Canada’s Filthy Rich marks the 23rd anniversary of Biggie’s tragic passing with this well-crafted mix of blends, original tracks and samples – RIP BIG!
Canada’s Filthy Rich marks the 23rd anniversary of Biggie’s tragic passing with this well-crafted mix of blends, original tracks and samples – RIP BIG!
The Notorious J.B.’s – “B.I.G Poppa’s Got A Brand New Bag” (Amerigo.BandCamp.Com / 2019)
“The B.I.G. Payback”, the latest Soul Mates project from Amerigo Gazaway, finds the Cali based producer mixing classic rhymes from the late, great Biggie Smalls with a long list of funky James Brown anthems.
Counting the likes of Lord Finesse, Buckwild and Nick Wiz as musical influences, Macedonia’s Dimiography gives a selection of Biggie classics a jazz-infused boom-bap reworking for 2015.
Although Puffy and Bad Boy Records might have divided opinions within the Hip-Hop community during the 90s and into the early-2000s as the gap between underground and mainstream grew ever-wider, it can’t be said that the team of producers who laced tracks for the likes of Biggie, Black Rob and The Lox didn’t know a dope sample when they heard one.
Here, Frank The Butcher and DJ 7L dust off the original breaks from the likes of Mtume, Herbie Hancock, Mary Jane Girls and more that, love it or hate it, supplied the sonic foundations for many a Bad Boy single, album track and remix.
The UK crew pay tribute to Big Poppa on the 17th anniversary of his untimely death by rocking over some classic Biggie beats.
The Notorious B.I.G. – “Things Done Changed – J Hart Remix” (IAmJHart.Com / 2014)
Taken from the French deejay’s latest mixtape “Underground Wax #1” featuring 90s cuts from the likes of Screwball, Fat Joe, R.A. The Rugged Man and more.
Boston’s DJ Frank White blends classic Biggie verses over various James Brown / JBs breaks and samples on this funk-fuelled mix – listen here.
Mr. Owen gives the remix treatment to one of the tracks he originally produced on Biggie’s classic 1994 debut “Ready To Die” – get the background story here.
In the final installment of my interview with DJ Tat Money, the Philly Hip-Hop legend discusses his reasons for leaving the Hilltop Hustlers crew, being involved in the 90s Kwame / Biggie beef and visiting Steady B in prison – check Part One, Part Two and Part Three.
What were your thoughts on the beef that developed between Steady B and Three Times Dope after they left the Hilltop crew?
“I just thought it was pretty misguided. I mean, Lawrence Goodman was a business guy and he pretty much puppeteered everybody. So when Three Times Dope broke away, he was saying, ‘Okay, they’re not with us anymore. They’ve abandoned the crew. You’re not supposed to be friends with those guys anymore.’ It was that whole thing now. So Steady was just like, ‘Okay, f**k ’em.’ He was basically following orders. In reality, he liked those guys. Cool C was the same way but he was also being told what to do. But to turn another page on that, the same thing happened with me once I got with Kwame in 1990. We were doing a show in Philly and they all turned up on the floor of the hotel we were staying in. There must have been about twenty guys…”
Was this actually Steady and Cool C or just Hilltop Hustlers affiliates?
“They were all there. All of them. We came off the elevator and walked straight into a bunch of these people. Now, I’m talking about people that I used to roll with all the time. They looked, nobody said a word, we all looked at each other and I just kept walking and walked straight into my room. They knocked on the door a couple of times and I think there was some stupid stuff said like, ‘You’d better not come out’ or something. But it wasn’t really that deep. It didn’t go that far.”
So what actually led to you making the decision to leave the Hilltop camp?
“Stuff started happening around 1988. What happened was, with the “Let The Hustlers Play” album, Chuck Nice from Three Times Dope produced three records on that project. See, Steady and I were kinda tired and exhausted at this point because we’d put a lot into our second album and nothing really happened. We were disappointed. We felt like the “What’s My Name” hadn’t really got off the ground and we were looking at all these other artists blowing up and doing tours and everything. Now, we’ve gotta start thinking about where we were going to go with our third album and Lawrence could see that we were a little bit relaxed about it and obviously he had a schedule that he needed to get the record out by. So he decided that to keep things going he was going to bring some other producers on-board, which is when Jive approached him about working with KRS-One and he also decided to get Chuck Nice involved because he was a great producer. So I went up to Chuck’s house one time and we spent the whole night in the studio just working on music. But what started with us working on music led to us talking about certain things which developed into a conversation that went on until the sun came up. We must have talked for about three hours and I was telling him that I thought we weren’t being treated properly and that nobody was making any money. Chuck was looking at me like he couldn’t believe it (laughs). He was like, ‘Yo, I just came into this situation and this is the dream I’ve been looking for and now the person who helped get me here is telling me it’s not what I thought it was.’ He was flabbergasted. So he called Woody Wood up and he came over. This must have been about six-thirty in the morning. So Chuck is like, ‘Yo, Tat, tell Woody everything you just told me.’ So I told him. I was just frustrated, man. But I could see in Woody’s face that what I was telling him was hitting him hard because he had really befriended Lawrence…”
I know when I interviewed Woody earlier this year he told me how he would regularly travel to New York with Lawrence on business etc…
“Absolutely. I mean, Woody really couldn’t believe that Lawrence would betray us like that. He was hearing what I was saying but he couldn’t believe it. But then he heard the same thing from Lady B as well, and once he heard it from her, that was it. When Lady B validated everything I’d told him, that was when Three Times Dope got ready to leave and stepped away from the crew. Once that happened, that was when Lawrence was telling everyone, ‘Man, f**k those guys. We showed them everything and they’ve left. You should hate those guys now and not be cool with them anymore.’ Now, I’m my own man. I was still going over to see the Three Times Dope guys. I didn’t give a s**t. I mean, we made records together, we came up together, and now I’m supposed to cut them off because of some business s**t and because someone else wasn’t paying them properly? That wasn’t happening. I was just being real. Lawrence was kind of leery about me because he knew that I was an independent thinker. Now, once Three Times Dope left, suddenly all these contracts came up that Lawrence wanted us to sign locking us in for, like, twelve years. That was the point when I decided it was time to go.”
So the last Steady B project you were involved in was 1989’s “Going Steady” and then you started working with Kwame, right?
“Yeah, absolutely. That album came out in 1989 and I’d left by 1990. It was actually EST from Three Times Dope who hooked me up with Kwame. When I first got down with him it was almost the same situation as when I first got involved with Steady because Kwame had pretty much wrapped up the “A Day In The Life” album that he was working on, so I was featured on four tracks from that album doing cuts.”
Were you rolling with Kwame when Biggie dropped the infamous line ‘Your life is played out like Kwame and them f**kin’ polka dots’ on 1994’s “Unbelievable”?
“I was actually (laughs). Kwame was pissed. He couldn’t believe it and was like, ‘Where did that come from? I don’t even know this guy.’ I remember Kwame called me one day saying, ‘Did you hear about this guy Biggie Smalls dissing me on a record?’ I had all these records at my house and he told me the name of the song and I pulled the record out. So I put the record on and I didn’t hear it the first time. Then I played it again and was like, ‘Oh my god!’ Now we’ve got a problem, because that record was hot (laughs).”
Was there ever any interaction between Kwame and Biggie in response to that?
“We did a show in Philly that had been put on by this guy named Joe. He told us that he’d had Biggie Smalls performing there some time before us and that Biggie had told him he’d just said Kwame’s name on “Unbelievable” as something to say on the record and that it wasn’t a real serious thing. Apparently, Biggie told him he just said it and that it wasn’t really anything that Kwame should take to heart. But this is Hip-Hop and it’s very competitive. You don’t say someone’s name in a rhyme and just say it frivolously. You say it and you mean it or you don’t say it all. So, now, with Kwame being a competitor, he’s pissed. I mean, you can’t take something like that sitting down. So Kwame made “? It Like” and put a dude who looked like Biggie in the video. The record wasn’t that big because we were on a jacked-up label at the time, Ichiban, which was a bulls**t label. They really were full of s**t. Kwame had signed to them in 1994 for one album, “Incognito”, but it really didn’t get any light.”
Did Biggie ever respond to that record or was it under-the-radar?
“So this is what happened. This is stuff that nobody really knows (laughs). This was around the time when cell phones started to become more popular. They used to be about a dollar a minute to use and I had one, Kwame had one, and there used to be this hook-up guy that we used who would hook the phones up so that you didn’t have to pay as much (laughs). So, Biggie actually used to go to the same guy and somehow he got my number from this hook-up guy. He called my phone and it sounded to me like he had the phone in his lap or something because his voice sounded like it was on speaker but this was before people had speaker phones (laughs). This was after Kwame had put the diss song out and we were supposed to be on a show together. So Biggie was like, ‘Look man, we’ll come through that show and blow that s**t up!’ I was like, ‘Oh s**t, this is that Biggie Smalls dude. How the f**k did he get my number?’ My number changed a lot so I was really surprised when he called so I knew he must have got the number from our cell phone guy. So I told Kwame about the call but then Biggie never did come through the show, although we did actually end-up having a run-in with him on another occasion around the same time…”
“This was a crazy situation (laughs). We had this show with Kwame in mid-town Manhattan. We got booked to do this show by this lady promoter and we ripped that s**t down. I mean, we really ripped it down. I did my routine and was cutting-it up and the promoter was like, ‘Oh my god! We need an encore from the deejay!’ So I went on again and did my thing. It was a great night. There was about six of us there including myself and Kwame. So at the end of the night, we’re signing autographs and relaxing. It was quite a small club but there was definitely a good amount of people in there, plus, at that time, we were performing everywhere else but we weren’t getting booked for a lot of shows in New York, so it was a great feeling for us to be performing in NYC. So at the end of the night, we’re hanging out with the promoter and our dancers and everybody else left because it was late. So it was just me, Kwame and this promoter left in the club. Then, you see one dude pop in through the door. Then another dude. Another dude. Another dude. There was like thirty dudes who popped through the door at the end of the show (laughs). I mean, it’s late and everybody had left. So I’m sitting there like, ‘What the f**k? This don’t look too hot.’ It just looked really weird (laughs). As they were coming in each dude was literally sitting in the first seat they could find, almost like they were trying to be slick and not really be noticed or something. But I could see the whole thing happening like it was in slow motion. Then, here comes Biggie walking in. I can see him walking in now, wearing one of those Kangol caps he used to have on, he had on the Timberlands, and he looked big as ever (laughs). I’d never seen him before in person, so I was like, ‘Oh s**t, it’s Biggie Smalls.’ Now by this point, Kwame had dissed him on record, he’d dissed him in the video and he’d also dissed him on Video Music Box with Ralph McDaniels. So now, Biggie is angry and he’s turned up at our show. So he walked directly over to Kwame and immediately starts to go at him like, ‘What the f**k is up with you?!’ and started coming at him like that, throwing his hands up and everything. He was angry. Kwame was going back at him. So the promoter came over and dove in-between them both and she was like, ‘Hell no! This ain’t going down at my gig!’ She pushed me and Kwame into the kitchen area and the next thing we knew we were out of the club and on the street (laughs). So she basically got us out of the club.”
It sounds like Brooklyn was definitely in the house that night…
“Man, that would not have been pretty. There was like thirty dudes in there with Biggie and just me and Kwame on our own. We’d have been stomped up in there and in a hospital somewhere if something had happened. Or maybe even worse. But this exit we went out of put us right on the other side of the building, so we just went straight to my car, jumped in and took off.”
Taking it back to Steady B, what was your initial reaction when you heard about him and Cool C getting arrested in 1996 for bank robbery and killing a police officer?
“Crazy as it was, I was actually on my way to New York that day. It was January and I remember I was excited about starting off the new year because I was doing mix-tapes at the time. So I’d taken the bus up to New York to go and meet with some of my contacts at various labels who would give me new music for my tapes. I fell asleep on the bus and when I woke up my pager said ‘Overflow’ because I’d had so many pages. I saw multiple pages from the same number and I was like, ‘What’s going on?’ So I got up to Arista Records and asked if I could use the phone real quick. So I called the number of this girl I knew who had paged me who kinda always new everything that was going on (laughs). So I called her up and was like, ‘What’s going on?’ Straight away she said to me, ‘What do you know about Steady B and Cool C robbing a bank and shooting a cop?’ My mouth hit the floor. I said, ‘I’m gonna have to call you back.’ I put the phone down straight away because she had just told me everything I needed to know in one sentence. I was just like, ‘Really?!‘”
You’ve visited Steady in prison since he was given his life sentence, right?
“I did. I’ve been up there to see Steady three times. The last time I went up to see him was about three years ago now. I actually want to go back up again. I mean, we weren’t tight when he went into prison but we still had a lot of history together. Actually, one part that I missed out, Steady B and Kwame did a show together in North Carolina. I guess the promoter thought he was being smart and told us that he was booking them both together because there was the connection there with me being the link (laughs). So Steady went on first and it was a really rowdy crowd. I remember he’d only done a couple of songs and people were throwing bottles and there was glass smashing all over. It was not safe. Then a fight broke out in the crowd. So we left. We got paid but we didn’t do the show because it just wasn’t safe. Now Steady and Cool C were arrested in 1996 and this show would have been the year before in 1995. What happened was, I actually had a conversation with Steady that night, which would have been the first conversation I’d had with him since I left the crew in 1989. We hadn’t talked in a long while and Steady was like, ‘Look man, I don’t care anything about records no more. I don’t care if I never make another record.’ I was looking at him like, ‘What is he saying?’ I just didn’t understand. Then when they were arrested and I found out what they’d been doing, what Steady had said to me that night made sense to me.”
Was it a difficult visit the first time you went to see Steady in prison?
“Yeah, it was pretty bad, man. I mean, I was so used to seeing him in a different light. Steady was the type of dude who used to change his clothes three times a day, so to go up there and see him as an inmate was not a good situation. It was pretty bad. I mean, he’d lost a lot of weight, so he looked healthy, but to see him in there as a lifer was a crushing blow.”
Bringing things up-to-date, you’ve been performing recently with Chubb Rock, Special Ed, Kwame, Dana Dane and Monie Love as part of The Alumni – what’s that experience been like?
“It’s so much fun doing those shows and spinning for a bunch of different golden-era artists at one time. After deejay-ing for just a couple of artists for so long, it’s great to be working with such classic artists. I mean, the songs that people like Chubb Rock and Special Ed made are just timeless. I’m throwing on tracks like “I’m The Magnificent” and Special Ed comes out and even now, I’m like, ‘Wow!’ (laughs).”
Finally, does it surprise you that years later your contributions to Hip-Hop are still remembered by so many fans?
“It’s just such a great thing. In the mid-90s I started travelling to places across Europe on my own as a deejay and it just amazed me that people over there knew who I was and remembered my contributions. Really, when we were all part of the Hilltop situation, we were sheltered from all of that. It was like we weren’t really allowed to see how popular we were outside of our own area because then people might start asking for more money (laughs). But to me, it’s amazing that people are still talking about what we did back then to this day. It’s beyond belief, y’know. It’s a wonderful thing.”
Follow Tat Money on Twitter – @DJTatMoney.
80s footage of Steady B & DJ Tat Money performing “Believe Me Das Bad”.
Introduced to an unsuspecting Hip-Hop Nation in 1992 via his smash Pete Rock-produced single “Let It All Hang Out” on Atlantic Records, New York’s A.D.O.R. appeared to have the rap world at his feet as he made his presence felt amidst stiff competition that year from the likes of Das EFX, House Of Pain and Redman.
With successful appearances on “Yo! MTV Raps” and “In Living Color” adding to the momentum of his debut single (which cracked the Billboard Top Ten), anticipation steadily built for what A.D.O.R. would deliver next, with his Pete Rock-affiliation and connection to DJ Eddie F’s Untouchables camp leading heads to believe an impressive debut album was imminent.
Unfortunately, bad business, industry politics and strained relationships would all contribute to A.D.O.R.’s album “The Concrete” being significantly delayed and ultimately shelved, with the NY emcee not releasing a follow-up to “Let It All Hang Out” until 1994’s K-Def-produced single “One For The Trouble”.
In the years since his major label deal with Atlantic dissolved in the mid-90s, A.D.O.R. has gone on to build a strong fanbase as an independent artist, releasing five album projects and a number of singles on his Tru Reign imprint which have always stayed faithful to his original soulful boom-bap blueprint.
In this two-part interview, the veteran lyricist discusses his introduction to Hip-Hop, rolling with a young Sean ‘Puffy’ Combs, working with the Chocolate Boy Wonder and dealing with the unpredictable nature of the music industry.
You were born and raised in New York City, right?
“Yep, I was born in Washington Heights, Manhattan. Then when I was about six or seven-years-old we moved to Mount Vernon.”
Was it a big change for you moving from the city to the suburbs or did it not really register at that age?
“When I was in Manhattan I was already out in the streets seeing what was happening because there was always something going on and Mount Vernon was kinda like that to. Mount Vernon is the first suburb right outside of the Bronx. I mean, you can actually walk from Mount Vernon to the North East Bronx. So the South Side of Mount Vernon being right next to the Bronx meant that it was really in tune with what was happening in the streets.”
So when were you first introduced to Hip-Hop?
“My father was a musician. Back in the 70s he was a very talented singer in a crazy New York City rock band. They were moving around in the same circles as Kiss and cats like that. It was real. He used to take me down to the studio sometimes and I remember being in the studio with him at five or six-years-old until maybe three in the morning with them just rockin’ out. I would be hearing crazy sounds and ill s**t, mad s**t would be going on. So I was introduced to music really from when I was a baby. Then when I got a little older, my father left us. Now, it’s hard for a young woman on her own to keep control of a young boy, so I was running around in the streets of Mount Vernon and also New York City because it was still so easy to get to. So I was just all up in it back in the 80s. I started hearing about the Zulu Nation from going to school with cats, we used to pop and break-dance. I could pop crazy back then. We used to go to New York to watch the Floor Masters and the Rock Steady Crew. We were on some crazy New York s**t.”
When did you actually first start rhyming?
“Well, before I got into rhyming I became a deejay. It was crazy because my step-father was a musician as well and he played the bass. He was a talented cat. He had these big-ass speakers, like these giant five-foot cabinet Sunn speakers. They were bass speakers for the studio or when you were playing a concert or something. They had like two thirty-four inch bass woofers with the mid-ranges and the tweeters, y’knowwhatI’msayin’? Then one year they brought me mad deejay equipment for Christmas. My mother knew my passion for the music and she had saved up to get me this equipment. I had the Gemini mixer with a pair of Technics turntables, and then my step-father hooked it all up to those speakers in my room! Now, we were in an apartment building, we weren’t in a house. So I was in an apartment in Mount Vernon on the fourth floor. There was another building about twenty feet across from us and then behind us was this huge parking lot with a post office over there and everything. So we were about seventy feet in the air and I used to pump that s**t, dude. I used to pump that s**t, for real! People on the street would be looking around, like ‘What the f**k is going on?!’ I used to look out from our terrace and see people who were crazy far away just looking (laughs). I’m not even exaggerating. It was crazy, bro (laughs).”
What records were you playing?
“Man, I was playing s**t like “Salsa Smurf” from Special Request, Fearless Four “Rockin’ It”, Afrika Bambaataa & The Soul Sonic Force “Planet Rock”. I ain’t even gonna front, I was even playing Madonna when her first s**t came out, “Everybody” (laughs). I mean, I’m not saying that I loved Madonna or anything like that, but when she rocked that “Everybody” joint, that s**t was fat, yo. That was when she was still trying to come up on some street s**t and she had some passion in that s**t. “Buffalo Gals” was another one I used to rock and “Jam On It” from Newcleus. So what happened was, I started listening to the instrumentals of those records and would be playing with words just freestyling over them. I realised I had something special and was kinda slick with my s**t, so I kept on doing it.”
Were you running with a crew back then?
“I mean, all my friends were involved in the music and the break-dancing, going to see Rock Steady and the New York City Breakers with cats giving us love. We were kinda dope when it came to the dancing. We’d battle cats at the dances at our school and s**t like that. We were just kids running around with mad energy, smoking, whylin’ out, messing with the honeys, just being on some real New York s**t. I remember when “Beat Street” came out and everything. But I mean, I had friends who were all into the dancing and the music with the partying and the deejay-ing and all of that, but I was the only one out of my group of friends who really tried to do something on the musical side. I think all of my passion and drive for music that I got from my father really started to encompass me and I started to pursue things. I’d make instrumentals using a tape-recorder and just spit my vocals over that s**t and people would hear what I was doing and be like, ‘Yo, that’s kinda crazy.'”
So when did it get serious for you in terms of actually trying to break into the music industry?
“I got a meeting with Def Jam before I was really connected with anyone in Mount Vernon. One of my boys Scott was running with Hank Shocklee and them from the Bomb Squad. I met Scott just running around on some New York party s**t. So we befriended each other and he ended up starting to do some work at Def Jam. This would have been around the time that 3rd Bass were just coming out, so you’re looking at the late-80s. I’d started going to New York City to work out of some studios in Manhattan to make a demo. So I had a demo package I’d put together which had a couple of good records in it. Scott took that up to Def Jam and then Lyor Cohen actually called my house one day.”
That must have been a surprise…
“Yeah, this is real, man. Lyor called my house and told me that he wanted to meet with me. So I went down to Def Jam. It was one of those things where at the time I wasn’t really thinking about what a big deal that was, but then later you sit back and reflect on it. It’s like Derek Jeter when he said how he’s going on this journey and it is what it is, but one day later he’ll reflect on everything that’s happened in his life and be like, ‘Wow! That was kinda special.’ So anyway, I met with Lyor, I played him a couple of my records and nothing ever came of it. I mean, Lyor obviously felt something from the music he’d already heard from me for him to call to arrange the meeting, but I didn’t end-up getting signed to Def Jam. Maybe they thought that because they had 3rd Bass already that they didn’t need another non-Black artist. I mean, it was tough back then as a non-Black artist to make some real Hip-Hop that was appreciated for what it was.”
Were you battling other emcees at this time?
“I mean, I could always hold my own when it came to freestyling and spit some clever s**t. But I wasn’t running around like a battle-rap cat wanting to eat muthaf**kers heads wearing a back-pack and all that (laughs). That really wasn’t my thing. I was more about just wanting to make some ill music.”
Was it a big deal in Mount Vernon in the mid-80s when Uptown Records started blowing-up with Heavy D & The Boyz?
“Hell yeah! I mean, I went to school with some of those cats from when we were little kids and knew them either directly or indirectly. I mean, some of my boys who I was cool with were running with Heavy D and Puffy. Mount Vernon is a small city. Hev was the first cat to really blow from Mount Vernon and he was like the star of the city. We used to see him running around with his jeep and everything when he’d just got signed and “The Overweight Lover’s In The House” had just come out. It was a great time for Mount Vernon. Now, all through that time I was still working on my music and I had a fat demo. From being around my boy Will, he knew Puff, so I used to run into Puff all the time. So I gave Puff my demo. S**t, when Puff first started working at Uptown, I used to go to the office and he’d let me in through the back and we’d just talk and chill. I had this demo I’d made called “I Wonder Why” and Puff loved that record. That was the track that made Puff think that I might have something.”
You mentioned your friend Will – was that the same guy who appeared on “Yo! MTV Raps” with you back in 1992?
“Yeah, exactly (laughs). Will was my friend from childhood. Now, when I made the demos, I put a package together and started shopping that s**t. That was how you did it back then. You put something together and if you knew cats who were involved in music then you gave them something to listen to. There wasn’t no internet or any of this crazy stuff like there is now. But Puff believed in me and actually started really working my s**t and shopping my demo around. But then soon after that he started getting involved with Mary J. Blige and Biggie and all that s**t right, so I didn’t know if he was really looking out for me. I knew he believed in me, but I didn’t really know how hard Puff was pushing my material, plus I was being impatient at the time as well.”
So would this have been around 1990 when Puffy was first making his mark at Uptown?
“Exactly. This was when Puff was at Uptown making artists like Jodeci and first really putting it together. Funny story, I remember when Puff really got to me one day. He was real cool with me and he always believed in me as an artist and I’ll always appreciate him for that. But I was in his office one day and I was still making demos because people were saying they wanted to hear some more s**t. So I’m making more songs and I’d made this particular track which I took to his office so he could hear it. Puff let’s me in the office and we’re in the back chillin’ and he’s got K-Ci, JoJo, Dalvin and Devante in the office with him. So I play him the new record I’d just done and Puff was like, ‘I don’t really like it that much.’ I thought the record was hot! So after it had finished Puffy turned to Dalvin and was like, ‘Would you buy this?’ and Dalvin was like, ‘Nah, I really wouldn’t buy that.’ That made me so mad, bro. That made me so mad and I think that’s what changed my relationship with Puff a little bit. I mean, that was his way, but it kinda affected me at the time. So I was just like, ‘Okay, whatever.’ But this was all around the time when Puff still had demo packages of mine and had sent some s**t out to Tommy Boy and Columbia. Then all of a sudden my man Buttnaked Tim Dawg, Tim Patterson, he was running around in the music industry with all of them as well. Now, Heavy D & The Boyz had already blown-up and at the time DJ Eddie F had signed Pete Rock & CL Smooth to his Untouchables Entertainment and had gotten them a deal with Elektra.”
Did you already know Pete or CL prior to this?
“Pete and I knew each other just from running around in music. Plus, I knew Pete’s little brother Grap Luva from when we’d be break-dancing back in the day. I battled Grap Luva and we used to pop together. He was nice. So me and Pete knew each other, but we weren’t all directly connected musically. They had their little world with Hev and Al B. Sure! and Pete Rock & CL Smooth and I had my own little A.D.O.R. world. I mean, we had mutual friends and we’d be at parties coming up and they definitely knew me, but I wasn’t all up in there with them as far as the music was concerned. I was really trying to do my own thing. So I wasn’t involved in music because I was from Mount Vernon and was running around with Pete Rock, Heavy D, Eddie F and Puffy. I was a musician anyway and was already doing my own thing. But I mean, we were all at high-school together. We were all at high-school at the same time, me, Hev, Puff, Pete Rock, Al B. Sure!. I mean, one of my best friends Akbar, he was a cousin of Al. B Sure!. But there were like four thousand kids in Mount Vernon High School (laughs).”
So how did you actually get signed to Untouchables Entertainment?
“So what happened was Tim Patterson brought my demo package to Eddie F and he liked it. Now, Tim Dawg had started doing A&R for Eddie’s Untouchables Entertainment. So Eddie was signing all these groups to his production company, producing their material with people like Nevelle Hodge, Dave Hall and Pete Rock, and then Eddie would take the music to the labels and get the deals.”
Considering your connection to Puffy, was there ever any talk of you signing to Uptown?
“It was always possible and was something that maybe could have happened. But at the time, Puff had Jodeci, Heavy D, he started messing with Biggie. So I don’t know if he thought I was going to be a right move for him at that time. I mean, they were on some Uptown new-jack swing s**t…”
So they would have been looking for the next Father MC…
“Exactly. They were on that R&B Hip-Hop s**t and I was more on that organic New York Hip-Hop s**t. I mean, I think there was definitely times when Puff mentioned to Andre Harrell like, ‘What’s up with this white boy?’ and Andre was probably like, ‘Ahhh, I don’t know.’ That s**t was real, man. I mean, even to this day there aren’t that many non-Black artists who have made a real mark on Hip-Hop culture. I mean, I was like the first non-Black solo artist that made real organic New York soul Hip-Hop s**t. I mean, 3rd Bass were doing that ill god-body New York Def Jam s**t, but me, I was on some soulful, jazzy s**t. But as a non-Black artist in Hip-Hop we had to deal with a lot of s**t back then.”
Was there anything in particular that made you decide to sign with Eddie F and Untouchables Entertainment?
“Well, Eddie F was the first person to show me something concrete. He had paperwork. Puffy hadn’t done anything like that at that point. I didn’t really know what was going on with Puff. We were communicating a little bit, but not to the point where I was like, ‘Okay, Puff’s definitely going to get me a record deal.’ So Eddie offered me paperwork and I signed the s**t. That weekend I was at a party, Puff runs up to me at the party and is like, ‘Yo! You signed with Eddie?!’ I’m like, ‘Yeah…’ and Puff’s saying ‘I’m out here working your s**t! I had s**t going!’ I mean, maybe he did have some stuff about to happen with some labels. I don’t know. But we weren’t really communicating like that. All I knew is that, at the time, I wanted to move forward with my music and that’s why I signed with Eddie F and Untouchables.”
You mentioned Biggie earlier – did you ever meet Big whilst you were still in contact with Puffy?
“Hell yeah! Me and Big had a great connection. I remember I did a show with him one time in New York City with Stretch Armstrong, Outkast, Craig Mack, Smif-N-Wessun and Keith Murray. I was in the studio with Big as well when he was working on his early material and Tim Dawg was still at Uptown. That’s Tim you can hear on “Party & Bulls**t”. But yeah, we smoked herb together in the studio. This was when as A.D.O.R. I was more famous than Big and he was showing me love (laughs). He was cool though, man. Back in those early days you could tell that he was just trying to make something out of his life and that he was definitely blessed with talent.”
So after you signed with Eddie F was it a case of him then putting you straight into the studio to start working on tracks to shop to a label?
“Exactly. But one thing that happened in-between that I almost forgot is that in the midst of all that, while I was making demos and working with other producers, another producer from Mount Vernon who was my boy from school had starting making some noise in the music industry. His name was Tony Dofat. So, me and Tone started working together and before the Untouchables situation I actually signed a production agreement with Tony Dofat to make three records where I wouldn’t have to pay for them. It was a case of us making a demo and then if anything ever happened on the strength of the music we made then he would be part of the project. That was actually the first real contract I ever signed. Tony was working out of this studio in the Bronx with this cat called Greg Rogers and he was one of his producers. So I did that deal with Tony and then did the deal with Eddie F.”
Read Part Two of this interview here.
A.D.O.R. performing his debut single “Let It All Hang Out” on “In Living Color” in 1992.
Inspired by the recent March 9th anniversary of Biggie’s untimely death, Detroit’s House Shoes enlisted the help of fellow producers Nottz, 14KT, Waajeed and more to remix a selection of Notorious classics including “Kick In The Door”, “The What” and “One More Chance” – download here.
The West Coast’s DJ Franchise pays homage to one of Hip-Hop’s greatest producers with this comprehensive collection of Easy Mo Bee-produced tracks from the likes of Craig Mack, Big Daddy Kane, Biggie Smalls, Heavy D and more – check the flava in ya ear here.
The Notorious B.I.G. – “Kick In The Door – Jazzy Remix” (PhoniksBeats.Com / 2012)
Portland, Maine producer Phoniks gives this Biggie classic a dope laidback twist as he prepares to release his forthcoming album “Basement Vibes”.
X-ecutioners member Total Eclipse follows-up his recent Jay-Z / Jay Electronica / J Dilla project “The J Tape” with this new dose of mash-ups and remixes featuring vocals from the likes of Big L, Big Pun and Black Moon over the production of Detroit’s Black Milk – peep the musical madness here.
Veteran producer-on-the-mic Funky DL brings his timeless brand of jazz-infused boom-bap to classic cuts from the likes of Jeru The Damaja, The Beatnuts, Big Daddy Kane and more on this essential remix collection – check the flavour here.
The mighty NYC mix-king drops a dope selection of blends featuring verses from Rotten Apple icons Biggie, Jay-Z and Nas over old-school beats – download here.
Premier discusses the competiton between BK legends Biggie and Jigga back in the 90s.
Footage of Rosenberg’s recent “Noisemakers” event with DJ Premier in NYC.
Rosenberg Pocketumentary: A DJ Premier Tribute
Premier On Making “Nas Is Like”.
Premier On Making “Unbelievable”.
Premier On New Rappers & Producers.
In the final part of his Loud.Com interview, Clark Kent talks about how he’s maintained his love for Hip-Hop throughout the years.
In this next part of his Loud.Com interview, Clark Kent weighs in on the Jay-Z / Biggie debate.