time now. You won't work with the little kids." It ain't nothing about that! I'm just looking for anyone who has professionalism. A lot of times, local kids don't realize what the studio environment is really like. It's a discipline you've got to be in to make good material. If someone were to say, "Here's Joe Schmoe versus Joe Budden," I'm going to take Joe Budden! (Laughs)
i agree; that hip hop is dead talk starts to annoy me. though there are some people,like Nas, who have a positive message behind it.but you can't stay in the past forever, instead it's better to innovate,no matter how hard it may be.
People are trying to have a thought process of,"Well, what is the most catchy? What is going to be the track that other people like?"The general public don't have the same kind of mindset or ears– or,rather, views – as people involved in the business of the game.They don't listen to stuff as astutely, obviously.
true, but at the same time, some companies like Interscope use the same old bullshit formula for singles.I don't think i know exactly what type of singles should be picked for artists,but i do know, that repeating the same formula is not a good strategy.
the challenge is to find a single that represents the artist, but suits the mainstream as well.
that's good news, cause the "regular" mixtapes are outdated.
Quote from: Dre-Day - Sniper of the Kill Jimmy Iovine Movement on January 16, 2008, 09:05:36 AMQuotebe another one of those guys that says, “Oh, Hip-Hop is dead. I like where it used to be,” I think the Hip-Hop of yesteryear is gone. I think that it’s kind of foolish or, uh, too much of a task to hope that you’re going to bring the “Golden Era” back. You know, 1995 or whatever. Thinking that you’re going to be able to get that back, when that era is gone. While we appreciate the aesthetics and the qualities that made that a great time, we’re not about trying to bring that back at all. You know? We’re more about trying to move forward or whatever, with the principles of that time. That was making the best music that we can make, and saying the best lyrics that you can make, and of course having styles, delivery, and all that stuff.Quote from: Dre-Day - Sniper of the Kill Jimmy Iovine Movement on January 16, 2008, 09:05:36 AMi agree; that hip hop is dead talk starts to annoy me. though there are some people,like Nas, who have a positive message behind it.but you can't stay in the past forever, instead it's better to innovate,no matter how hard it may be.True,this has been a on going discussion for yeras in Hip Hop circles.I remember even back in 86,87 when Beastie and PE went and explored "new" sounds and messages in their music,it didn´t become better when NWA and De La hit the scene hard.Alternative rap VS Gangster rap.Where was "real" Hip Hop (in it´s original form),well it was dead. Yeah I said it,it died back in 86....The core hold on to it,Juice Crew and couple of others like the Flavor unit barely holding the torch into the late 80´s.Sure Main Source,Nas and D.I.T.C was forming a new type of sound for "real" Hip Hop in the early 90´s,but what used to be was sadly gone.Common blamed Gangster Rap on "I used to love her" and now cats is blameing Crunk,Snap,Bounce etc. from the south.But you can´t stop evolution,Hip Hop takes new forms wherever it sets down.....QuotePeople are trying to have a thought process of,"Well, what is the most catchy? What is going to be the track that other people like?"The general public don't have the same kind of mindset or ears– or,rather, views – as people involved in the business of the game.They don't listen to stuff as astutely, obviously.Quote from: Dre-Day - Sniper of the Kill Jimmy Iovine Movement on January 16, 2008, 09:05:36 AMtrue, but at the same time, some companies like Interscope use the same old bullshit formula for singles.I don't think i know exactly what type of singles should be picked for artists,but i do know, that repeating the same formula is not a good strategy.Face it,the single game ain´t for us. Generic bullshit like "Hello,my name is" and "The Real Slim Shady" is well useing the same fomula as Dre used on "What´s my name".This formula seems to work,but not in "our" ears Quote from: Dre-Day - Sniper of the Kill Jimmy Iovine Movement on January 16, 2008, 09:05:36 AMthe challenge is to find a single that represents the artist, but suits the mainstream as well.True that,Still D.R.E,California Love,Nothing But A G thang and Regulate is perfect examples of that.
as i've said before, great post
Well i don't really have a problem with "Hiphop" constantly changing as you can read in my previous post,but i do have a problem with major labels; when a certain sound or style is "hot",they exploit it to the fullest; the singles are a great example of that.I know that the business works that way,but it's still fucked up.
and to decide what single really fits the artists is obviously subjective
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