New Hi-Tek interview

[Meho]

You can't copypaste from hiphopgame.com, so:

http://www.hiphopgame.com/index2.php3?page=hitek2

[JMan]

+1 Timbo, that was a good read... glad to hear that Tek and Kweli are hooking up again for the next Reflection Eternal.. looking forward to when Hi-Teknology 3 drops too 

[Makaveli's Food & Liquor]

Album sounds dope!!

[Meho]

Another one:

What’s the first thing that comes to mind when you think of Cincinnati, Ohio? Is it the professional baseball team, the Cincinnati Reds? Or is it the football team, the Cincinnati Bengals? If you’re a gambling person, odds you won’t place your bet on Cincinnati being Hip-Hop orientated. Even though James Brown, Bootsy Collins, and The Isley Brothers have all been heavily sampled by Hip-Hop producers, and they happen to a hail from the city that boasts a population of 332,252 people, it’s still pretty hard to fathom The ‘Nati being on the cusp of Hip-Hop greatness.

But out of all those people living in Cincinnati, all it takes is for one person to attract attention doing a certain something, and other people are bound to catch onto it. As for music, it’s always been that one thing that everyone can relate to, regardless of your ethnic background.

The only catch to that scenario is that the music has to be good. So while you’re still dwelling on the question of what first comes to mind when thinking of Cincinnati, also ask yourself what makes a good song? Is it the concept? Is it the hook? Or is it the lyrics? To be honest, all those elements are required for the finished product to have a powerful impact on those who choose to listen to it. But in the same token, the melody is also a very crucial part to the equation.

After all before the words set in, the first thing you hear is the beat right? And if the beat doesn’t draw you in right away, that song might end up discarded. Then again, you may have that one person that just analyzes songs from a lyrical standpoint, and you might have another person that happens to be a crazed beat junkie, because in the end everyone is entitled to their own beliefs.


But if you happen to be that beat junkie, then what better way to ease your craving then with soothing sounds for your eardrums from one of the bes t beat technicians around. So if you haven’t come up with answer of what comes to your mind when you think Cincinnati, and if you’re still debating about if beats are really an intricate part to a song’s deliberation, then you’re doing Tony “Hi-Tek” Conttrell no justice at all.

Since he first hit the grand stage back in 1998 producing the bulk of Mos Def and Talib Kweli’s Black Star album, the man from 'The Blue Chip City' hasn’t taken his fingers off the boards. What followed were Reflection Eternal (Train Of Thought), then his first compilation album, Hi-Teknology, and a string of production credits along the way. If you never thought you’d hear artists like 50 Cent, Cassidy, and Little Brother all having something in common, then you’re wrong.

Because; they all share a bond with Hi-Tek. Not to mention the likes of the whole entire Aftermath Records family tree, as he has become one of Dr. Dre’s resident beat-providers. The sound that he helped form in the late 90’s is alive and well in the new millennium. Sometimes it actually tough point out a track crafted by Hi-Tek because of his versatility, but its all there in black and white. If you’re a stickler for liner note credits when you open up a CD, 9 times out of 10 you’ll see “produced by Hi-Tek” on whatever Hip-Hop album you buy these days.

So what’s next for the guy who got his first break by producing Hustle On The Side for the Cincinnati trio, Mood, then started traveling back and fourth to New York to get his music heard, just to hook up with Mos Def and Talib Kweli for one of the most influential albums of our time in Black Star, then followed that up with another classic in Reflection Eternal (Train Of Thought), and ended up dropping Hi-Teknology’s 1 and 2, to lacing the G-Unit with his seal of guaranteed satisfaction, to also working with virtually every other big named Hip-Hop artists in the process, all while getting the approval of the good doctor himself?

It’s easy. Next on his “to do list” is his third compilation album, Hi-Teknology 3: Underground. For one person who has truly mastered the art of making noise, its still just business; or shall we say beats as usual.

What’s going on with you, Tek?

I’m good man, just keeping busy

Well keeping busy is always a good thing… So what would you say is your first love? Producing or rapping?

Ahh. I would say DJ’ing actually.

Really?

Yeah…

How did you first get into producing?

I first got into producing like when I was around 12 years old.

And that’s when you knew this was going to be your life?

Yes sir…

Is there any process you go through when choosing artists for your projects?

I just try to deal with or work with people that are on my level, that make dope Hip-Hop music. Whether it’s a well-known artist, or up and coming [artist].

In what ways do you think you’ve grown from your first album, Hi-Teknology to your current album, Hi-Teknology 3?

I think I just became more of a quality producer. But I can’t even say that I’ve grown in the right direction, because I still listen to the first album and I’ll be like; “Damn, how did I do that?!”

I hear you… My favorite joint off your first album was All I Need Is You with Cormega and Jonell.

Yeah, I love that too, you know what I’m saying. I don’t know where that mode came from, but I’m trying to get back in it.

With all your projects you always seem to go with lesser-known MC’s. Any reason behind that?

Yeah, I always try to do something that really encourages me. And people want to hear something fresh, they don’t always want to hear you doing something with a well-known artist all the time. If you think about it, when people got hip to Hi-Tek I was new to them, and I was new to [Talib] Kweli and I was new to Mos Def. We were on the same level.

Then people got used to that freshness, and personality. So I just wanted to get back to that. But at the same time when I do things with a well-known artist, I want to solidify myself in the game and make history and put my stamp in the game. Like I’ve built relationships with these people, and we all have a mutual respect for the music. And these are all people that I’m fans of, so I try to encourage them to go out and support the music of those other artists also.

I hear that... So what’s process like when you’re working with artists? Do you have beats lined up, or do you mold the track with the MC?

It’s everything. Sometimes I’ll have the track ready beforehand, and sometimes we just start from scratch.

Is there any release date for your artist Dion’s album?

We’re working on that right now. We’re about 70% done with the album already; we’re just trying to find a home for it.


How did you guys first meet?

Basically I did a Midwest talent search back in Cincinnati and basically he entered the contest and won. I heard his voice, and I was like; “Man, he’s the truth.” Actually he had won the contest just off his performance and his voice.

Then when I got him in the studio, I gave him this track that had a space for him to write the hook in. And he wrote the track so well, and I wasn’t used to working with R&B writers.

The only thing I had to groom him on was how to do a “Hip-Hop hook.” Just on how to keep it simple sometimes and not go too Boys II Men-ish.

Basically how to get on that Nate Dogg level and get the hooks straight for the Hip-Hop crowd, but at the same time still do something with the R&B so he can get the ladies.

You talked about how you had the talent show in Cincinnati. How is the Hip-Hop scene over there?

We got everything, like a big underground rock scene, and we got Hip-Hop. Like a lot of independent labels are doing their thing.

So why do you think a lot more artists from that region haven’t blown up yet?

The truth be told; I just think it’s because of the type of city it is. The city is real conservative. It was a big music town, and it kind of fell apart from the 80’s. Like everyone turned into dope dealers; you what I’m saying. They wanted to hustle. A lot of them didn’t want to do music anymore.

I grew up around the Dr. Dre’s and the Jazzy Jeff’s, just some of the craziest DJ’s who made me who I am. So I’m like the last of the Mohicans, because a lot of people starting smoking crack, went to jail, or ended up dead, know what I’m saying. So I’m like the soul survivor of that. And I think The ‘Nati still has cats that’s in the music, and now they’re starting to get back into it because they see other artists being successful off the music.

Like I’ve always been a lover of music, and I made a choice in my life to do music, because I could’ve been a victim too. Just like Mark Twain said; “He would rather be in Cincinnati when the world ends because it’s 20 years behind the times.” [Laughs] That’s a true statement because Cincinnati is a little behind. But that don’t mean that there’s nothing here, because there’s definitely talent.

But as far as being an artist, it’s a whole different game. That’s when you got to be ready to leave the city and go somewhere else and really do your thing, and be around people who are actually in “the business.” Cincinnati is not a “music business town.” So that’s the part that’s really on slo-mo, but there is a lot of talent here. It just takes people a while to get their business mind frame together.

So is that basically what you did? Came out here to New York to get your hustle on?

Yeah man, I always had beats and I always had the talent, and I always had the love for the music and I always loved everything about New York. I was never really interested in going to Cali, because I always loved New York, and it was just a drive away. So I would go to New York and kick it with Kweli, and I had somebody like Kweli where I could actually go to the inner parts of Brooklyn and not be in a tourist area. And we would be in Brooklyn, like in Flatbush or just in the ‘hood somewhere, and I was with a dope MC.

So we grew together, and he really helped me learn about what’s really going on. So he took me around New York and was introducing me to people. I was always a businessman, and I knew I could handle [my] business, so that was never a thing. I just wanted to really get my music heard, so people could recognize that I was hot.

How did you and Dr. Dre first hook up with each other?

I didn’t even know [Dr.] Dre knew about me like that. I wouldn’t say he didn’t know, but I didn’t know if he really put the pieces of the puzzle together. WC was working on his album (that’s what it was). I had gave WC a beat CD, and Dre was helping him out with the album and Dre had the beats he was working on, and Dre basically snatched the beat that I made and he was like; “Yo, I need this one!”

He really liked it, and he asked WC who did the beat, and WC told him it was Hi-Tek. And after, that he basically flew me out. So the first track I did on Aftermath, was a track that Dre rapped on. It was crazy! Dre called me in and was like; “Yo Tek, should I keep this verse?” Then I was like; “HELL YEAH!” “YOU KILLED IT!” [Laughing] But it was true; I really did think he killed it. It was a song he did on the Truth Hurts album.

It was a song he did on the first Truth Hurts album?

Yeah. I think that was the first track that Dre bought from me. It was really my introduction to Aftermath. The song was called "Hollywood".

So you guys get along really well?

Yeah man, Dre is a genius. He’s the truth.

Are there any methods or techniques you learned by working closely with him?

He taught me how to broaden my music with live instruments. But not only with the live instruments, but with anything, period. He taught me how to make my music bigger, and just how to make a bigger song.

Did you, or are you doing any work on his Detox album?

Well it’s his say at the end of the day. But I’m still producing and I’m still on Aftermath, and I’m definitely working to make him happy. So it’s all about what’s in his mind for what he wants to hear for Detox. So I’m just working man, and being a soldier and hopefully I can give him something that he likes.

How would you define your sound? Would you say it’s more traditional Hip-Hop, or a little bit more commercial?

I’m Hi-Tek, man. That’s why I call myself Hi-Tek, because I got that high-tech sound. [Laughing]

[Laughing] I can dig that. So was there any reason why you chose to go with Sha Money XL’s Money Management Group, as opposed to other firms?

Well I mean I got a lot of respect for Sha [Money] and I wanted to get with someone that I have a good relationship with, and somebody that understands music too. And at the same time, I’ve known him for a long time, and he has a lot of respect for me too. I’ve seen him come up in this game from scratch, like I met him back in ’96.

I always tried to holla at him in the past few years, but it never really got too serious until now. He really came through in the clutch for me right when I needed somebody to come through for me.

So you do think it’s important for producers to have managers just as MC’s do?

Oh yeah, most definitely. I think it’s most important for producers to have managers than MC’s because MC’s talk a lot any way; they’re rapping all the time. As for producers, [we] have a lot going on in our heads musically, and you don’t want people calling you all the time when you’re in the studio. And you don’t want any distractions.

You actually make a good point there… Okay, this is the last question I got for you: Is the world going to hear another Reflection Eternal album anytime soon?

Most definitely. Right now the eggs are starting to boil, we’re just waiting for them to hatch.

[Laughs] So y’all are just letting the ingredients marinate right now?

Yeah we’re just starting right now, you know. We’re trying to give it to the people by next year, definitely.

[Mackin]

thanks for the Info on the Interview!
Hi-Tek Is Str8 Up Dope!

[Lazar]

Both interviews are very good. Props Timbo

[sweetlikeswisha]

Ya that tek shit is always fire.  His new album is definitly making it to the x-mas list.