The Mighty V.I.C. – The Unkut Interview
Photo: Alexander Richter
Not sure how my extended interview with The Mighty V.I.C. from 2008 slipped through the cracks, but after using a couple of parts of it I never got around to transcribing the entire three hours that we spoke over a couple of days while Vic ran errands. As before, the full version will be in the Unkut book, but here’s an edited version which covers the major points in his career. V.I.C. discusses how he began interning as a recording engineer at Power Play in the late 80’s, before joining The Beatnuts and working with Godfather Don under the Groove Merchantz banner and later recruiting Mike Heron to create the Ghetto Pros.
Robbie: How did you get started in music?
V.I.C: I started deejaying when I was fifteen years old. I was at the local bagel shop and one of the local kids who worked at the bagel shop showed me a mixer. I was in the tenth grade and I remember being home, sick at the time, and the guy came over after school – and after he was done at the bagel shop – and showed me how to DJ. From there, I found out you can actually go to school for engineering. I was like, ‘You can go to school to edit?’ So I did that a short time after. I went to an engineering school in the city, which I learned zero from, and I started interning at Power Play. That’s where I met Ivan ‘Doc’ Rodriguez, I met Norty Cotto, Patrick Adams – the guy that used to play on all those Eric B. & Rakim albums. At that time there were guys like Just-Ice recording there, you had KRS-One, you had EPMD. Hurby Luvbug used to record there too, Salt ‘N Pepa, Dana Dane, Kid ‘N Play.
Lord Finesse – The Unkut Interview, Part One
At long last, I got around to interviewing the great Lord Finesse officially. I’m also deep into completing the first proper book of Unkut interviews, so I’m saving the second half of this piece for print, along with a whole bunch of recent follow-up interviews that I’ve been doing. That being said, I didn’t want to hold back everything, so I had to drop a chunk this discussion with the Funkyman to keep your ears ringing until the print edition is released in early 2015. Lord Finesse needs no introduction, as he’s the man who built on the punchline foundations laid down by Big Daddy Kane and paved the way for the next generation of MC’s. We kicked it about his experiences with record labels, his love of the SP-1200, plans for the future and the and the infamously misunderstood Mac Miller lawsuit.
Robbie: Did you feel like you were prepared when you started making Funky Technician?
Lord Finesse: C’mon man, you can listen to that first album and it was dope, there was structure, but nobody was telling me, ‘You should do sixteen bars here, you should do sixteen bars there!’ I was rhyming forever on some of those records.
Nothing wrong with that!
[laughs] Most of that album was written while I was going to the studio or the day before. Some of it was freestyle stuff, but connecting it and doing it all together I had to write rhymes around some of the stuff and make ‘em songs. If you listen to the battle with me and Perc you’re hearing a nice amount of Funky Technician in that ‘89 battle.
So they were your stock battle rhymes?
When it’s time to make records you take ‘em and you re-craft them for the record.
Did any labels try to make you compromise your sound or image?
I didn’t even get that far. I went from Wild Pitch, which was a label with really no money and no promotion to take artists to the next level at the time, to being at a label with a lotta money. They got everything to take me to the next level, but they don’t understand who Finesse is as an artist! It’s like the popular gun that everybody’s talking about, you’ve gotta have the gun, not because you’re a shooter or you go to the gun range. You just want the gun because everybody else got the gun. Then when you get the gun, you don’t know nothing about the gun, you don’t know how to shoot it! You don’t know the mechanism’s of the gun so you kinda toss the gun to the side cos you don’t what you purchased! That’s how I feel when it comes to Giant. I’m there, but they don’t really know what they got! ‘This is the dude everybody was talking about! OK, we got him! Now what do we do with him?’
Buckshot – The Unkut Mini Interview
Once again I found myself subjected to indignities of a press day, where you have ten or fifteen minutes allotted to talk to a rapper who has already bored themselves to death speaking to the twenty other jerks before you and some herb always messes up the schedule and as a result that fifteen minutes turns into less than ten. Just for laughs, I decided to stay on the line and laugh at the other shitty questions from the amateur journalists who followed me, while witnessing Buckshot get progressively more confusing the more he drank and/or smoked to make the whole process slightly less tedious for himself. Nevertheless, I still managed to get a couple of interesting jewels from the former Black Moon front man.
Robbie: What inspired you start making music?
Buckshot: My uncle David was a dancer, he was an entertainer and he made dancing a big influence on my life when I was a youngster. He was a dancer for a group called Mtume, they made a record called ‘Juicy.’ I saw him on TV and I felt like he achieved the ultimate impossible and one day I was going to do that and I would achieve the same impossible. I kept going and kept going and I kept dancing. I stopped dancing in 1990 and I became an MC at that point. I always wanted to be an MC but never thought that that was my path. I always thought that dancing was gonna be the way for me. When my MC got locked-up I felt like I had no choice but to continue what we started. When he got locked-up he was like, ‘Yo, keep it going!’ I was like, ‘How am I gonna keep it going? You know what? I’mma just start emceeing myself.’ That’s how I became an MC.
Angie Stone aka Angie B [The Sequence] – The Unkut Interview
It’s taken me ten years to interview a female rapper on these pages, which either means this marks the onset of ‘progressive’ thinking in my old age or I’m a natural born rap misogynist. Either way, during the limited window of time I had to talk with Angie we kicked it about her days in The Sequence and she shared an eye-opening story about her involvement with The Roxy.
Angie Stone – The Unkut Interview
Video of The Sequence performing ‘Simon Says’ on the Job Man Caravan show:
Non-Rapper Dudes Series: Brian Coleman Interview
At one point liner notes were nearing extinction on rap albums, but thanks to the fine work of people like Brian Coleman and the crew at Get On Down, they’re currently experiencing a renaissance of sorts, giving aging, bitter rap fanatics such as myself the perfect excuse to bang on about the first Ultramagnetic album in day-to-day conversation. Most of you would have read Rakim Told Me/Check The Technique by now, so you know that copping the Mr. Coleman’s third tome is mandatory at this point. He took some time out last weekend to trade war stories from the trenches of the hip-hop interview battlefield and discuss the trials and tribulations that go along with such in-depth work.
Robbie: Was the ‘Classic Material’ column in XXL your first published work?
Brian Coleman: I started that column in 1999, that was Elliott Wilson’s idea. I had been writing for XXL before that. I started, I think, in the second issue. I wrote for them until 2004. That Ultramagnetic chapter in Rakim Told Me started as a piece I did for XXL and then I expanded it greatly over the years. In ‘98 Ultramagnetic was supposedly reforming so everyone was like, ‘Oh, we should talk to them about that!’ I had been writing a little bit before that, I’d been writing for URB, The Boston Phoenix, I wrote for this magazine called CMJ, it’s basically the trade publication for college radio. I was a hip-hop columnist there, it was cool because you could write about a lot of indy stuff.
Cole James Cash Discusses Making The BBW Album
Cole James Cash proves that being a homeless, recovering drug addict who wears a mask is no obstacle to making rap albums and hanging with XXXL XXX gals.
Robbie: Tell me about the BBW album?
Cole James Cash: I was trying to make the shit sound romantic, as ridiculous as it sounds. I was trying to bring a theme of romance, which is why you hear a lot of soft and very melodic type samples.
Were there many BBW porn stars that you wanted involved on the album that refused?
Not so much refused as ignored. [laughs] When we did the song named after Karla Lane, that’s when Kacey Parker was like, ‘I would like a song!’ That’s when she threw her support completely behind it. Everything from being on the cover to doing the intro. She went out of her way yo help me and she didn’t have to. I asked Sophia Rose and she straight ignored every email I sent.
Non-Rapper Dudes Series – Akili Walker Interview
The always under-appreciated role of the engineer, both in the studio and on tour, is always a fascinating one. Akili Walker, who has worked with everyone from hip-hop production legend Larry Smith to James Brown, Eddie Kendricks, Kurtis Blow, Prince, George Clinton and LL Cool J, took some time out after the release of his new book, Turn The Horns On, to recall some of his best memories behind the boards.
Robbie: Where about did you grow up?
Akili Walker: I grew up in Freeport, Long Island, right next to Chuck D and Flavor Flav. We were like a mile from each other, they grew up in Roosevelt, but they’re a little younger than I was.
Are you a recording engineer by trade?
I’m an audio engineer, I switch between the studio and on the road. I was a musician at an early age – I was a drummer when I was thirteen. I won the ‘Battle of the Bands’ with my band and we was in the Musicians Union of New York at the age of thirteen. My father was an audiophile, he loved music and he had a large jazz collection and an expensive stereo. My drumming career ended when I was sixteen. I stopped drumming to join the hippy generation and do drugs.
Bobby Simmons [Stetsasonic] – The Unkut Interview, Part Two
Continuing my discussion with Stetsasonic drummer Bobby Simmons, we discuss touring, Flavor Flav ethering Prince, the rivalry with EPMD, beef with WreckX N Effect and vaulted tracks.
Robbie: Touring must have been essential back then.
Bobby Simmons: The best tour I’ve ever done was that Run-DMC Run’s House tour. Every night I would sit on the side of the stage and I couldn’t wait to watch Run and them’s show. Run and them were just amazing to watch. When you watch Krush Groove and you saw Jam-Master Jay cut that “Run! Run!” You were like, “Oh shoot! They getting ready to do something!” It was really that kind of intensity in the air, waiting for Run to come on, and DMC just standing there with his arm’s folded. You just couldn’t wait to see Run walk out! Then when he came out, Run really controlled you with what he said. You didn’t see that in the movie. You didn’t get to see people take their Adidas sneakers off and put it in the air. When I saw that, I said, “This is it. It’s finished.” Who in the world can get everyone in Madison Square Garden to take off their sneakers and put them in the air? All you saw was different colored Adidas in the air. It was amazing to see that command. It was beautiful.
Track By Track: Diamond D Breaks Down The Diam Piece Album
Diamond D is releasing his latest project, The Diam Piece, on 30 September so I caught up with him to find out the stories behind each track and get a little bit of insight into the process of constructing a production project with so many guests.
Diamond D: It’s more or less a production LP, about two and a half years it took. A lot of tracks I didn’t even use. I had about 27 tracks but I only used 18. Some of the artists I was in the studio with, and others – because of their touring schedule and my touring schedule – I just sent them music and they sent me the session back. If the track that I give them has a sample in it that’s giving it direction then they’ll follow that. If there is no sample or concept at the beginning I just let the MC’s paint their own pictures and try to figure out how can make it connect. I use a lot more live instrumentation now. I still chop and manipulate samples, but my sound just sounds bigger now. Just using better equipment so the sample frequencies are better.
Bobby Simmons [Stetsasonic] – The Unkut Interview, Part One
Bobby Simmons is best known as a member of Stetsasonic, the original “Hip-Hop Band,” but during an extensive conversation with him last week he also shared some classic memories about Melle Mel trolling new rappers in the late 80’s, a two-year stint as a DJ at the Latin Quarters and the escapades of Eric B. and Rakim‘s main muscle, the original 50 Cent. This is part one of a three part interview, so get comfortable…
Robbie: Did you study drumming at school?
Bobby Simmons: I self-taught myself drums, I was six years-old. My brother was in the music business too, he was a session guitarist for groups like Sister Sledge and Dan Hartman in the mid-70’s, so I kinda self-taught myself listening to a lotta the records that he would play and trying to figure out the drum – what does what. The first record that I actually learned how to play – that took me from when I was six to when I was seven – was the Ohio Players. The drummer, Diamond, I was so fascinated how he played drums on ‘Skin Tight’ and ‘Fire,’ I wanted to learn to play how he played. The drum sounds were heavy, the snare was fat, the kick was fat, and Diamond used to do all this fast foot [work] on the pedal.
From there I played in my brothers local band and just kept myself active doing that. Deejaying also helped me how to play drums too, cos in the early 80’s it helped me how to blend timings and beats, with the disco records and the Chuck Brown records and the James Brown records helped me keep great timing. Knowing how to keep timing and knowing what the kick and snare and the hi-hat do, I self-taught myself. I kinda wish I was taught and went to schooling to read for it, but my father took me to drumming school and I never went back. It was taking too long! “I wanna get to this part!” [laughs]
Domingo – The Unkut Interview
Domingo‘s latest album, Same Game, New Rules dropped this week, featuring a mixture of veteran MC’s (AZ, Kool G Rap, KRS-One) and new jacks (Chris Rivers, Kon Boogie, Joey Fattz), so I took some time out to discuss some of the highs and lows of his long career in the music game, and found out some amusing trivia about some LL Cool J and G Rap songs in the process.
Robbie: What sparked you off to start making beats?
Domingo: My uncle used to go to radio personality college and he started deejaying for a radio station in Chicago as an intern and then became a radio personality there. He would send me cassettes back of him deejaying and I was always fascinated. When he finally came back home to Brooklyn, he threw his equipment in the basement of my grandma’s house where I was living and he would DJ down there and play the drums. My uncle was very multi-talented, I would just sit there and watch him. I always remember him playing “King Tim” and then he played “Rapper’s Delight” and Kurtis Blow. When “Rapper’s Delight” came out, that’s when I was hooked. One day I started deejaying and then it transcended into me wanting to do demos and write my little raps and do battles in the street. I did my demos with two tape decks, back and forth how it used to get done, then I went on to four tracks.
What was it like growing up in East New York back then?
East New York was homicide central, like Jeru said. I grew up with Jeru, Lil’ Dap – childhood friends. A good friend of mine, his nickname is Froggy, and he’s like family to me. We always say that we “graduated.” We were lucky to live to 21. I could take you to the cemetery and show you a row of all my friends who are dead. East New York was a very rough neighborhood, man. Early childhood memories is gunshots, trains running past my house – the L train, cos my house is right near the corner on Sheppard Avenue. Growing up with my friends – my friends are still my friends to this day! And the fact that one of my good friends named Edison, who I grew up with, if it wasn’t for him putting me in his father’s Chevy Caprice Classic and telling me, “Domingo – this is you all the way! Let’s go see Marley at ‘BLS, he’s looking for people.” If he didn’t drag me there, I would’ve never met Marley.
Spoonie Gee – The Unkut Interview
Thanks to Will and Aaron from Tuff City records, I had the chance to speak to pioneering Harlem rapper Spoonie Gee last week, who set the standard for street tales and slick talk on his earlier work for Enjoy and Sugarhill before he enjoyed a late 80’s comeback with Marley Marl and Teddy Riley providing the cutting edge beats. After enduring some rocky times for most of the 90’s, he’s currently in the process of recording one last project before he retires from music for good.
Robbie: Being from Harlem, in the early days before records, did you have to travel to see shows?
Spoonie Gee: I went to The Bronx, that’s the first place I saw Grandmaster Flash and The Furious Five. First time I seen him, I think it was P.A.L on Webster Avenue. I used to go see the Funky 4 + 1, Fantastic Five.
How had you heard about them?
I heard a tape of Grandmaster Flash and the Furious Four MC’s at the time, this was before Raheim joined them.
Illa Ghee – The Unkut Interview
Illa Ghee was known as a Mobb Deep affiliate in the early days of his career, having appeared on Hell On Earth as General G, but his latest LP, Social Graffiti, has allowed him to free himself of any constraints and push his rhymes beyond well-worn street themes. While he was riding the subway the other night, we chopped it up about his early days and how Super Lover Cee inadvertently ended his cousin’s rap career.
What were you doing before you worked with Mobb Deep and Alchemist?
I was still rhyming, but I was more into the street life at the time. I went to school with Prodigy, they got cool with Alchemist and by the time I came home from jail Alchemist was hanging with them all the time so I started linking up with Alchemist too. My first actual CD I put together was called Body Music and most of the production on that was done by me. That was 2003.
Were you taking rhyming seriously at that stage?
I just wanted to rhyme on the radio! There was a show – Pete Rock and Marley Marl – at the time that was on the radio. That’s where most of the things I wrote were pretty much aimed at, just getting on the radio and lose my mind.
DJ King Shameek – The Unkut Interview
Having returned to the music game five years ago after an extended hiatus, DJ King Shameek is back rocking clubs on a regular basis in New Jersey and beyond, but you most likely first saw him do his thing with Twin Hype for their dance floor classic “Do It To The Crowd.” Shameek took some time out of his schedule to talk about his roots as a DJ and early production techniques, King Sun vs. Ice Cube and his involvement with the mysterious diss record “The Truth” in 1999, which may have inspired 50 Cent‘s “How To Rob.”
Robbie: What made you want to take deejaying seriously?
DJ King Shameek: I was living in California at the time – I’m originally from New Jersey – but my uncle was at a legendary club in Newark, NJ called The Zanibar, so every time he used to come to California he would always bring a couple of records and give me some stuff, and I would see photographs of him deejaying. That’s when I really started trying to persue it a little more, get turntables and stuff like that. This is when they didn’t even have a mixer with a cross-fader yet. I was getting these microphone mixers that just had the faders up and down, so I would just sit there with a left and a right, putting one up and then putting the other one down! It was hilarious if you think about it now. I was always collecting records and I inherited records from my parents – they brought me up on a lotta Motown stuff and some Spanish stuff here and there. I was preparing myself in my adolescent years, toying around with my father’s record player, trying to scratch on them! [laughs] I would try to do that when he wasn’t watching. I ended up leaving California in ’87. Before that I was just doing a few gigs by being featured here and there, it wasn’t until I came here that I started producing and deejaying professionally.
The Unkut Guide To The New Music Seminar Battle For World Supremacy
Tommy Boy Records founder Tom Silverman started the New Music Seminar in 1980 as a music industry networking event, and in 1985 introduced the MC and Beatbox Battle for World Supremacy (the beatboxing was replaced by DJ’s the following year), which would provide a fertile showcase for both new and established rappers and DJ’s to make a name for themselves. The following is a selection of memories from some of the rapper dudes who either competed or were in attendance.
Memories of Big L
Just read this wonderfully comprehensive feature on Big L over at Complex, titled Casualty of the Game: The Big L Story, and was inspired to collate a few stories of my own from past interviews. T-Ray, Peter Oasis, Milano and AG all share some memories involving The Devil’s Son…
Him-Lo – The Unkut Interview
Him-Lo has been dropping music on these here internets for the past couple of years, but it wasn’t until his Horsepower mixtape that I really paid attention. Turns out this Philly Lo-Lifer has been deep in this here shit since the golden era of Philadelphia hip-hop, and his brand of non-progressive, anti-social rap is just what the city needs right now.
Robbie: How did you get started?
Him-Lo: We’ve been rhyming for a long time, ever since we were teenagers. We were part of a few different crews before we cut it down to just me and Clever One – The Buze Bruvaz. We were also in a group called Bermuda Triangle at one point with a few other members, we grew up with them also. Clever One, that’s my brother, and those other dudes we were at grammar school with, so we’ve been rhyming for a long time. Matter of fact, when we started rhyming the game was completely different. Now everybody’s rhyming. We would go somewhere and when people found out we were doing this they were excited, “Oh, you rap? Kick a rap for us!” It was so different at the time. So we were doing it at a young age, and I’m 40 now. We were so heavy into hip-hop at such an early age – not just the rapping, all aspects of it – we grew up as graffiti writers, battling people and breakdancing, deejaying, doing everything. That’s why even at this age now we still do it, just for fun. It’s what we do, we can’t really shake it!
AG – The Unkut Interview
Andre The Giant has been holding down Bronx tradition ever since he first got his starting shot on Lord Finesse’s “Back To Back Rhyming” and “Keep It Flowin'” from the Funky Technician LP. From there he formed Showbiz & AG and ushered in the birth of the Diggin’ In The Crates crew. Twenty four years later he continues to rep the crew, as he and Show complete work on a new album. AG took some time out while touring to speak on his connection to The Bronx, inspiration, winning recognition from his peers and the memory of Party Arty in this refreshingly honest conversation.
Robbie: Do you remember the moment you decided you wanted to pursue rap seriously?
AG: I remember exactly when! I always played around with it, because my older brother LB was always into the culture. He’s a clothes designer now, and a great graffiti artist. He used to MC too, so I used to have to do what he did. He cultivated me – he kinda forced it on me at first – but I took to it cos I was pretty good at it. I just would play around, but the moment I heard “My Melody” the first time in a park jam it was in 23 Park, in Forest projects in The Bronx. It was right before the summer of me going to high school, and the Five Percenters – the Nation of the Gods and the Earths – were in the same park, away from the crowd cos it was a big park jam, on the other side of the gate in a huge cipher. I didn’t know what it was, but I was attracted to the cipher at the time. I was just trying to figure out what they were doing. It looked so on point, they were disciplined, you could tell they knew what they were talking about.
Dino Brave [The UN] – The Unkut Interview
As a founding member of The UN with Roc Marciano, Dino Brave has experienced a lot of Long Island rap history first hand. Inspired by the Spectrum City crew coming up (which would later evolve into Public Enemy), Brave had his time in the spotlight cut short thanks to bad timing in the crumbling music industry. But with the recent re-release of UN Or U Out, a new generation of rap fanatics are getting the chance to hear Brave, Laku, Mike Raw and Roc Marciano in action once again.
Robbie: How did everything start for you?
Dino Brave: It was kinda handed down to me, man. A lotta people in the family did music. My older brothers played instruments – they played guitar, they played the drums, made beats, keyboard players – all sorts of things. I grew-up with production studios in my house! I got into deejaying, it was the cheapest equipment I could get my hands on, putting two record players together and a mixer. I started deejaying around seven, touching official turntables. I was doing pretty everything that I wanted to do with the turntable, that I seen the great’s doing – it was boring for me at that point. So I decided to pick up the mic at thirteen. I heard “My Melody” and that made me want to write my first rap. I went to school with it, dude’s used to bang beats on the table and stuff like that. I kicked the rhyme, and my cousin who I was in school with loved it. He was like, “Run with it,” so I ran with it. I kept writing, did talent shows coming up and just start making tapes after school. I went to school with dude’s from The UN, so they were those guys at the lunch table, beating on the tables and making rhymes.
Five Minutes With Pete Rock In An Airport
Pete Rock loves his food. So much so that he’s never let a pesky phone interview get in the way of his looking after the needs of his stomach. Back in 2008, while I attempted to extract some slivers of information from him for a cover feature for Hip Hop Connection magazine, the Soul Brother # 1 proceeded to chow down on an entire order of Chinese take-out while he fielded questions, noisily chewing into the mouthpiece like a bored boom-bap bovine. Six years later, I catch him between flights en route to Australia to play a series of club dates with DJ Premier, and the lure of the airport food lounge proved too much before he’d even made it halfway through my allotted ten minutes. Nevertheless, he did share a couple of interesting tidbits about his early days, which is what we’re here for anyway.