Last November, Ben Detrick interviewed Pete Rock, Lord Finesse,
Hank Shocklee and SKI in The Voice about the SP.
The article reminded me of some sh*t that would have appeared in a 1990's
issue of The Source. Man. That reminds me that I need to write about
reading The Source and the impact that it has had on me as a writer
and hip hop head. But back to the article. It was like a national association
of crate diggers meeting. LOl.
Pete Rock When I first got the SP-1200—I think that was back in '87—I was going to sessions with my cousin Heavy D, and he was working with Marley Marl. I would just be looking around and looking at the stuff they had and looking at what he was doing. Eddie F had the drum machine, and he showed me how to work it. I basically studied the manual—read it beginning to end and learned it like that. I used it all day, every day. I never came outside—just woke up happy to have a piece of machinery that made music. I didn't give a damn about anything else once I got that drum machine.
Ski People said they never saw anyone work the SP as fast as me and Large Professor— not that it means anything. It's crazy. I can't explain it—it's like the shit is programmed in my brain. I worked with Jay-Z and did all of Reasonable Doubt on the SP-1200. For "Dead Presidents," everything was made on the SP, man: the whole sequence, the drum sounds, the Nas sample. The only thing that wasn't done on the SP was the sample, [but] I ran it through it to give it that sound.
Ummmm. The making of Resaonble Doubt.
Pete Rock Everything that you ever heard from me back in the day was the SP-1200. That machine made "Reminisce" ["They Reminisce Over You (T.R.O.Y.)"], "Straighten It Out," "Shut 'Em Down," "Jump Around." When I made "Reminisce"—I had friend of mine that passed away, and it was a shock to the community. I was kind of depressed when I made it. And to this day, I can't believe I made it through, the way I was feeling. I guess it was for my boy. When I found the record by Tom Scott, basically I just heard something incredible that touched me and made me cry. It had such a beautiful bassline, and I started with that first. I found some other sounds and then heard some sax in there and used that. Next thing you know, I have a beautiful beat made. When I mixed the song down, I had Charlie Brown from Leaders of the New School in the session with me, and we all just started crying.
Hmmp. He can't believe he made it through. Interesting.
P Done Lost his Monkey Loving Mind.
After the video earlier this year where he
was /sitting in the room with candles/ high on drugs.
We knew something was wrong with him.
P has went off the deep end w/ young bucks
singing the hook to one of his creepy songs.
H-I-J-K-L-M-N-O P P P P.Did I mention that I like it?
Here go a lil Murs burn.
Wouldn't MURS be a WONDERFUL addition to "The Office"?
EVIL DEE GIVES IT UP FOR BOOM BAP.
Format: As far as the music goes you’ve always stayed true to your initial formula. Were you surprised, given the current climate of hip-hop that Buckshot and Sean P’s albums have done so well?
Evil Dee: I’m not surprised, because there’s a want and need for what we do. There’s a want and a need for boom-bap. It’s like a girl – you see that she looks banging, you’re like ‘Yo, she’s dope!’ now, you’re going to mess with other girls, but you’re going to have that girl on your mind and if you can get her, you’re going to get her. That’s what it is. That’s hip-hop right now. We have a lot of fad music coming out. You know what happens with fads? They come and they go. No one’s making classics right now. Me and DJ Spinna just had this conversation this morning.=========
Is music a man or a woman to you?
Is it both?
Where you bugged out when, On the Love Below, Dre started
talking about God being a woman?
Whats your favorite Boom Bap? Mine is.....umm Enta tha Stage
Main Ingredient annnnnnnnnd Boominna, Boomina, Boomina jeeps....Puba.