DJ E.Rex ft. Chris Rivers, Lega-C & Mikey D – “The Conqueror” (@ERexMuzic / 2017)
Pounding Rotten Apple rawness with a lyrical line-up that bridges Hip-Hop’s generation gap.
DJ E.Rex ft. Chris Rivers, Lega-C & Mikey D – “The Conqueror” (@ERexMuzic / 2017)
Pounding Rotten Apple rawness with a lyrical line-up that bridges Hip-Hop’s generation gap.
Meyhem Lauren – “Piatto D’Oro” (Fools Gold Records) – Backed by production from beat kings such as Large Professor, DJ Muggs and The Alchemist, Queens, NY resident Meyhem Lauren continued to play his part in 2016 to ensure traditional rough, rugged and raw Rotten Apple rap stayed alive, with “Piatoo D’Oro” providing the perfect theme music for Timberland-and-Polo fiends across the globe.
Si Phili – “The 11th Hour” (Phoenix Recordings) – Having already made an indelible mark on the UK Hip-Hop scene as a member of Phi Life Cypher, Luton lyricist Si Phili approached his debut solo album with both the experience of a seasoned mic vet and the hunger of a new artist with a point to prove. Featuring talented producers such as Pete Cannon, Leaf Dog and Richy Spitz, “The 11th Hour” found Phili unleashing a relentless barrage of intense wordplay, covering a variety of topics in the process.
The Game – “1992” (Blood Money Entertainment) – Strip away the rap beefs, personal dramas and industry politics that have surrounded The Game’s career over the years and one thing remains undeniable – Jayceon Terrell Taylor can definitely rhyme. This concept-based project found the former Aftermath emcee revisiting early-90s Los Angeles via personal, descriptive verses with respectful nods to West Coast icons such as Ice-T, Ice Cube and Dr. Dre. Compton is still in the house!
J-Zone – “Fish-N-Grits” (J-Zone.BandCamp.Com) – Never afraid to tell-it-how-it-is, NYC’s multi-talented J-Zone once again offered listeners the opportunity to see the world through his own unique perspective on his latest full-length release, combining sharp observational humour with funky beats and Rotten Apple attitude. Dealing with topics such as rap’s generational debate, hipsters and gentrification, “Fish-N-Grits” was the perfect sonic antidote for the non-stop b.s. pushed daily from both the underground and mainstream Hip-Hop scenes. As Zone himself says, there’s only two types of music, good and bad.
Royce 5’9 – “Layers” (Bad Half Entertainment) – Lead by the autobiographical brilliance of the S1-produced “Tabernacle”, Detroit veteran Royce’s sixth solo album was arguably his best body of work to date. Filled with unflinching honesty, sly wit and well-honed rhyme skills, “Layers” was a fitting title for a project which gave the listener further insight into the life of the man behind the mic.
Akil The MC – “Sound Check” (AkilTheMC.BandCamp.Com) – Jurassic 5 member Akil filled this solo album with hard-hitting motivational music delivered in his traditional true-school style, effectively balancing his back-in-the-day roots with a present-day passion for the microphone.
Mikey D’Struction – “Day Of D’Struction” (Elements Of Hip-Hop) – Largely produced by Russia’s Ligalize, this album from Queens legend Mikey D found the veteran emcee avoiding the temptation of trying to fit in with current rap trends in order to appeal to a wider audience, choosing instead to stick to his sonic guns, delivering sharp, battle-ready rhymes over hardcore, speaker-rattling beats.
Black Josh – “Ape Tape” (BlahRecords,BandCamp.Com) – After first listening to Josh’s “Ape Tape” EP, one word came to mind – vibes! Boasting an organic, impromptu feel, this thoroughly entertaining release featured the UK artist lacing varied production with his sharp Manchester wit, politically-incorrect sense of humour and honest inner-city observations.
Torae – “Entitled” (Internal Affairs Entertainment) – Backed by a successful Kickstarter campaign, this album from Brooklyn emcee Torae satisfied loyal fans by delivering the consistently high-standard of lyricism we’ve come to expect from the NY representative with quality production from heavy-hitters such as Pete Rock, DJ Premier and Nottz.
Elzhi – “Lead Poison” (Glow 365) – After a five year hiatus and release date delays, Detroit’s Elzhi finally returned with an album that played like a sonic therapy session for the former Slum Village member, who had been battling with depression during the recording of the project. Clever, introspective and creative, “Lead Poison” showcased the results of a naturally gifted artist dealing with life’s problems through his pad and pen.
Ruste Juxx & Kyo Itachi – “Meteorite” (Shinigamie Records) – Bolstered by the impeccable production of France’s Kyo Itachi, former Sean Price protégé Ruste Juxx went intergalactic like a Timberland-wearing Silver Surfer on this rugged gem of an album, transmitting direct from the planet of Brooklyn accompanied by Illa Noyz, Bankai Fam’s Skanks and Rock of Heltah Skeltah.
Ghost – “Shards Of Memories” (Ghost.BandCamp.Com) – Ambitiously bridging the gap between the UK-raised, Australia-based producer’s underground Hip-Hop roots and his desire to craft something that reached beyond the traditional sound of dusty drums and head-nodding loops, “Shards Of Memories” was an impressive effort which was both polished and well-executed whilst also managing to retain a spontaneous, unpredictable edge.
Trace Motivate – “Bored, Lonely And Possibly Intoxicated” (TraceMotivate.BandCamp.Com) – Stepping beyond the aggressive, competition-crushing rhymes heard on releases from his group Grindhouse Project, Canada’a Trace Motivate offered personal reflection and honest life observations on this six-track concept-based release.
Tribe Of Judah – “Organically Grown” (Gravity Academy Records) – Maryland’s Tribe Of Judah mixed political commentary and social observation with street-savvy Hip-Hop bravado on their impressive Tokyo Cigar-produced debut album.
Rapsody – “Crown” (Jamla / Roc Nation) – Inspiring and passionate, North Carolina’s first lady of the mic Rapsody was on a mission to motivate her listeners with “Crown”, encouraging the younger generation in particular to reach for their goals via forthright rhymes delivered over soulful production from 9th Wonder, Nottz and Khrysis.
PhybaOptikz – “Shades Of Alejandro” (PhybaOptikz.BandCamp.Com) – London’s PhybaOptikz delivered a smooth, atmospheric concept album under the guise of his alter-ego Alejandro, showcasing the UK producer-on-the-mic getting busy over an ill selection of hypnotic loops with assistance from Crate Divizion comrades Giallo Point and Vic Grimes.
Arkatek & KelpiNINE – “Master Builder” (ArkatekMusic.BandCamp.Com) – Atlanta-based wordsmith Arkatek encouraged listeners to bring their third-eye vision into focus via well-crafted verses over drum-heavy production from KelpiNINE on this US / Ukraine collabo project.
K Zorro & Bad Company – “Deferred Gratification” (NewGuardzOnline.BandCamp.Com) – Talented London emcee K Zorro dropped intelligent, captivating verses over atmospheric production from musical ally Bad Company on this collaborative project which was both streetwise and socially-aware.
Sebastian Hochstein – “Name Dropping” (Illect.BandCamp.Com) – German producer Sebastian Hochstein called on the likes of Jurassic 5’s Chali 2na, Sadat X and Scribbling Idiots to provide lyrical support on this impressive EP, a release which was rooted in a dusty, sample-based sound.
Tha God Fahim & Giallo Point – “Eyes Of War” (Crate Divizion) – Atlanta’s Fahim spat righteous rawness over the brilliant, gripping production of UK music man Giallo Point on this quality Crate Divizion release.
Part Four coming soon.
“Day Of D’Struction”
(Elements Of Hip Hop / Red Line Music)
Mikey D is a legend. This is something that really cannot be debated. Whilst the term is used frivolously in today’s rap world, often thrown around to describe artists who’ve done little to justify such a label, this NYC native is a legend in the truest sense of the word, with his name, history and discography all having become a part of Hip-Hop folklore over the years.
From his days in the early-80s rocking Queens park jams with the Clientele Brothers, to rhyming side-by-side with a pre-Def Jam LL Cool J, then working with girl-group Symbolic Three on their 1985 Doug E. Fresh answer record “No Show”, Mikey’s old-school roots run deep (read more in my three-part 2013 interview with the man himself here).
Subsequent years would see the Laurelton lyricist recording classic singles with the late, great producer Paul C, battling the mighty Grandmaster Melle Mel during an infamous confrontation at 1988’s New Music Seminar, and replacing Large Professor in Main Source for the recording of the group’s second album, 1994’s “F**k What You Think” (a project that was unfortunately shelved at the time).
Behind all of these achievements, however, Mikey’s career up to that point was plagued with drama both personal and industry-related, including the tragic death of Paul C and failed deals with Sleeping Bag Records and Wild Pitch. All of which led to the Rotten Apple representative making the decision to step away from the music scene to focus on both his family and well-being.
Fast-forward to present times and having spent recent years reintroducing himself to fans both old and new, Mikey D’s long-awaited “Day Of D’Struction” album is finally ready for release, showcasing the timeless talent of an individual who has carried Hip-Hop in his heart since his youth and who appears to have lost none of his passion for the microphone.
Largely produced by Russia’s Ligalize, “Day Of D’Struction” finds Mikey avoiding the temptation of trying to fit in with current rap trends to appeal to a wider audience, choosing instead to stick to his sonic guns, delivering sharp, battle-ready rhymes over hardcore, speaker-rattling beats.
On the album’s opening cut “D.O.D.”, Mikey presents himself as a seasoned vet unafraid of speaking his mind over chopped strings and punchy drums (“A grown man with opinions and I own ’em, Fake clowns running around and I don’t condone ’em…”), whilst the rousing “Street Champion” finds the NY wordsmith embracing his man-of-the-people status, reminding listeners that overnight success comes and goes, whereas genuine respect lasts a lifetime.
Mikey’s love of lyricism is clearly reflected throughout the album, not only in his own verses, but also in the line-up of guest emcees he has chosen to invite onto the project. Big Pun’s son Chris Rivers delivers quick-fire barbs on the aptly-titled “Horns Of Fury”, with R.A. The Rugged Man, Craig G and Canibus each bringing their A-game to the mic booth on the relentless posse cut “The Rhyme Heaterz”.
Another standout collabo comes in the form of the These Handz-produced “Wake Up Pt. 2”, with Brooklyn’s Mic Handz and Baltimore’s Don Streat joining Mikey to question both the credibility and artistry of studio gangstas diluting the artform of Hip-Hop.
The mellow “Without Breakin It Down” offers a brief overview of a typical Friday night for the Q-borough wordsmith, involving studio sessions, crew adventures and fat beats, whilst the dope “Living Proof” finds the artist formerly known as Playboy Mikey D stating his verbal superiority over Ligalize’s rolling, sample-driven production.
As if further evidence of Mikey D’s status in the game were needed, the voices of Grandmaster Caz, Large Professor, Chuck D, Grand Daddy I.U. and a certain James Todd Smith can be heard throughout the album, all acknowledging the talented emcee’s contributions to the culture and dedication to his craft.
A solid collection of uncompromising true-school beats and rhymes, “Day Of D’Struction” is a fitting testament to Mikey D’s tenacity, proving that, almost four decades after he first picked up a pad and a pen, this rap icon is as motivated and competitive as he’s even been.
“Day Of D’Struction” can be ordered here.
Mikey D – “Inspiration” (@MikeyDStruction / 2016)
Queens, NY legend Mikey D aka Mikey D’Struction discusses his new album “Day Of D’Struction” and working with the late, great Paul C.
Mikey D’Struction – “All Alone” (@MikeyDStruction / 2016)
Lead single from the Queens, NY legend’s forthcoming album “Day Of D’Struction”.
Mikey D’Struction – “Inspiration” (@MikeyDStruction / 2015)
The Queens, NY legend proves that true skills are timeless on this DJ Slice-produced track from his “Day Of D’Struction” album.
Mellow Man Ace ft. Dres & Mikey D – “I Live For The Funk” (@UltraSlump / 2015)
LA-meets-NY on this dope collaboration between the three microphone vets, with talented producer Cazal Organism supplying a large helping of hazy horns and greasy beats.
Mikey D’Struction – “Back To The Future” (@MikeyDStruction / 2015)
The Queens, NY legend bridges the gap between the 90s and the present day in the visuals for this new head-banger.
Mikey D’Struction – “Back To The Future” (@MikeyDStruction / 2015)
The Queens, NY legend showcases his timeless skills by matching verses of the past with rhymes of today over raw beats from Calvin “Trouble” Jones.
These Handz ft. Mic Handz, Don Streat & Mikey D – “Wake Up Pt. 2” (@TheseHandz / 2015)
The UK’s Sparkii Ski and Belgium’s DJ Grazzhoppa have enlisted the assistance of three certified mic-wranglers (including Queens, NY legend Mikey D) for their latest speaker-rattler.
Queens, NY legend Mikey D (aka Mikey D’Struction) will continue his storied career later this year with the release of his new album “Day Of D’Struction”.
Queens, NY microphone legend Mikey D aka Mikey D’Struction drops some potent bars live and direct from behind the wheel.
The recently-leaked Large Professor-produced single from the Fearless Four’s Tito and Queens, NY legend Mikey D gets an official BandCamp release – put your hands in your pockets and show some support!
Mikey D’Struction ft. J-Soul – “Moms Song” (@PlayboyMikeyD / 2014)
The Queens, NY legend drops a stirring dedication to his mother who passed away earlier this year off the EP “From The Heart”.
Latest episode of the 45 King’s “Making The Beat” featuring Fearless Four member Devastating Tito and Queens, NY battle legend Mikey D trading rhymes and discussing some Hip-Hop history.
As the man behind cult underground films such as “King Of The Beats” and the Hijack documentary “Turntable Trixters”, UK-based Hip-Hop preservationist Pritt Kalsi has amassed some classic footage over the years.
Finally dropping his long-awaited Paul C. project, “Memories Of…” features the likes of Rakim, CJ Moore and Dr. Butcher reminiscing on the super-producer who crafted classics for Ultramagnetic MC’s, Super Lover Cee & Casanova Rud, Mikey D and more – watch here via Pritt’s own site.
In the third part of my interview with Stetsasonic’s Daddy-O, the talented producer-on-the-mic talks about working with the Audio Two, recording the timeless classic “Talkin’ All That Jazz” and why Stet were always welcome in Miami – check Part One and Part Two.
1987 was a busy year for Daddy-O outside of Stetsasonic with you being involved in producing MC Watchout & DJ OZ’s “Blind Man’s Bluff” plus Positive K’s “Quarter Gram Pam” and Audio Two’s “Make It Funky” / “Top Billin'” singles which were both on First Priority. How did you come to work so closely with the First Priority label?
“Okay, so Delite was really the catalyst for that. Back then, Red Alert had this night at the Latin Quarter which used to be on a Tuesday, like an after-work night. It wasn’t all Hip-Hop, but it was still a Red Alert night. Now first of all, and I’ve said this before, without Delite there would have been no Stetsasonic. Just like Delite could probably say that without Daddy-O there would have been no Stet. But my reasons for saying that and his reasons would be totally different (laughs). Now, the reason I can say that without Delite there’d be no Stet, is because I hated everything. I hated everything, yo. I was such a hater back then (laughs). One time, Delite went to see Flash and them at the Peppermint Lounge and he came back saying how great it was. I was like, ‘F**k them, man. Are they better than us?’ I hated everything (laughs). Delite always used to tell me, ‘Just do it better. And if you’re not going to do it better than don’t talk to me about it, D.’ So Delite was the quintessential taste-maker in my opinion. He was the guy who knew everything that was going on just to try and figure out what was going to happen next. So Delite was hanging out at the Latin Quarter on a Tuesday night when everybody else was doing Friday and Saturday nights. I’m like, ‘What the f**k are you going down there on a Tuesday for?’ Delite would be like, ‘Red Alert’s playing and your man Lumumba be down there sometimes..’ and I was just like, ‘Whatever, man.’ So Delite was staying with me at the time and he always used to come back from those Tuesday nights singing ‘I like cherries ‘cos cherries taste better….’ and I’d be like, ‘What the hell are you singing?’ Delite would keep telling me that I had to hear this Audio Two song. Now, Delite ain’t got no singing voice either, so he was making it sound even worse, right (laughs). But Delite was like, ‘Yo, you’ve got to hear this record.’ But it was only Red Alert who was playing it and he was only playing it on a Tuesday night at the Latin Quarter. I don’t know if he couldn’t or wouldn’t play it on the radio, but he was only playing it on these Tuesday nights. So I went with Delite one night and I heard the record. Now, Delite had been trying to describe the record to me and had told me it was this bugged out song that sounded like nothing you’d ever heard before. But when I actually heard the record, I liked it.”
So how did that lead to you actually connecting with the Audio Two?
“What happened was, Stetsasonic had got a nice little name in the city. We started getting around. Now, we were doing a release party that was going to be at the Palladium. Not the main part of the Palladium, but the Michael Todd Room which was still a nice venue. We invited all these people and Tommy Boy invited a lot of people as well. So Nat Robinson from First Priority came along with MC Lyte and the Audio Two. I looked Milk in his face and was like, ‘Yo! If you ever need anyone to produce for you, then I’m here.’ Milk was like, ‘Word?!’ So I told him that I really liked their stuff a lot and next thing Milk was calling to Nat, ‘Dad! Dad! Daddy-O said he’ll produce us! Daddy-O said he’ll produce us!’ So Nat was just like, ‘Okay, we’ll talk about it.’ So that’s how I ended up working with the Audio Two and MC Lyte. Now, I’m trying to think how I got hooked-up with Positive K. I almost want to say that I got with Pos K through Lumumba Carson…
Because Lumumba was managing Positive K during the same period he was managing Stetsasonic, right?
“Yeah, that’s right. So I got hooked up with Positive K through Lumumba. But now that you’re saying it, I guess my mind just wasn’t on it that “Quarter Gram Pam” was on First Priority as well (laughs). I remember making “Quarter Gram Pam” before we did “Top Billin'”….”
After Stet’s “Go Stetsa I”, Audio Two’s “Top Billin'” was the second official Brooklyn anthem you had a hand in producing and it had such a unique sound to it. What inspired that beat?
“It’s so funny that you’re saying what you’re saying because both of those records were just great mistakes (laughs). Like I explained earlier, “Go Stetsa” was a great mistake with us bringing in the live drummer to do the fills and rolls etc. Now, before I did “Top Billin'” for the Audio Two I was working on their single “Make It Funky”. Now, I’m in Staten Island at Nat Robinson’s crib which was Milk and Giz’s crib as well. I’d programmed the SP-12 to do some things for “Make It Funky”. I go upstairs to talk to Nat or whatever and Milk calls up from the studio and is like, ‘Yo! You’ve got to hear something I just did.’ We’re like, ‘Okay, what’s he done now.’ I mean, if anyone was going to be the producer in Audio Two it was going to be Giz anyway, right. Now, I’d been trying to sample “Impeach The President” but the SP-12 only gave you x-amount of time, so Milk couldn’t get the full loop in there. So all he got was the ‘boom-boom-kick’ and that was it. So now Milk has that boom and kick up in the SP bouncing against my “Make It Funky” drum pattern. So we heard it and thought it was dope and then Milk is like, ‘I wrote something…’ and he did the whole thing right there. Milk looked at me and was like, ‘Daddy-O, should I make it longer?’ and I said ‘F**k no!’ I knew exactly what we were going to do with that record and I told Milk right there, ‘This is a Red Alert classic. We’re going to go ahead and do this “Make It Funky” track but we’re not going to tell anyone about this “Top Billin'” record.’ The plan was to make the deejays feel like they found it themselves on the b-side of the single and it worked.”
1987 also saw Stetsasonic drop the “A.F.R.I.C.A.” single which made a huge political statement against apartheid. Was that track something that the group wanted to do initially or was it something that Tommy Boy instigated?
“It was actually initiated by Tommy Boy but in a weird kind of way. Now, that track did end up on “Blood, Sweat & No Tears” but that was just because the Norman Cook remix was so hot and I was like, ‘Dude, I’ve got to put this on something.’ “A.F.R.I.C.A” would never have made it onto any album if Norman Cook never did that remix. His remix made me feel like it was something that I could put on an album. The original version, which I love, I just loved it being what it was as a single. So the original version of “A.F.R.I.C.A.” was a stand-alone piece that was what I always call Stetsasonic’s longest running record, meaning that long after that record was off radio, the Africa Fund had worked with us to put teaching guides in schools and all of that, so that record was constantly being used and referred to long after it came out. Now, what happened was, through Monica Lynch at Tommy Boy we met a guy from ABC 20/20 called Danny Schechter. He used to call himself Danny Schechter The News Dissector and he became a good friend of mine. Danny was just one of those erratic white guys, scruffy beard, almost looked like Captain Kangaroo, who was probably one of the earliest versions of a WikiLeaks or something like that. He was always challenging everything like, ‘This is what’s really going on.’ So he had an idea that he had taken to Monica with no particular group in mind. He said to her that apartheid in South Africa was a big issue and that he didn’t understand why no rappers were covering it. So, Monica brought the idea of doing the record to us. She told us that they were going to talk about doing a song to some of the other groups on the label as well, but that she wanted to hear what we thought about it. I immediately said yes, went home and did a little bit of research. Danny actually had a video tape and it was heart-wrenching watching that for the first time and seeing everything that was going on in South Africa…”
At the time apartheid was a topic that nobody really wanted to speak on in the Western world because, regardless of your skin colour, it was almost impossible to talk about it without having to confront certain uncomfortable contributing issues…
“Right, right. Absolutely. So Dan showed us this tape and straight away I was like, ‘We’re going to do it.’ Now, Delite, that was one thing that he wasn’t really with initially, but Frukwan definitely was. So we went into the studio, Frukwan, myself and Wise. Now the beat for “A.F.R.I.C.A.”, that came from Wise with him beat-boxing and we took that and made it into a beat. Then me and Frukwan wrote the rhyme. We wrote the whole thing. So by the time we brought Delite, Paul and DBC in, they were like, ‘Yo, that’s kinda hot.’ I showed Delite where he was going to fit in and that was it. We did it and it really worked out. Looking back on it, what was interesting was that “A.F.R.I.C.A.” was our first video as Stetsasonic. We used to have big fights with Tommy Boy because Monica Lynch used to say that videos didn’t sell records. So we never got the videos that you saw other artists at that time getting from their labels. So with “A.F.R.I.C.A.”, we were happy to be getting a video.”
That record really made a big impact at the time because this was before the likes of Public Enemy and KRS-One were really dealing with politics in a major way in their music…
“Yeah, definitely. But it was really that 1990 Wembley performance in London for Nelson Mandela that opened a lot up for us. Even though we’d done a lot of other things around the record and apartheid with people like Jesse Jackson, that Wembley performance really opened things up. The crowd were receptive to what we were saying and that was great. I mean, that was a great day for us as a group. Going back to when Kevin Porter used to mentor us, he always used to tell us not to just look at ourselves as a rap group, but to look at ourselves as entertainers who could be on a par with a Prince or a Michael Jackson, who just happened to rap. So that performance at Wembley let us feel like we were real entertainers. I remember, we met Terence Trent D’Arby, Patti Labelle, Neil Young and just an array of entertainers who were huge at the time. Me and Bono from U2 were talking, just kickin’ it, and that was dope because we were being accepted by everyone. I remember Denzel Washington was there, we performed that song, I walked offstage and Denzel hugged me. But it just felt like the other artists there understood what we were trying to do and that was always something that Delite and I wanted to do for Hip-Hop, to get people to understand what Hip-Hop was about and what it could be. I mean, I’m still the same way today because I still think a lot of people have got it twisted in terms of what they think we are.”
Would you say “A.F.R.I.C.A.” was the catalyst which led to you addressing other political issues on 1988’s “In Full Gear” album with tracks like “Freedom Or Death”?
“I’d say yes, but in a weird way (laughs). I mean, “Freedom Or Death” was something I made for Sonny Carson. That was always his line. I mean there were different things happening in New York at the time, there was the whole Yusef Hawkins thing, and Sonny had this whole ‘freedom or death’ thing that he was doing in response to that. Lumumba Carson and them hadn’t made any records yet. He wasn’t Professor X yet and there was no X-Clan at this point. So there was really no voice at that time to express what Sonny was talking about. I sat with Sonny one day and he explained the whole freedom or death concept to me and he said it exactly the way I wrote it. So I would say that “A.F.R.I.C.A.” did have something to do with us touching on other issues because making that record let us know that we could cover certain issues as a group because the challenge had been how do we make a record about something like apartheid and make it fun? I mean, you could make message records all day, but they’re not necessarily going to be hot. Plus, it wasn’t like we were making a song like Flash & The Furious Five’s “The Message” that was about the general ghetto that a lot of people already knew about or could relate to. There were specific names of people who were involved in apartheid in South Africa and different things that were going on, so in order to really express what was happening we knew that we had to put all of that into the record. We knew it wouldn’t have been enough to just gloss over it and say that apartheid was going on and that people shouldn’t like what was happening. We knew that wasn’t going to work. We had to go into detail. So then it was about how do we make that fun for people to listen to. But once we’d done it, that first time, we realised that there was no telling what we could do musically. So “A.F.R.I.C.A.” definitely opened up something for us as far as that was concerned and introduced us to being able to make songs about specific things. I mean, when we were recording “On Fire”, there were songs on there about specific things as well, but it was more about us being Stetsasonic…”
There was definitely a noticeable amount of artistic growth between “On Fire” and “In Full Gear”…
“Right, right. Well, you’ve probably heard Chuck D’s story about how Stetsasonic and Public Enemy went on tour together and three albums came out of that tour bus – “In Full Gear”, “It Takes A Nation Of Millions…” and “3 Feet High And Rising”. I mean, whilst Public Enemy were making “Nation” we were making “In Full Gear”, so we were bouncing ideas off of each other all the time. But one story I always remember about “A.F.R.I.C.A.” is when we were on tour with MC Hammer, Public Enemy, EPMD and 2 Live Crew. I can’t remember exactly what year this was, but it was heyday Hammer, “U Can’t Touch This” Hammer. We were doing different spots and on some dates you got all of the groups, other times you might just get three of us. But as Stetsasonic we were used to opening up and we would trade with EPMD, so one night it was them opening and the next night it was us. Anyway, this one night, Hammer had flown in on his private jet, EPMD had opened up, we were getting ready to go onstage and the promoter came to us and said that Hammer was going on before us. We were like, ‘What?!’ I mean, when I say this was heyday Hammer, he had the full stage show with all the dancers and everything. So there was nothing we would do about it. Hammer went out there and killed it and then we’ve got to go on after that. So the rest of the group are looking at me like, ‘What are we going to do now, D?’ I was like, ‘I know how we’re going to do this. I want you to come out with me first Paul.’ Everyone was like, ‘Huh?!’ because the way we used to do it was the band would go out first and play a little, then introduce Frukwan, he would introduce Delite and then Delite would introduce me and we’d do the show. But I wanted Paul to just come out with me and I told him to get “A.F.R.I.C.A.” ready. So we went out there and I got on some real preacher s**t. I was saying how for years Black people had been singing and dancing. I made Hammer look like it was buffoonery that he’d just done (laughs). I talked a little about apartheid, told Paul to drop the beat, the rest of the group came out and we performed “A.F.R.I.C.A.” first before we did all our other records that people wanted to hear.”
When you recorded “Talkin’ All That Jazz” were you expecting it to play such a large part in the debate surrounding sampling at the time?
“Absolutely not. “Talkin’ All That Jazz” was the only record on “In Full Gear” that I wrote for all three of us, me, Delite and Frukwan. Now, there’s a radio show in New York called The Week In Review with Bob Slade which is still on today. It’s a very, very informative show where they highlight certain things and talk about different issues. So what happened was, James Mtume was a guest on the radio show and he was talking about how Hip-Hop was creating this generation of uncreative musicians through sampling. He’s saying how it’s making people lazy and how the people who’re sampling don’t know how to play instruments or really know anything about music, blah, blah, blah. Now, I wasn’t able to be a guest on that particular show, but then Bob Slade brought me up on another show and I was able to talk about sampling from our perspective. So it kinda kept going back and forth between me and Mtume, but not directly. Now, Delite had already come up with the idea of doing a record called “Talkin’ All That Jazz”, but his idea was to do something similar to what Guru and Premier did later with “Jazz Music” and “Jazz Thing”. Delite wanted to do a record like that, really showing the similarities between Hip-Hop and jazz. We also wanted to show how, not being disrespectful, but in the same way that people thought Kenny G and Najee was real jazz, we felt the same thing was going to happen with Hip-Hop and that our own Coltranes and all of that would be pushed to the side if we weren’t being mindful. So that was originally what we wanted to do with “Talkin’ All That Jazz” and Delite had also come up with the idea of using the Lonnie Liston Smith “Expansions” sample.
Were you already a fan of “Expansions”?
“Yeah, yeah. I mean, “Expansions” was one of the records that people used to play out in the parks at those jams back in Brooklyn in the 70s. So I thought the original idea was cool and we were going to do it. But when this whole Mtume thing came up, I told Delite and Frukwan that I was going to write “Talkin’ All That Jazz” about that situation. I remember them both saying to me, ‘Are you sure, D?’ and I was like, ‘Yeah, I’m going to do this.’ So I put it together. Then we went in the studio and we tried to sample “Expansions” but it was too fast, so we slowed it down but it didn’t sound right. I guess if the time-stretch stuff that they use nowadays had been available then we would have done that. But it wasn’t. So, Prince Paul was already in the studio at this point working with De La Soul and Don Newkirk was also involved in some of those sessions. So Paul just said we should let Don play it. Bobby Simmons said that we needed to have it played using this cello type sound and when he pulled it up I told Don that’s what we were looking for. So he played those opening bars that you hear on the record. Then Newkirk said he was going to do something else with it, and that’s when he added some of the other keyboard parts that you hear on there. Then Tom Silverman at Tommy Boy had to get me on the phone with Lonnie Liston Smith for the rights to use his record. I remember I got on the phone and Lonnie said to me, ‘Young blood, you can have that, man. That ain’t “Expansions” no more, you done made something new.'”
Which basically proved the exact point you were trying to make with the record…
“It did (laughs). I couldn’t believe he was saying that to me. I remember him saying how he was proud of us for taking his music and making something new out of it.”
Throughout “In Full Gear” you made a handful of references to Miami and there was also the track “Miami Bass”. What was your preoccupation with Miami at the time you were recording that album?
“At that time, I’ll tell you what it was in one word…
“No, it was Luke (laughs). When Stetsasonic went to Miami for the first time when we did the Def Jam tour in 87 with LL Cool J, Luke took care of me like, man, I don’t really know how to describe it. It was like the royal guard came out for me or something, yo. He took me to the ‘hood and showed me around and from that point on there was like a carte blanch thing going on with Stetsasonic in Miami. All the way down to Luke telling us what to perform in Miami. I remember him telling us to perform “On Fire” and saying that they didn’t know anything else that we did down there (laughs). I was like, ‘They like “On Fire”?!’ and Luke said, ‘It’s the bass! That’s what they listen to down here.’ I was smoking weed at the time and I remember Luke taking me to this guy’s house to pick some up and when the guy opened the door he started jumping up and down saying ‘You’re “On Fire”?! “On Fire”, “On Fire”?!’ Luke really laid it out and it was such a great experience for us, particularly in contrast with other people on the tour like LL. He had a lot of pressure at the time and they didn’t really like him down there. But one thing about Stet which I really think went a long way towards how people accepted us was that we never sneered our noses at anybody. We always let the music speak for itself and we really won a lot of people over that way. I remember we were on tour in the Midwest one time with Public Enemy and we were getting ready to perform. There was this dude there who was saying, ‘Ya’ll Stetsasonic? Yeah, I like you, y’all okay, but Public Enemy are my boys.’ He had a little money and whatever. I’ll never forget, we did the show, and he left Public Enemy and took us to the club and brought us all champagne (laughs).”
You were featured some years back in Mikey D’s documentary “The Making Of A Legend” commenting on his infamous battle with Melle Mel at the 1988 New Music Seminar. What do you remember about that incident?
“That was just a horrible night, man. I don’t think anyone is ever going to forget what happened that night. I mean, I tell people all the time, when they’re talking about the greatest emcee to ever live, I always say Melle Mel. When people talk about the greatest rhyme ever recorded, I always say it’s Melle Mel’s rhyme on “Beat Street Breakdown”…
Melle Mel will always be one of my favourite emcees and personally I think his three greatest lyrical moments are “The Message”, “Beat Street Breakdown” and “World War III”…
“Yeah, I mean that rhyme on “Beat Street Breakdown” just encompasses everything. He didn’t miss out anything on that record. It’s all there. So I say all of that almost as a disclaimer because Mel will always be my hero. But, when it comes down to it, a battle is a battle. So he tried to come at Mikey D with some rhymes that he’d done before and Mikey really isn’t the type of emcee to come at or go up against like that. Mike is nice. So Mel came at him and Mikey tossed him (laughs). Then Melle Mel got physically mad and went and took the Seminar belt back. It was sad, man. I mean, Mike ain’t no super tough guy but he ain’t from no punk part of Queens either and he had enough massive in there with him that night to have turned that into something totally different. But the respect level was there. So I remember Mikey just looking at Mel, like ‘What?!’ There was definitely a sadness in Mikey that night like, ‘I can’t believe Mel would do that.’ I mean, it was an honour for Mikey to go up against Melle Mel, it would have been an honour for Mikey to have lost to Melle Mel, but he didn’t (laughs). It was tough to see that happen to Mikey, man. But Mel’s got those moments, man. Some years back I worked with a company called Sock Bandit on their documentary “Hip-Hop Immortals”. Now, when we did that we called Mel up to the office, and Melle Mel went on for about forty minutes cursing out 50 Cent and then we found out he didn’t actually know 50 (laughs). It was just weird. So Mel has his moments, man (laughs).”
You produced Bango’s “Ghettoish” for Ice-T’s Rhyme Syndicate compilation in 1988 and you also worked on a couple of tracks off the 7A3 album “Coolin’ In Cali”. How did you get involved in those two projects?
“The Bango track came about purely through me and Ice-T being cool and him liking me as a producer. He told me that he was working on the Rhyme Syndicate compilation and that he had this kid out of Cleveland with a little street edge to him who he thought I would like. Now, 7A3, I actually knew Sean and Brett already because we were from the same area in Brooklyn. But again, that came through Ice-T and Jorge Hinosoja, because Jorge was involved in putting that project together. Jorge was just a cool dude and when you were working with him, if he saw there was an opportunity, then he did it. So I knew Sean and Brett from East New York, I knew Jorge and Ice-T, so we just put it together and made that happen.”
1989 saw Stetsasonic taking on a major role in the Stop The Violence Movement’s “Self-Destruction”. What do you remember about recording that single?
“There’s a couple of things that I always remember, like LL Cool J not being on the record. Now, there’s actually a performance we did on the Dr. Ruth Show that had LL on it that was really dope. He obviously didn’t have a part on the record, but the band played something behind him and he did a little something on there. LL was asked about “Self-Destruction” and why he didn’t participate and he said it was because of that beat that we used for the song. He said he hadn’t had a record out in awhile, he was due to be coming out with “Walking With A Panther” and he said, ‘Man, I haven’t been heard for awhile and I didn’t want to be heard after some time away on that beat.’ There were actually a few people who didn’t really care for the original track. Public Enemy actually didn’t really care for the track. Then D-Nice started throwing those extra parts in there from people’s own records. We actually didn’t say anything. So we didn’t know he was going to throw that part from the “Talkin’ All That Jazz” remix up under there because when we’d recorded our part we’d rhymed to the original track. So that was something I remember. Plus, I was right there when LL wrote MC Lyte’s rhyme and that really was an ill piece of history to see. LL asked Lyte to say her rhyme and she’d done this part rhyming all these facts together. LL asked Lyte who was going on after her on the record and she said it was me. LL was like, ‘You can’t go on before Daddy-O with that. You know how he’s going to come…’ So LL just took the pad from her and started writing the whole thing down which became Lyte’s verse. Then, one of my biggest recollections of making that record, which connects with what we were talking about earlier, is that the video shoot for “Self-Destruction” is where I first met James Mtume. He walked up to me, shook my hand and said, ‘Hi, I’m James Mtume the narrow-minded.’ I mean, we’re really good friends now (laughs). But that was definitely a moment.”
Check the final part of this interview here.
Stetsasonic performing “A.F.R.I.C.A.” at London’s Wembley Stadium in 1990.
Elements Of Hip-Hop – “Beastin!!!” (Elements Of Hip-Hop / 2013)
New visuals off the recent “Calm Before The Storm” EP from the legendary Mikey D, DJ Mercury and Grandwizard Rasheen.
Elements Of Hip-Hop – “Hip-Hop Ain’t The Same” (Elements Of Hip-Hop / 2013)
Queens legend Mikey D leads his crew back to the future in the new visuals from the recent “Calm Before The Storm” EP.
In this third part of my interview with Hip-Hop legend Tat Money, the Philly deejay continues his trip down memory lane and remembers working with Three Times Dope, on-air 80s radio battles between Steady B and Will Smith, plus being in the studio with KRS-One recording Steady’s 1988 album “Let The Hustlers Play” – check Part One and Part Two before reading on.
What was your connection with Three Times Dope?
“Woody Wood and Chuck Nice used to come down to see me when I was working at Funk-O-Mart. They would ask me what I could do to help them out with their music. I used to tell them to pass me their demo and whatever they had, because I’d actually told them to go up to the Pop Art offices and gave them the address and Woody used to tell me that Lawrence Goodman was never there. So I took the demo from them and we played it when we were driving up to New York one day, me, Steady and Lawrence in the Benz. We all liked it and Lawrence was talking about putting a crew together, the Hilltop Hustlers, so he was like, ‘Should I sign them?’ and me and Steady both gave him the say-so, like, ‘Yeah!’ Plus, Three Times Dope were from a different part of town and we figured we could shape them and really teach them how to make records. So that’s how they got down with the crew. Then obviously you had Cool C who was already tight with Steady.”
I asked Woody Wood this same question when I interviewed him earlier this year, but was there ever any friction from anyone involved with the original Hilltop Hustlers street crew when you all started putting records out under the name?
“Nah, not really. Quite honestly, it was a bit of a contradiction for me because I’m from Wynnefied and back in the day Wynnefield and Hilltop actually used to be rivals. There’s a bridge that separates the two areas and back in the 60s when Philly had its gang wars there used to be a big rivalry between Wynnefield and Hilltop that started. I mean, there used to be drive-bys and all of that in Philly back then. There’s actually a book out called “Black Mafia” which I’m reading right now which contains a lot of stories from back then that some of my older guys have told me about over the years that I knew nothing about. There was a lot of different gangs who used to do a lot of bad stuff in Philly. But to answer your question, no, there was no real friction as far as us using the Hilltop name was concerned.”
You’re credited as doing cuts on Three Times Dope’s classic 1988 single “From Da Giddy-Up” but weren’t you also involved in the production as well?
“I came in to the studio one day and was like, ‘We should use this loop. I’ve found this great loop.’ Steady was working on something and I put it on and kept playing it over and over on the turntable. Now at that time, Big Daddy Kane’s “Raw” was huge so we were trying to get something that was kinda uptempo that could play alongside that. So Steady had heard me, but he kinda ignored me. Now, the way that we worked, I would find loops and play them on the turntable and Steady would be on the drum machine and he would sample them to use. I’d be like, ‘Get this kick right here’ or ‘Get this snare’ and stuff like that. Then we’d start formulating a track from there. We’d get everything together like that. That was how we worked back then, as a team. So Steady was on the drum machine this particular day when I was playing this loop, but he just kinda ignored me, so I was like ‘Whatever.’ Now, a lot of my stuff, my turntables and records, stayed at Lawrence’s place because we would be there every day in the studio. So, I come to the studio the next day, I’m walking up the drive-way to the back of Lawrence’s house and I hear this beat playing. I’m like, ‘What is this beat?!’ Then it hit me right before I opened the door and I was like, ‘You’ve gotta be f**kin’ kidding me? He sampled that s**t from yesterday!’ So when I walked in I had the crazy look on my face like ‘Are you serious?!’ and Steady and Lawrence were looking at me like they’d stole something but they didn’t want to admit it (laughs). Their faces said everything. But I was heated. Lawrence could see my anger and he tried to take control of the situation and was like, ‘Let’s find some cuts for this, man. Let’s make this a great track. We’re going to give this to Cool C, man.’ I’m looking at him thinking, ‘Find some cuts? You find some cuts!’ I already know what’s going to happen, that I’m not going to get any credit for the production even though it was my idea and I’m just going to be credited for doing the cuts. So anyway, I went and found some cuts because, ultimately, I’m competitive and I wanted to see the track take off and not just get left to the side. So I found a James Brown cut that I thought would really go with it and it was a perfect marriage. So I kind of got away from the anger of the situation because I was just so into the music. But instead of Cool C the record ended-up being used by Three Times Dope and EST really came with it on there…”
EST had such a distinctive voice and unique style that instantly made 3-D standout when they first started dropping music…
“I really worked hard alongside EST when they were putting that track together. Because the original loop was my idea I really felt like it was my record, so when EST got given that track to work with, he and I used to be on the phone for hours and he would just be rhyming to me. I’d be like, ‘Give me another one. Okay, I like that. Make sure that one gets used on the record…’ So I really helped him put those rhymes together for that track. I mean, I was already working with EST lyrically because I really thought he was a dope young emcee. We used to jump in my car and drive around the city and he would be like, ‘Oh s**t! I’m with Tat Money! This is crazy…’ because I was already out on record and popular and he was just starting out. I mean, we’d been working together on Three Times Dope’s other records like “Crushin’ & Bussin'” but once EST got to “From Da Giddy-Up” that was when he felt he’d really arrived.”
You mentioned earlier in the interview about problems between Steady B and the Fresh Prince. Do you remember a couple of on-air situations that happened between them on Philly radio?
“I sure do (laughs). I was there for every one of those situations. There’s actually still recordings of those incidents floating around thirty years later (laughs). In a nutshell, Steady just had this thing and he just kept going at the Fresh Prince. I don’t know if you could call it jealousy, but Steady just had this vibe about him that he did not like Will Smith. Steady would make little jabs and say things like, ‘I’m from Philly and I represent Philly one hundred percent.’ I mean, we would always have our Philly gear on and we had personalised Phillies jerseys made when we went to London for the first time in 1987. We had those made for the photo shoot for the “What’s My Name” album cover but they ended up using the pictures of us in sweatsuits. Anyway, we used to have the Philly gear on all the time. So what Steady was referring to was that Will would be wearing New York Yankees gear with the caps and everything. So Steady used to make light of that and would be like, ‘These guys are going around and they act like they’re from New York when they’re really from Philly but they don’t represent Philly.’ So Steady was saying things indirectly which Will caught wind of.”
Where did that rivalry originally come from in your opinion?
“Well, Jazzy Jeff & The Fresh Prince were originally managed by Dana Goodman. Steady and I were managed by Lawrence Goodman along with Cool C and Three Times Dope. So obviously they’re brothers and let’s just say there was competition between them. Dana would say things like, ‘Well, Will is better than Steady’ and ‘Jeff is better than Tat.’ It was really fierce competition and that’s kinda where the problem between Will and Steady started from. Steady was always like, ‘Well, I was the first one here, so where are you guys coming from?!’ and there was always that friction. Dana was always kinda smug (laughs). Me? I didn’t feel that way. I’m cordial to everyone and I was kinda like, ‘Whatever’ (laughs).”
So what happened between Steady and the Fresh Prince on the radio?
“Both times it happened was on Mimi’s Rap Digest show. The first time it happened, we’d gone up to the radio station and Will showed up. Steady had already been on air saying all this stuff about Will and probably a couple of his people had told him what Steady had been saying. So now Will’s got a beef. “Girls Ain’t Nothing But Trouble” was just taking off so I guess Will was feeling pretty strong and confident at the time. So we’re up at the show and Will just pops in and it caught Steady by surprise like ‘What?!’ Will was like, ‘Steady, I hear you’ve been fat-mouthing and saying this and that about me. You wanna battle me? Let’s get to it right now.’ It really caught Steady off guard. We’d literally just finished recording the “What’s My Name” album and had gone up to the station to promote it. So Steady had all these songs written but wasn’t really prepared for a battle (laughs). So Steady started saying rhymes from songs that weren’t actually out yet, but the Fresh Prince had come prepared and his plan was to say some rhymes, crack a few jokes on Steady, make the people laugh and leave. Which is exactly what he did. But from listening back to the tape, I’d have to say that first time was really a stalemate and I couldn’t really say that anyone actually won. But the second time it happened…”
Was it a different story?
“The second time it happened when we were up at the station, Jazzy Jeff & The Fresh Prince had sold double platinum so Will was really on top of the world at that point. So he showed up at the station again with a rhyme ready and everything. Do you remember the song Jeff and Will had called “Numero Uno”? Will had an ill rhyme on there and he actually said the rhyme that ended up on that track in the battle against Steady that second time. Then at the end of it he started saying some things like, ‘Well, I’m about to be going on tour in Japan. Where are you going to be? You’re going to be at the Hilltop.’ I remember he said some other stuff like, ‘Well, basically Steady, I sold over two million records. What did you sell? Let’s say, two hundred thousand.’ People were laughing and basically it almost ended in a fight because Will said something about Steady’s girl or something and it had to be broken up and everyone got escorted out of the building (laughs).”
Speaking of battles, do you remember the battle Steady had with Mikey D?
“I was there (laughs). Mikey D was known at the time as a battle rapper and as you can see on the flyer it says Steady B Vs. Mikey D, so we were looking at it like, ‘Okay, I guess this is for publicity.’ I mean, Mikey came out with his freestyle stuff and we just went out there and did our show (laughs). We entertained the crowd. I mean, the freestyle stuff is cool, but it isn’t always going to go down well with a crowd. We went out there with our dancers, I had a solo set as a deejay, Steady had some popular records, so the crowd really dug what we were doing. It was at a skating rink out in New Jersey. Mikey’s a good friend of mine and I recently saw him and he reminded me of that battle and was like, ‘Man, the only reason you guys won was because you had a tight show.’ Lyrically, Mikey didn’t feel that Steady was better than him, and I get that part, but we didn’t go there to beat him verbally. We were paid to do a show, so we decided we would go there and do a proper show for everyone who’d paid to see that, get the crowd on our side and then everybody would be like ‘Who the hell is Mikey D?’ (laughs).
Steady’s 1988 album “Let The Hustlers Play” contained outside production from your then label-mate KRS-One. Was that something that happened organically or did Jive make the suggestion for you to work with the Blastmaster?
“It was suggested by Jive directly because KRS was just starting his production thing. I mean, we loved KRS-One back then as well and thought he was a really innovative artist and a great mind. I think Jive just wanted to try some different things with us, partly because Lawrence Goodman and the label really weren’t getting along. Lawrence was so used to running his own show with Pop Art, but it wasn’t that way anymore and he was signed to Jive as a label imprint, so when you’re in that situation you really have to listen to what the label are saying, particularly when they’re putting the money behind what you’re doing. So Lawrence had rubbed Jive the wrong way numerous times over the years, which Steady and I felt led to them not really backing us on certain things. I mean, we felt the “What’s My Name” album should have been gold, but we didn’t have any videos for the album. We did some creative things on that album and we felt it got overlooked. It didn’t get a lot of radio-play. We felt like we’d made some great records which could rock on the radio and that we’d be able to tour off of. But it didn’t happen. Instead Jive put their money into Jazzy Jeff & The Fresh Prince, Kool Moe Dee, Schoolly D and other artists like that. Jive didn’t put their money into us as far as we saw. We felt like we were just along for the ride really and with good reason because when your label is beefin’ with your management, what do you think is going to happen?”
So there was a constant struggle between Jive and Lawrence Goodman?
“Let me give you one example. We were supposed to go to London to record the second album. Lawrence gave Jive hell over that. He was like, ‘Why would I go to London and have to pay all this money to do something I can do right here?’ I mean, from what I heard we were going to be over there for thirty days to get the album done. I think from the information I was given, including the studio time and everything else, it was going to cost about a thousand dollars a day for us to be there. So Lawrence didn’t want to go. But the way Jive worked was that they used to send all their artists to London to work in their studios there with Bryan ‘Chuck’ New and their engineers. Lawrence is telling the label that we’re an in-house operation and that we do everything ourselves but that he still wanted Jive to invest money in our project the same way. Anyway, Jive said we were going to London and he was arguing with them about it every step of the way, which really created a bad atmosphere and Steady and I were caught in the middle. I mean, Jive loved us, they just couldn’t stand Lawrence. It was like, ‘Well, you’re two good guys but too bad you’ve got that manager.'”
So what happened when you got to London?
“Well, we get to Heathrow, get to customs, Steady and I cleared customs, but Lawrence couldn’t make it through. I can see this picture in my head right now of all these lines at customs (laughs). I’d put all my stuff on the conveyor belt, it had all been checked through and they asked us all the questions about why we were coming to UK. I think we told them we were there on vacation or some bulls**t because we didn’t have work permits or anything. I mean, the Zomba / Jive people were downstairs waiting for us with signs and everything (laughs). So what happened was, they must have scanned Lawrence’s passport, and it came up that he had a police record or whatever. Now, I’m seventeen-years-old at this point, so I don’t really fully understand everything that’s going on but I’m trying to make sense of it all. I’d told my parents I was going to be in the UK for a month and they’d been telling everybody that I was going to be in London recording and working on music. I’m thinking this is going to be a great experience. Now, Steady and I have cleared customs, the agent dealing with Lawrence had asked who he was travelling with, he pointed us out and this agent comes over to us, tells us we can’t go through and we all end up in this interview room.”
At that point you must have been thinking that something was seriously wrong?
“So we’re all in this room and Lawrence is trying to not alarm us but also not make light of the situation at the same time as well. I do remember he made a joke though saying that we were under arrest but they just didn’t put handcuffs on you in the UK (laughs). I was like, ‘What?!‘ But then this customs guy came in and I remember he took Lawrence’s wallet, his phone book and then starts calling everybody in Lawrence’s phone book! He was calling Lawrence’s credit card company and really going through it. Lawrence was trying to make out it wasn’t his fault, but I’m thinking ‘Well, me and Steady got cleared so it must be a problem with you.’ Anyway, they had us sitting there for a long time and we were starving. So they ended up putting us on a bus to take us somewhere else to get some lunch. We got on this big ass bus and they took us to this detention centre place and I remember everybody in there had on these white outfits (laughs). We just had on our regular clothes and I remember everyone else in there was just looking at us. We were all in the kitchen and they pulled out these ice blocks of food, threw them in the oven and within minutes they were piping hot. I hadn’t seen anything like that before. I remember just how hot the food was because I went to take a bite of this little dinner that I had and burnt the s**t out of my mouth (laughs). So we ate our food, they put us back on the bus and took us back to the airport. By this time Lawrence is getting kinda uppity like, ‘I’m a grown man. This is some bulls**t.’ So the customs guy comes back and is like, ‘I don’t believe one thing you’ve said to me. I think you’re a liar.’ I couldn’t believe how this guy was talking to Lawrence because nobody talked to Lawrence like that (laughs). So this guy was like, ‘I can give you two options. You can either wait until tomorrow for me to try and verify everything you’ve told me or you can get on the first thing smokin’ back to Philadelphia.’ So Lawrence being Lawrence, he was like ‘I’m out of here.’ So we jumped on the next plane back to Philly after being stuck at the airport in London for about twelve hours. That was the worst, man. So we got back home, brushed ourselves off, and went straight into the studio to record “What’s My Name”. But Jive records were pissed! At that point, I was like ‘Yo, we’re really the step-kids of the label now.'”
So was their friction between Lawrence and Jive about you and Steady working with KRS?
“Nah, Lawrence was wide open to that situation. He actually brought it to us after being told about it by the label. When me and Steady heard about it we literally jumped at the opportunity. We we’re like, ‘KRS is the hottest thing going right now. Yes! Yes! Yes!'”
What do you remember from being in the studio with KRS?
“Basically, KRS ran everything through me, which was incredible. We just had that whole emcee / deejay relationship. I remember he just had so much energy and was like a kid in a candy store when we were in the studio. KRS was just so excited and brought so much energy to everything he was doing. We worked on three records together with KRS for the “Let The Hustlers Play” album, which were “Serious”, “Turn It Loose” and “The Undertaker”. The way those records were made, it wasn’t about having to concentrate on finding loops and things like that. KRS already had a whole bunch of loops ready and he basically just asked, ‘Which ones do you like?’ I remember KRS pulled me into the studio room and was like, ‘Do you want this one or that one?’ I told him which ones I wanted him to use and then he basically just made the beats right there on the spot. It was instant. I mean, that wasn’t how Steady and I were used to working because we were used to making all of our beats at home and then taking them to the studio to record. But the way those tracks with KRS were put together was definitely very spontaneous. I mean, KRS made the track for “Serious” right on the spot. I remember he had this other track which sounded like Big Daddy Kane’s “Raw” which I didn’t like, so I told him to go with the Turtles loop and the “Serious” beat was born.”
Plus KRS did the “Ceereeus BDP Remix” for the “Serious” single release which took the track to another level…
“The other thing about that as well was that “Serious” was our first video. With the presence of KRS-One, he really pumped life into that “Let The Hustlers Play” project and also pumped life back into us, because at that point, our records really weren’t getting played in Philly. We weren’t getting played in our hometown. Lawrence rubbed a lot of people the wrong way so people started taking the position that they weren’t going to play anything that had anything to do with him. I got tired of being blackballed and being guilty by affiliation, so I started going up to radio stations myself to get our records played. I went up to Power in Philly and the first day I went up there we got “Serious” played that day and every day after that based on the relationships I was making. We ended up in the countdown because everyone was calling the station saying they wanted to hear the Steady B and KRS-One song (laughs). I mean, that really was a big deal back then to have done a song with KRS. It’s the equivalent today of someone doing a song with Jay-Z. People were going nuts for that record. So “Serious” definitely boosted our stock a lot at the time.”
Read Part Four of this interview here.
Steady B – “Serious – Ceereeus BDP Remix” (Jive / 1988)