Filed under: Bronx Bombers,Classic Ignorance,Not Your Average
Written by: Robbie Ettelson
This is classic Keith:
If you look at a lot of the music industry, they got rid of a lot of the bands that make rough-edge stuff. It’s like Slade, they used to play mean bass lines. They got rid of the keys that don’t match and the tough bass lines. They more or less sweetened up the music, made it light. People don’t mess with the left-hand side of the keyboard. And what it is, a lot of people say in more like suburban areas, they don’t want to hear you. They more or less scared and intimidated, so they want to hear something less intimidating. That’s really all your spirit around you when you make those records that sound hard and crazy ’cause that’s like what you’re coming from, your whole background of the Bronx – you know, the pissy streets and Hunt’s Point Market, the trucks and the delivery and the fish on the street, the stench – and the beats are just matching. I honestly like to rap on hard shit myself. That’s why, to this day, I like EPMD, people that stuck to their sound. We don’t got that no more. I think sampling is one thing that really took a lot of that out. You’ve got your Ron Carters and your greatest jazz records to collect and sample off of, but when you listen to the loops a lot of them are really sweet, there’s but so much you can do with them. But when you actually get on keyboards and make Frankenstein funky shit and it’s just made with no teachings – it’s not somebody going [he imitates the music scale] “A-B-C-D” – I think a lot of up-and-coming producers live by notes; they have a lot of sweet notes. I never was a fan of sweet loops. Ninety-nine percent I’m never rapping on top of a sweet loop. I would never rap on sweet loops, but I’ve been remixed on sweet loops because people had this thing of, “Hey, we could put Kool Keith on Bugs Bunny,” and “We got a Woody Woodpecker sample that I think he will sound great on – it’s hot!” People feel like that’s great, they get their dicks hard with that. They’ll put me on top of a Sesame Street loop, but that’s their fantasy. They just feel like this is something to laugh at. I think it’s corny. I really think it’s corny to walk around the city and buy a bunch of records and come home with a Fisher Price record and listen to each little sample like, wow. It’s like you’re taking somebody’s shit. I’d rather listen to Jimmy Jam and Terry Lewis, or Prince. At least they’re doing something original. To me, sampling is gone. Two things that are played out for the critics: skits are played out, I think skits are gone, shove them up your ass; samples of Donald Duck and all types of records are gone, and sweet loops is done. Let’s get back to some hard stuff. Also, I don’t really dig the scattered producer thing. I think it sucks. I think your albums sounds like 10 people did it and it doesn’t even match your whole circular of what you’re about. I feel it’s just a hold up. I like making original records myself. That’s what I’m going to continue to do. People can’t really make original stuff. At least when I go down to my fucking grave, people will say, “That guy did his own shit.” I don’t wanna die and motherfuckers say, “That nigga bit, he followed, he copied everybody; open his casket, look at all the people he robbed. He sampled every-fucking-body in the world.” I don’t even go back that far in time; I’m so far in the future I do not want to go into a dirty store and get my hands dirty with dirty records. Pick up old records with dust on them and get ’em on my hands. I want new dirt on my hands. It’s just a turn-off, a big turn-off. I hate vinyl. I hate vinyl with a fucking passion.
Taken from this interview.
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