Heads over a certain age will have noticed right away that the latest album from producer SadhuGold, The Gold Room, is themed around The Shining. We caught up with him to talk about the inspiration behind that, his work with Ohbliv on his other new album, The Ra(w) Material, and more.
You’ve described your music as “the soundtrack to the subconscious of the space-time continuum”. Break that down for us.
If reality had a working mind, as we know it, then my music would be the music that gets stuck in its head, that it listens to calm itself down, or that it tells its friends about.
The Gold Room is themed around one of the most iconic movies of all time, The Shining. Can you elaborate on the concept and why the film inspired you?
The film inspired me because it’s kind of isolated in what feels like a snow globe in a forgotten pocket of reality. The gold room specifically was such an abstraction from just simple isolation into a self-lead descent of madness. As dark as that may seem, it’s extremely artistic to me, a feeling I’ve always wanted to replicate. Look at The Gold Room as a sonic prequel, the first party where something went wrong.
You also just dropped The Ra(W) Materials with Ohbliv, as Czardust. Considering you are both producers, how was the album put together, as in who did what?
The Album was put together mostly by Ohbliv making chops/loops and sending them to me. I would then work with them for a few days to kind of rework them into what was heard on the final product. Kind of akin to alchemy in the sense of working with raw materials and putting them through the process of making gold.
The Ra(W) Materials has you emceeing on several tracks. What made you choose this album to step out from behind the board a lot more?
All of that music is older than it seems. I was rapping well before I took up producing full time, so I was more or less getting out stuff that the world should have been heard.
Will we get to hear more of you on the mic on future projects?
Only if I get to make it into a cartoon, like the Gorillaz.
You’ve worked with a varied group of emcees, from straight-up street rappers like Westside Gunn, to more abstract artists like Mach-Hommy, and stream-of-consciousness lyricists like Your Old Droog. Do you tend to make different kinds of beats for specific artists in mind, or just provide them with beats to choose from?
I definitely try to hit the mark as far as style matching goes. I actually have a bad habit of making beats to be rapped on instead of just making beats, but that may be because I’m an MC at heart, who knows.
I’ve heard DJ Muggs talk about how sometimes an artist will pick a beat he’d had never envisioned them on, and he’s always pleasantly surprised. Is that something you find?
Not often, most rappers are predictable. But when that does happen, it hits way differently, really resonates on a deeper level. Estee Nack did that to me. Sent son a batch, and the first beat he picked was the last one I expected (“EL BLABLAZO” on our joint album SURFINGONGOLD.WAV). And not only that, but I had never imagined that anyone would have thought to use that style on a beat like that. But now I can’t imagine any other style working any better, or at all for that matter.
Who’d be on your ultimate bucket list of people to produce for?
MF DOOM, Yasiin, Ghostface, Cappadonna, Roc Marci, Black Thought, Homeboy Sandman, and fucking Alchemist man, that nigga can RAP, ok?
What’s next in the pipeline from you?
Deez nuts. Lol just kidding. Me and Nature Sounds are going to be releasing my favorite beat tape I ever made, its called Golden Joe. And in the mean time I may be dropping small collabs here and there, I need to stop surprise releasing lol.
Lastly, returning to The Shining, will you be checking the new Doctor Sleep movie?
Yea I’m gonna for sure check it out. I was afraid of it being weird and bad, but I actually intentionally watch bad movies, I find them highly entertaining lol. So if it sucks, I get a laugh, if it’s fire I’ll pay to see it again.
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The Gold Room is out now on Nature Sounds. Get it here. The Ra(W) Materials is also out now – purchase from Fat Beats. Follow SadhuGold on Twitter and Instagram. Interview by Grown Up Rap Editor Ben Pedroche.
The new full-length from the great Apollo Brown is finally here, with guest verses from an insane list of legends and quality emcees. Detroit is most definitely in the building.
In the years since the emergence of the internet, the means by which music is produced, administered and distributed has been radically altered. Not only did the introduction of peer-to-peer file sharing, streaming and social media change the way music found its way to listeners, these new technologies have also changed the way artists would gain the attention of labels.
Today, aspiring artists have the tools to connect with listeners and build their own autonomous fan bases, with or without major record labels. Years ago, this was not the case. During the Golden Era of Rap, a relationship with a major label was almost mandatory if a budding artist wanted to secure consistent radio play and make an impression on millions of potential fans. For many artists, recording and shopping a demo tape was the first step toward securing that relationship.
Whether recorded in professional studios or in grandma’s basement, on Tascam 4tracks, ancient reel-to-reels or Ampex DATs, a tight demo tape was often times the key to an artist getting on and being heard. Mostly unheard in their own era, a wealth of homemade demos from future rap greats have now found a home on YouTube. John Morrison breaks down a few of the best and most significant.
1. Biggie Smalls – Unsigned Hype Demo: Recorded in the basement of his friend DJ Hitman 50 Grand, future GOAT Christopher Wallace’s first demo tape is a brilliant look at a rough but gifted young MC. Biggie shows off his trademark polysyllabic flow while 50 Grand cuts up classics like The Emotions’ “Blind Alley” break. The tape was so good, it won a feature in The Source Magazine’s coveted Unsigned Hype in March 1992.
2. Organized Konfusion Demo: When Queens New York duo Organized Konfusion first arrived on the scene under the name Simply II Positive MCs, it was clear that Prince Po and Pharoahe Monch were already standing at the vanguard of the science of rhyming. Forward-thinking and fully developed, a few songs on this demo made it to O.K’s mind-bending eponymous debut album. “Prisoners Of War” is a stark, dramatic barrage of words delivered at rapid fire clip, while “Mind Over Matter” is intense, funky and avant-garde.
3. S.B.I. (Timbaland & Pharrell Demo): A true gem of a demo that’s been floating around for the past few years, S.B.I. (Surrounded By Idiots) is the teenage rap crew made up of future super-producers Pharrell Williams, Timbaland and his partner in rhyme, Magoo. Colorful, creative and full of soulful, jazzy samples, the S.B.I. demo tape is deeply indebted to the lighthearted Black Bohemia that A Tribe Called Quest and De La Soul was mining during this era. Despite being noticeably derivative of the Native Tongues aesthetic, the S.B.I. demo is full of some refreshingly forward-thinking moments. “Skull Caps & Stripe Shirts” is a fun, uptempo “Human Nature” flip, while the quirky, skating vocal sample and dramatic piano stabs of “Uh Uh Uh” are like looking into a magic 8-ball that reveals the production steez that Timbaland would use to completely transform the musical landscape in the not-so distant future.
4. DJ Quik – Red Tape/Underground Tape: While there is some discrepancy around the true-title of this tape unloaded by the Underground Dope YouTube page in 2015, this cassette demo of Los Angeles legend DJ Quik is one of the best of its kind available. Expertly produced and featuring young Quik’s x-rated lyrics and high-pitched delivery, this demo contains many West Coast classics like “Underground Terror” and “Born And Raised In Compton.”
5. Nas – Pre-illmatic Demo: By the time his landmark debut Illmatic was released, Nas had already made noise with show-stealing appearances on “Live At The Barbeque”, “Back To The Grill Again” and pre-Illmatic singles like “Halftime”. Before his debut would change the course of rap music, the young Queensbridge MC found himself in the studio crafting demos that showcase Nas as a gifted, blossoming wordsmith. In recent years, a treasure chest of Nas’ pre-illmatic demos have been archived on YouTube. The best of these demos include a rough and dreamy demo version of “It Ain’t Hard To Tell” entitled “Nas Will Prevail”.
Bonus Beats:
1. Jay-Z – Pre-Reasonable Doubt Demo
2. Wu-Tang Clan Demo Tape 1992
3. Juggaknots – Baby Pictures 1989-1993
4. T.I. – T.I.P. Demo
5. Artifacts – 4Track Demo
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JohnMorrison is a Philadelphia based DJ, producer, and music journalist (Red Bull Music Academy, Jazz Right Now, Bandcamp Daily etc.) His debut instrumental Hip Hop album Southwest Psychedelphia is a psychedelic trip through a day in the life in his Southwest Philadelphia neighborhood, and available now on Deadverse Recordings. Follow John on Twitter and Instagram.
One of the most respected DJs and producers in hip-hop, Rhettmatic has been a fixture of the L.A. scene for decades through his solo work, as part of the Visionaries collective and as a member of the Beat Junkies. He recently talked to Matt Horowitz about projects new and old, production technique, touring with Dilla and more.
Following your 2011 collaborative mixtape/remix album/live EP, Bobo meets Rhettmatic, what’s next for your group, Cypress Junkies with Eric Bobo?
It’s been a hot minute since Bobo and myself have had a chance to work on new material. The last joint production we did together was for Rakaa’s (of Dilated Peoples) solo album, Crown Of Thorns, called “Rosetta Stone Groove” featuring Noelle Scaggs of Fitz & The Tantrums. We also toured Europe a few years ago but Bobo has been really busy with Cypress Hill since their new album dropped and has been touring mad crazy. But we’ve been talking still about doing some new music and getting back on the road, doing some spot dates in the near future.
How did yourself and Bobo initially meet and decide to form Cypress Junkies?
I met Bobo along with B-Real in the late 90’s when I was one of the DJ’s spinning on their Soul Assassins Radio Show at a local radio station in LA called 92.3 The Beat. Babu & Melo-D were also the other Dj’s; we would do their mixes live in between guests and comedy skits. This is around the time of the Cypress Hill IV album days. If you don’t know the history of Bobo, he is the son of the legendary Latin percussionist, Willie Bobo. He also used to play for the Beastie Boys (he even had a song named after him, “Bobo On the Corner” on Ill Communication before he became the 4th official member of Cypress Hill), as well as doing production for Psycho Realm. Anyways, he was working on a solo album called “Meeting Of The Minds” and he always wanted to do a DJ/percussionist song. We’d become friends already because of my stint on the Soul Assassins Radio Show, but I was honored he asked me. The song was called “Bobo Meets Rhettmatic”. When we performed the song at his release party, we realized that we might have something here. Then we were asked to perform for a benefit show in Los Angeles, and ended up being the headliner. We restructured our show to be more of a live element with more emphasis on the synergy between a DJ and a percussionist, and as we performed, we were really surprised by the response we got. Hence, “Bobo Meets Rhettmatic” was born; which eventually changed to Cypress Junkies (Cypress Hill/Beat Junkies affiliation). It was a big honor with B-Real giving us the official blessing.
I’ve heard rumblings a new Visionaries album is currently in the early stages of creation, correct? What can you potentially tell us about your upcoming return?
Yes, the Visionaries are working on a new album. It’s been 13 years since our last album “We Are The Ones”, which dropped in 2006. A lot of our core fans have been asking us to make a new album but everyone got busy with their own individuals lives and music careers. Both Dannu & Key-Kool have families, LMNO has a couple of solo projects out along with having a new baby, as well as 2Mex & Zen having their own projects out. Plus 2Mex had his own health situation that he needed to take care of; he had one of his leg amputated because of diabetes a few years ago. Now he’s still moving forward with full force and living life. Me personally, I got really pretty busy with the Beat Junkies. The Visionaries have done shows here and there but we never really worked on a new group album just because whether we realized it or not, we needed a break as a group (or at least for me personally), even though we’re family.
As for the new album, we are tentatively calling it “Vintage”, as a return to our roots of just making music for fun and not overthinking things. The difference between this particular album and our other albums; I will be doing all of the production, where it used to be Key-Kool and myself being the chief producers and having our regular family of producers such as J.Rocc and Babu, to name a few. I like to think in the last 5-10 years that I’ve grown and improved as a producer compared to my past production. The guys always wanted to make a new album, but for me personally, I wasn’t really ready just because I was burnt out and wanted to expand more as a DJ, an artist, a producer, as well as a person. So to be transparent, the guys were really waiting on me to work on new material. Besides me growing as a human being, a DJ and a producer, a lot of family, friends, and even our heroes were passing away as well as dealing with our own situations separately. We were all getting older. In 2017/2018 is when we started working on new material and just learned how to record as a group again with no expectations, and have fun making music together. We’re almost finished….hopefully it will drop by the fall/winter of 2019, God willing. If not, at least some new music this year to set up the new album for the top of 2020.
In adittion to Cypress Junkies, Visionaries & Beat Junkies, you’re also, part of The Joint Chiefs with Frank Nitt (Frank n Dank.) What’s the current status of this project?
Frank is my brother! I met Frank n Dank at the Jaylib “McNasty Filth” video shoot. We’ve became real good friends during the time since I DJ’ed for Dilla in Europe for his last tour ever. It was really fun when we made the Joint Chiefs album; basically Frank just crashed at my crib for a whole week just to work on music. Each day, I would work on beats in one room while he was playing Nintendo in the other room, then when I finished with a beat, I would show it to him, he’d start writing then we would record. After the session, we would get “enhanced” while listening to the finished product, then go out to the clubs just to take a break, then we would repeat again the next day. We basically would record two songs a day. We’ve talked about doing a follow up but we both are busy with our own schedules. The last joint we did together is a song called “Classic” that I produced for his solo album Frankie Rothstein on Delicious Vinyl in 2015. Besides his own solo projects as well as the Yancey Boys and Frank n Dank albums, he’s currently in charge of the California chapter of the James Dewitt Yancey Foundation as well as still being an artist on Delicious Vinyl. We’ll definitely going to work on new music soon in the near future.
I’ve been releasing music for free on my Birthday (May 10th), whether an album or a mix, for the last 10 years as a way of saying thank you to everyone that has been following my DJ/producer career, and just as a way to promote my catalog and progress as an artist/DJ/producer. With Loops, Chops, Beats, & Vibes Vol. 2, I wanted to a little something different when I dropped this on my birthday this year. I wanted to actually treat it like an official album versus giving something away for free, so I actually sold the album instead and made an official music video for the project. I made a video to the joint called “West Coast Vibrations (An Ode To Souls)”, which is a flip of the original sample that was used on Souls Of Mischief’s 93 Til Infinity, hence the tribute to Souls Of Mischief. I even wanted to shoot the video in the same vibe or essence of 93 Til Infinity, except highlighting Los Angeles and some of the cities that make up Los Angeles County. The video was shot and edited by Dj Underkut of Open Format LA, and he did a great job! I was really surprised and honored by the response for both the album and the video – it really meant the world to me that people went out and supported this album. That was definitely a great birthday gift to me for turning 50, and it tells me that I’m still doing something right. So everyone that purchased this album, I truly thank you from the bottom of my heart!
How would you say your process, approach, sound, style, etc. for Loops, Chops, Beats, & Vibes Vol. 2 differs from that of 2018’s Loops, Chops, Beats, & Vibes Vol. 1?
The approach to Volume 2 in terms of how the production was done is a combination of how I made the beats on Volume 1, by doing a cut & paste style strictly using Pro Tools only and making beats on the Propellerhead Reason program like I did on my Rhett Got Beats album. When I made Volume 1, I originally wanted to challenge myself and go back to making beats on my MPC2000 but it wasn’t working; so when that wasn’t working, I tried to turn on my SP1200 machine, but that wasn’t working either. I didn’t want to make beats on Reason because that’s what I’m currently using right now, but I still wanted to challenge myself for the fuck of it. I decided to try make beats on Pro Tools by doing a lot of cut, paste, and layering. I went digging for records for a good month and just basically pick any record from the stash I bought, record it on Pro Tools and just basically start chopping away. It was more tedious but I had a lot of fun doing it. With Volume 2, I wanted to continue the tradition, but I also have been making beats on Reason that I really liked and I didn’t want to put them to the side; plus I was also on a time constraint. So I decided to put some of my Reason beats that I liked a lot (plus the Nipsey Hussle tribute track that I made last to finish up the album), made a few tracks with the same Pro Tools procedure, and arranged them together so I can beat my personal deadline. I’m very proud of the end product, if I do say so myself! [laughs].
I know you were J Dilla’s touring DJ for a string of shows through Europe with Frank n Dank and Phat Kat; happen to have any particularly memorable stories from your time spent on the road with Dilla?
When Dilla was still alive and living in LA, I always told him if he ever needs scratches from me, I got him. And we actually talked about doing some work together. He always had love for the Junkies, especially for J.Rocc. J.Rocc is the 3rd member of Jaylib so it makes sense that he was Dilla and Madlib’s DJ. Dilla had a real small circle of people that he would hang out with and trust in LA; I was very lucky to be considered to be part of that circle in his last years. Originally Dilla asked J to go out with him on tour to Europe, but he couldn’t make it because he was scheduled to go out on the road already with Madlib. When I got the call from Dilla that he wanted me to go out on the road with him, Frank n Dank and Phat Kat, I said let’s go. I hit up J to thank him for recommending me for the job, but J said he didn’t even say anything to him – that was all Dilla’s idea. I was shocked and honored. Around this time as well, I knew he was sick, but I didn’t know to what extent until we met at the airport. To tell you the truth, the whole tour was memorable to me because Dilla personally asked me to be his tour DJ, plus I was able to bond with him, Mama Yancey aka Ma Dukes (Dilla’s Mother), Frank N Dank, Phat Kat, and Dave New York (Dilla brought him along as well). We all didn’t know this was going to be Dilla’s last tour ever, but I think he already knew and he wanted to do it for the fans regardless of his health. I also think that this was his way of saying this is our chance to work together….I will never forget this experience for the rest of my life. Thank you, Dilla!
What’s the current status of your long-time crew, The World Famous Beat Junkies or any of its affiliated entities?
The Beat Junkies are still going strong. We celebrated our 20 Year Anniversary in 2012 by doing shows in Los Angeles, New York, San Francisco as well as in Europe and Japan. We were really surprised how many fans, young and old were still excited to see us perform and how much people are still checking for us even though we never stopped. Because of that, we decided to get serious in terms of building our own business by relaunching our merch such as shirts and hats, and launch the Beat Junkies Digital Record Pool (www.beatjunkies.com). From there, we were able to launch our very own radio station, Beat Junkie Radio in conjunction with Dash Radio, a free app that was designed and founded by Dj Skee (www.dashradio.com/beatjunkieradio). I actually have my own radio show on the station called “Soundcheck” that airs live every 2nd & 4th Tuesday. I’ve been lucky to have guests such as Diamond D, Agallah The Don, Blu & Exile, MED, Defari, as well as Dirty Diggs, Supreme Cerebral, & many more. When we celebrated our 25th Anniversary in 2017, we were figuring out what would be our next business venture. From there we started our own DJ school called the Beat Junkie Institute Of Sound in the City of Glendale, Ca. (www.beatjunkiesound.com). We’ve been open for 2 years now and the school has been slowly growing. If you asked us 5-10 years ago that we would have our own DJ school & become instructors, we would’ve looked at you crazy. In January 2018, we officially launched Beatjunkies.tv (www.beatjunkies.tv), our online DJ school, which is an extension of the Beat Junkie Institute Of Sound. Everything that we teach at our school, we also teach online; it’s for those who want to learn how to DJ from us, but either cannot make it to our school or live very far, or for those who want to learn at their own pace. We’re still working on other projects, either as a crew or as individuals, but by the grace of God, hopefully we can keep on going till the wheels fall off.
I’m personally a big fan of your 2016 release, Circa 2004: Blaccmatic with Aloe Blacc! Although, I’ve always been curious: how exactly did this collaboration come to be?
Thank you very much, that means a lot. As the title suggested, the Blaccmatic album was made in 2004. A lot of fans of Aloe Blacc, the singer, don’t know that he’s a talented MC as well, and is in a group called Emanon with producer extraordinaire Exile (Blu, Fashawn, King Choosey). Around this time, Aloe was branching out working on his own material while Exile was in the beginning stages of working with Blu. For myself, nobody knew me really as a producer except for my work with the Visionaries, and I wanted to expand and work with different artists. Aloe and myself talked about doing some work together and then finally he said “just give me a beat CD”. Then one day while I was working at Fat Beats LA, he stopped by and gave me a CD with “Aloe Blacc & Rhettmatic” written on top of it. When I got home to listen to it, I was blown away because he practically made a whole album of all the beats I gave him. One of the songs “Find A Way”, had someone singing, me not knowing that it was Aloe singing himself. When I asked him who was singing, he told me it was him….I was so blown away. Then right there, this was a star in the making. That particular song was supposed to be featured on his Stones Throw debut album Shine Through but didn’t make it, but it did make it on the B-Side of the “I’m Beautiful” 12″ single. On a side note: I also let my dear friend and producer extraordinaire Dj Khalil (Self Scientific, Aftermath) hear “Find A Way” and he immediately asked me who the artist was. He also bugged out when he found out who it was….”You mean, Aloe as in Aloe Blacc from Emanon?? I need to work with him!”. I was able to connect them both and then a couple of years later, they collaborated on a song you might’ve heard or seen on a Beats By Dre commercial called “I’m The Man”.
We never got to officially put the project out because eventually Aloe got signed to Stones Throw and I started working on the Visionaries’ We Are The Ones album. Over the years, we have talked about putting it out but then eventually, Aloe became the talented and respected singer that he is now. When I decided that I wanted to put it out, I asked Aloe permission first to see if he was down with the idea of releasing the project, he said yes, as long it was a free download. He still wanted people to hear our project. When I released the project in 2016, we had such a positive reaction. Fans of Aloe Blacc the MC were happy to hear an unreleased project with him spitting bars; fans of Aloe Blacc the soul singer, didn’t even know the history of Aloe as an emcee and were blown away. Really glad that people got to listen to this project and the positive feedback was the icing on the cake.
I know you’ve worked with everyone from Guilty Simpson to Ras Kass… but do you have any currently vaulted/unreleased collaborations you’re looking forward to the hip-hop-loving world hearing one day?
Who knows, that’s a good question. I do have some joints in the vault that I did with J-Ro of Tha Liks and Defari, K-Solo, an unreleased Key-Kool & Rhettmatic song & some other artists that I worked with in the early 2000’s that never came out officially. If my small core of fans really want to hear some old/unreleased material of mine, then I might put it out….or maybe redo it over. But I do know I have more work to do….
Matt Horowitz has been a hip-hop fan ever since he first heard Wu-Tang Clan’s Enter The Wu-Tang (36 Chambers) back in the mid-90’s, which positively or negatively changed his life ever since, depending on who you ask. He single-handedly runs online music publication The Witzard, and has been fortunate enough to interview Eothen ‘Egon’ Alapatt, Guilty Simpson, Ice-T and Mr. X, Dan Ubick, Career Crooks’ Zilla Rocca & Small Professor, Cut Chemist, and J-Zone, amongst countless others. He enjoys writing about and listening to hip-hop, Punk/Hardcore, and Indie Rock on vinyl with his lovely wife, while drinking craft beer, red wine, or iced coffee. To paraphrase both Darko The Super and the Beastie Boys: “Already Dead fans, they want more of this… I’m a Witzard like my man Matt Horowitz!”. Follow Matt here.
