Category: OC

25 Years of Fat Beats: DJ Eclipse Interview

The iconic Fat Beats is currently celebrating 25 years in the hip-hop industry. As a retail outlet, label and distributor, the company has supported some of the finest independent music over the last quarter of a century, helping many of rap music’s biggest artists along the way. In the first of our series of features marking this epic milestone we speak to DJ Eclipse, who has worked for and been associated with Fat Beats since the beginning, ahead of this weekend’s Fat Beats 25 Anniversary show in Los Angeles.

It seems like everyone came through the doors of Fat Beats at some point in their career, from ‘90s veterans and indy rap icons all the way to Eminem and Kanye West. Give us some of your personal highlights from the in-store appearances and freestyle sessions you were there for?

One thing you have to understand about our scene is that maaaaaaaad people were nice! Obviously some better than others, but on a whole there were so many talented people that came through Fat Beats or just the indie movement that was happening in NYC in the ‘90s. Nine times out of ten who “made it” was less based on the individual’s talent and more based on the break they caught. If you would have asked me if I thought Kanye would have become as big as he is now based on his Fat Beats appearance I would have said my money is on Al Tariq or Black Attack (who Ye came with). There were too many people that were dope during that era.

Some of the best sessions at the store were when fellow emcees came to hang out with people that worked there (like ILL BILL or Q-Unique). At any given time a cipher might start up with Bill, Q, El-P, Last Emperor, A.L. Skills, Breeze Brewin, etc. A lot of the Rawkus’ artists had great in-stores like Shabaam, Kweli and L-Fudge. Other dope ones were KRS-One (who basically gave an on-the-spot lecture to the crowd for the whole time he was there), RZA, Psycho Realm, Mix Master Mike & Non Phixion, Immortal Technique…..but the biggest in-stores we ever had were Gang Starr (twice) and Eminem. Lines for them were down the block and around the corner.

Being part of a place that gave so many talented artists a platform, is there a particular emcee who blew up thanks to Fat Beats that you are most proud of?

“Blew Up” is a hard word to use because although most probably didn’t reach Eminem’s status many have made careers out of music. And I don’t think Fat Beats can take any credit solely for anyone’s success, but Fat Beats definitely played a part in helping artists like El-P, A-Trak, Black Milk, Dave One (Chromeo) and ILL BILL just to name a few. But more importantly than even helping one person was the field that we created for everyone to play on. During that time everyone was still itching to get a major label deal. We started stepping to artists and telling them stop waiting to get signed. Let’s press up your record and distribute it. The profit splits for artists automatically became a whole lot better. We weren’t trying to own the music. That stayed with the artist. We turned all this energy into a movement and with the help of the artists and people like Stretch & Bobbito who were playing the music it took off.

On the flipside of that, are their any emcees or producers stocked at Fat Beats that you were surprised didn’t blow up?

Definitely felt like Last Emperor and Natural Elements should have gone further. They were and ARE so dope, and at that time they had a lot of people checking for them. Emp got signed to Aftermath and we were all rooting for him. But once Dre picked up Eminem I think Em became Dre’s focus and other signees were left on the shelf. NE went to Tommy Boy who were trying their hand at picking up indie artists, but just like Emp, NE’s album got shelved for whatever reason. But like I said, it’s not always the most talented that move forward. Sometimes the universe has it’s own plans.

Music aside, Fat Beats definitely appealed to rap heads on an aesthetic level. The shop was basically everything you picture an independent hip-hop record store should look like: racks of 12”s, walls covered with signed record sleeves, posters and flyers, music pounding over the system, and staff who really know their shit. Were you guys conscious from early on that people would see it as way more than just a record shop, and as such was it something you tried hard to capture?

Well the vision Joe had from the start was to build a home for Hip-Hop heads to come shop. As far as how it all came together I think that was more organic and just part of our own personal makeup. We were all DJs or MCs or B-Boys. We all collected stickers, posters, vinyl, etc so when you walked into a Fat Beats store you were literally seeing our stash on the walls (in the beginning). And as the store started getting more of that stuff more went up on the walls and ceiling. The first Fat Beats location was basically like a DJs bedroom set up. Except there was vinyl for sale on the walls. And the floors. And anywhere else we needed to stock it to fit.

One Fat Beats story I’ve always loved is the ones about Percee P, there on the sidewalk selling tapes outside of the store. It was dope how that situation ended up giving his career a second wind. I’m curious about how you guys felt about his consistent presence right outside the store?

I love Percee, but never liked him or anyone else selling music in front of the store. I’d always tell all of them go down the block to the corner or even just move to the sidewalk by the curb. Standing directly in front of our door turned so many people away from coming into Fat Beats towards the end. It wasn’t just a digital revolution that killed Fat Beats it was the numerous “artists” that basically harassed people coming in and out of the store to get them to buy something from them. I had people tell me that they would cross the street to walk past Fat Beats if headed in that direction just to not be bothered by them.

It feels as though Fat Beats caught a moment in time that we’ll probably never see again. Downloading and streaming happened and record shops died. There’s a resurgence for sure, but pop-up shops and a lot of these new stores seem too clinical and gentrified, and the even the records are often just overpriced re-issues. Do you think we’ll ever see something like the original Fat Beats again?

Nah, that era is gone. The brand lives on to deliver the goods to the people via fatbeats.com and Fat Beats Distribution, but the era of physically going out to a store and hanging out and networking is a lost pastime. You have to remember we were in our 20s then. This was pre-internet. You HAD to do all this stuff. You had to go to a store to buy music. You had to go to an event to see/hear the music you were into. You had to go see your friends to catch up with them. Our generation is too old now to have the free time (or money) to do the things we did then and the younger generation is coming up with access to everything at their fingertips so they don’t have the need or want for that same experience we lived.

Lastly, tell us your top five 12”s that Fat Beats have distributed over the last 25 years.

Big L – “Ebonics”
Missin’ Linx – “M.I.A.”
Mos Def – “Universal Magnetic”
D.I.T.C. – “Day One”
Bumpy Knuckles – “A Part Of My Life”

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The Los Angeles Fat Beats 25th Anniversary show takes place this Saturday (August 10) at The Regent Theater, featuring Dilated Peoples, Elzhi, Tha Alkaholiks, Blu & Exile, J. Rocc and many more. Get tickets and find out more here. Follow DJ Eclipse and Fat Beats on Twitter here and here, and Instagram here and here. Interview by Grown Up Rap Editor Ben Pedroche.

Playlist: Best New Music – February 2019

This month’s playlist includes new hip-hop from legends like Smif-N-Wessun, Sean Price, Ghostface Killah and Inspectah Deck, plus Nolan The Ninja, Crimeapple, Blu, Oh No, Quelle Chris, DJ Nu Mark and more.

Listen to the playlist below, and then go support the artists with a purchase from wherever you buy your music. Check us on Spotify for more curated playlists.

Rasheed Chappell – ‘Street Corner Sh*t’ (remix) feat. O.C., Vinnie Paz & ILL BILL/’Degrees’ feat. O.C.

It’s only been a couple of days since Rasheed Chappell dropped the video for Banana King On Broadway, from last year’s First Brick album, but he’s back with more heat already. First up is a remix to First Brick’s Street Corner Shit, featuring O.C., Ill Bill and Vinnie Paz. Next is a new joint with O.C., Degrees.

 

Exclusive Interview: Rasheed Chappell

RASHEED CHAPPELL GROWN UP RAP INTERVIEW

Rasheed Chappell is back with his first new album in seven years; First Brick. We talked to him about the new project, working with Kenny Dope, and how it feels to be in the studio with some of the greatest hip-hop artists of all time.

[This interview has been lightly edited for clarity]. 

First Brick is your second project with legendary producer Kenny Dope (the first being 2011’s Future Before Nostalgia). How did your working relationship start?

Kenny and I met through a producer named Maleet – they were both producing for the same label at the time. They hit it off and he decided to play Kenny some of the tracks we were working on. KD liked it, we met up, had a conversation, and a few weeks later we had our first session which included Kenny, Biz Markie on beat box, and myself. That was 2008 I believe, and we’ve been working ever since.

What’s interesting is, Kenny is an icon of House Music, but not as known for producing Hip-Hop. Why is it do you think he gravitated towards you as a Hip-Hop artist?

Kenny’s from the era of the one producer/one emcee combinations, as he’s really just been waiting for a certain type of emcee to come around. All his favorite rappers he told me where Rakim, G Rap, Kane and all the greats. So his words were that until he found an emcee that could give him that feeling, he might do a song or two, but not a full project. I’m a student of the culture and all those that have come before me, so maybe he saw my deep love for the music and the homage I pay to all those that paved the way. I’m also very serious about my craft, I show up, I work…repeat.

And was the process of working with him this time on First Brick different from when you collaborated back in 2011? Have either of your processes evolved or changed since then?

Yes, this is actually, in essence, our third album. We already started a follow up to Future Before Nostalgia with a project titled Brick & Mortar. The process in putting that together has taken longer than expected and this is why we have First Brick, which serves as a trailer to Brick & Mortar. As men we’ve grown and evolved, Kenny is a father now. I’m more seasoned as an artist now, and know the process of putting out an album and how to create a balanced project. So my ear listens more for what’s missing than what’s present.

You’re part of a wave of artists who’ve mastered a new style of street rap, some of which feature on the album (CRIMEAPPLE, Hus Kingpin, Daniel Son). It has the hardcore talk of classic G Rap, and Roc Marciano, but usually with stripped back beats and minimal drums. But Kenny Dope’s drums on First Brick are pretty heavyweight. Which kind of beat do you think suits your style best?

I respect all of the guys mentioned and that kind of music definitely puts you in a vibe, gritty cold weather East Coast Rap, I love it. I don’t think my style is that or has ever been. For me, it’s always been about the drums and the movement. I am a fan of the drum. As far as what style best suits me, I think I can adapt to anything that pulls me to write.

That said, the drums on First Brick also sound like they were played live rather than sampled. Was there much live instrumentation involved? 

I don’t want to give away too much of KD’s magic so I’ll just say, he did his thing and there’s always room for live drums, horns, and instrumentation.

RASHEED BRICKSeven years between albums is a lifetime in today’s world where people move on to the next thing way too fast. Why such a long break? 

That break wasn’t intentional, we toured in Europe for two years after. We began working on Brick & Mortar and then life started happening. I promise all my supporters that I won’t ever be away that long again.

You’ve had a steady run of features on other projects in between, but does it feel like you almost have to start again from scratch after a seven-year break, to grab people’s attention again? 

Yeah I feel like a new artist in that regard, however with all the experience of a veteran. I enjoy it, at heart I’m a competitor, so I want to throw my hat in the ring and have my name mentioned with all the current artists, while creating projects that stand the test of time like the OG’s that came before me.

Even with the seven-year gap, I read how you wanted First Brick to connect to Future Before Nostalgia, but also stand alone as a separate work. Can you elaborate on that?

This is my natural growth, so anyone familiar with Future Before Nostalgia will see that I didn’t sacrifice any of the lyricism or sonics that they appreciated on that album. However, you see my evolution in storytelling and progression in our chemistry. If a listener never heard of me before this project, then has a beginning, middle and an end, so it’s a stand-alone project that you can feel and dissect. I write every line as if it’s the only one a person will ever hear, so I’m very conscious of what I want my musically legacy to be.

You’ve worked again on the new project with DJ Scratch, in my opinion someone who doesn’t get quite enough credit for his contribution to Hip-Hop. Tell me about working with him. 

Scratch is a genius, period. So working with him is an honor, he just doesn’t hop on any artist project or throw his support or co-sign on anything. EPMD is my cousin Lateef’s favorite group so being in studio with Scratch, Kenny and my cousin Marcus was surreal.

You also have a couple of rhyme icons on First Brick; Lil Fame and O.C. How did they become involved?

O.C. is in my Hip-Hop DNA, no way around it, Word…Life is up there with Illmatic, and Jewelz is as influential and DOPE as any “top five” emcee’s 2nd album. So when he said that the only two new artist that he listens to were Kendrick Lamar and Rasheed Chappell in an interview back in 2012 with HipHopDX, I was humbled and felt a sense of being knighted. Pushed me harder. We met at a Lord Finesse show and been OG/young lion ever since. We’ve discussed doing a project together. Now M.O.P., name a group that’s more live than Fame and Billy?! We had a song that just needed that energy, we reached out and he felt what we were doing, and hopped to the studio to help create this gem.

I’m intrigued to know what a successful album means to you. Not so much financially or units sold, more about the impact and how it resonates. How do you measure that? 

For me success is people talking about the project, and touring to bring the live experience to my supporters. There IS money to be made if you have the right plan and proper execution, so fiscal success has been there for us with sales and especially the vinyl. I want those to hear it know that I gave everything I had. If they walk away with that feeling, it’s a success.

What’s up next for you after First Brick?

MORE MUSIC!! That’s my word. A few things in the works, but definitely expect more music…and more frequently!

Any last words or anything you want people to know about the album? 

I just want to thank my team, the big homie KD, my team Wil and Dan from foundation DIGITAL FILMS. The amazing artist Wil Swink that created the album artwork. My graphic designer Kat McBride, my social media manager Steve Royster, and my manager DJ Eclipse, as well as all the work Diamond Media 360, has put in. For anyone that would like to support, click below.

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First Brick is out now. Listen below, and purchase here. Follow Rasheed Chappell on Twitter. Interview by Grown Up Rap Editor Ben Pedroche. 

Exclusive Interview: O.C.

OC GROWN UP RAP INTERVIEWOmar ‘O.C.’ Credle needs little introduction, having built an incredible catalog of music since the early 90s, both as a solo artist and as part of the mighty Diggin’ In The Crates crew. Gingerslim recently sat down with him for an in-depth talk about new music, longevity, the history of the classic Time’s Up, and growing up with Pharoahe Monch.

Its been a couple of months since you released your latest album, A New Dawn. Are you pleased with how it’s been received so far?

Yeah, man. I mean I don’t have no high expectations anymore, for me it’s just about the music. Whatever’s gonna be, gonna be, you know? It’s not an excitement in that sense for me, it’s just about the music. I mean it’s always been about the music for me really; if people hear it they hear it and if they don’t they don’t. And if they don’t, then they’ll get round to it eventually.

There’s a lot of positivity on A New Dawn, from the lyricism to the title itself; did you set out to make an album like that, or is that just how it progressed as you started working on it?

That’s how it progressed really. I mean, I’m not the same 20 or 30-year old I once was, but with that being said I just write about everyday life and I feel that that’s something people can relate to. And we’re dealing with an industry that’s sort of divide and conquer with youth and maturity, so my thing is just to make sure that what I’m talking about can relate to everybody. That’s it.

And with the title specifically, what was the thinking behind that? Does it feel like a new dawn for you right now?

I believe it’s a new dawn for all us. Shit, we got Trump in office [laughs]. Just everything that’s happening in the world, man. I mean it’s always been the same things, but now it’s all at an extreme, you know? I just said to someone the other day, it used to be when you saw a woman scantily clad it was rare – unless you were looking at Playboy or some shit – but nowadays it’s just normality. Me being a grown man now, it doesn’t excite me no more cos everybody’s doing it.

I think that’s the same for everyone now though, regardless of age, because it’s so prevalent.

It’s so prevalent, it’s crazy. And that’s not what I signed up for, you know? But that’s life.

Now, you’ve been in the game for over 20 years and I know there are a lot of artists from back then who are pretty disillusioned with the current state of hip-hop; is that how you feel, or do you think it’s going to survive regardless?

It’s going to survive regardless, man. I definitely wag my finger at the younger artist cos I was their age once and that’s where some of the disconnect comes in. I know when I started out and artists older than me tried to tell me something, I wasn’t trying to hear it. You know, it’s sort of that renegade attitude – you’re young, you’re not thinking about your mortality. All you’re thinking about is having fun, partying and doing whatever you’re doing, without thinking about any consequences. So for all of my peers, if they’re going to continue doing this, then just make the music and stop complaining.

That’s a great attitude though, because I know so many artists and fans who spend forever complaining about what they don’t like, rather than actually promoting what they do like.

Exactly, let the music talk. In my opinion, truth be told, a lot of people shouldn’t be making music still cos they’re just not good at it no more. They get stale, they get stuck and they get disgruntled, but that’s not me.

You’re also one of the rappers from your generation who people tend to associate with your earlier work, rather than your more recent releases; does that get frustrating for you?

Not at all. I know a lot of people came up on my music and we’re the same age, we’re in our 40’s and people have families now. But I get a lot of “yo when’s the new album coming out?” from people my age and it’s like, it is out. Even if we give it away for free, y’all still don’t know it’s out. You’ve got the internet, you’ve got Google, Spotify, all these things, so what’s your problem? I mean if you’re really not looking, that means you’re really not checking for me, so why even ask me.

And what do you think is the key to maintaining that longevity? What sort of advice would you give to anyone trying to survive as long as you have?

You gotta talk about life, man, it’s all around us. That’s the whole premise of a new dawn, like each day you wake up and you got the chance to do things, accomplish things, work on yourself. Everyday life is the blueprint to music, that’s not even my opinion, that’s a fact. Every day you wake up, you have the chance to tell a story, you’re making history. I just think a lot of people get stuck, you know. Like I’m not stuck in the 90s. I know I came out in the 90s, but I’m still here 20 years later. People tend to want you to make the same sounds over and over and over, but I can’t do that. I couldn’t catch lightning in a bottle even if I tried [laughs]. But I don’t wanna do it anyway.

That actually leads into my next question cos I’ve always been impressed with how varied your albums have been. Like the work you did with Ray West for example, was a lot more laid-back than say the DITC stuff and then again with Trophies, that was a whole other sound. Is that important to you to mix it up like that, is that how you stay motivated?

Well, you already answered the question cos that’s very important. People don’t get it though. I’m sure you’re a hip-hop enthusiast yourself and of course, me being a fan of the music myself, we don’t want to hear the artists that I like keep making the same record over and over. I wanna see progression; I wanna see you push your limit, I wanna see if you was really meant to do this. Some people really stand the test of time and some people you can tell only did it cos it was trendy. And I really love the music and its people who support my music that really love it too, so why would I cheat them out of that.

That’s a good attitude to have, man. Now obviously you’ve worked with some amazing producers over the years, but I was wondering if there is anyone you would still like to get into the studio with? Do artists at your level still have those sort of dream collaborations?

I mean if you know my catalog, then you know not I’m not a huge collaborator; for me, it just has to make sense. I know a lot of people in the game of course, but I think to give you an example – Rakim and G Rap wasn’t supposed to make a record together, if that makes sense?

Yeah, I get you.

Kane and G Rap made more sense than those two. It has to make sense for me to do a collaboration with somebody and that’s the only reason I haven’t done it. And secondly, I really don’t go out too much unless it’s about some business [laughs].

I was going to ask, do you do a lot of live shows these days?

I do a lot of live shows, but here’s the thing – and once again it goes back to my 90’s alum – they don’t promote us, feel like since we came out 15-20 years ago, this is what we’re worth so this is what they’re going to pay us. And my thing is, I know my worth. I’d rather put out the music and not do the shows. I’d love to be doing shows every month, but I’d rather just put out the music and build the catalog if you’re not going to pay me what I’m worth cos eventually it’s going to break you know? That mold of oh since you came out in ’94 that means you should be paid $500, or flying 18 hours for $1000; it doesn’t make sense to me. And as I said I know my worth, so that’s what I try to get across to a lot of my alum. You know just make the music and if it’s dope, then people are going to accept it and you’re going to get booked. But a lot of people are just taking shorts and they’re kinda fucking the game up. You know these promoters wanna be your friends and things like that, but I don’t wanna be friends. This is business, straight up. So yeah, I pick my battles. Let’s put it like that.

Well, that’s a good way to be, man, cos you’re still here.

Exactly.

Just going to back to Trophies, which is definitely one of my favorite projects of yours over the years. How was it working with Apollo Brown and also Mello Music as a whole? They all seem really on point over there.

It was dope. When Apollo reached out to me we had a long conversation and then maybe the next day he sent me like 30 beats. I sifted through them and then we just got to work. I think it took me like two months to write and then finally he flew me out to The D, picked me up from the airport. He was like “yo I booked the studio for a week”, but I was like we ain’t going to need a week and I think I knocked the album out in less than eight hours on the first night.

Oh shit. Is that how you always work?

It depends on the producer I’m working with, but in his case, I didn’t wanna be doing it via email, you know? I was really into what he sent me and he wanted to do it hands on too. But yeah I mean we came up at a time when we couldn’t bullshit when we went to the studio. It was like 100 an hour, you had to buy your own reel to reel tapes and all of that, so I never go into the studio and waste time. That’s always been my thing; I never go in the studio unless I’m ready to work. I don’t go in there to write, I don’t go in there with a bunch of dudes and drink; that’s just not my thing.

You mentioned you have worked with people via email and so when you do put together a track or whatever in that way, does it turn out differently? If you’re there in person is it more likely to evolve in new directions, whereas over email the process is more linear?

It’s fairly similar but, for example, I did an EP with this cat from Australia called Debonair P and obviously, if his budget had allowed for him to fly me out to Australia I would’ve definitely done it. But in that scenario it made sense to do it like that but I still took my time and just not went in the studio until I’m ready. And then again to make sure, we go back and forth cos I don’t want anybody thinking I did it in two days, so I’m not putting my all into it. I’ve only done one like that but I still gave it 200% so they would feel like we been in the studio together.

Now going back to the early days, I know you were the second rapper to be signed to Serchlite after Nas. At the time did you feel like that was a major turning point for you and your career?

Yeah. I mean, I did the song with Prince and Monch in ’91, so it took like three years after that, man. Three years. It was a little discouraging trying to get a deal after doing the single and the video of Organized Konfusion’s album; I was at a tipping point, so to speak. You know, if it happens it happens, if it don’t it don’t. Then Serch got offered the position as vice-president at Wild Pitch and also EMI came on board as the distributor, so it was like better now than never. I didn’t care who I was signed to at that point.

I read in one of your previous interviews, that you considered yourself as a sort of antidote to the direction that rap was taking back then. When you recorded Time’s Up was that a sort of response to the way that a lot of artists were going at that time?

Probably subconsciously, but I hated that record.

Really?

Word. Serch was the driving force behind that record being the lead single because at first I felt that it was incomplete. It was just two verse and then I added the Slick Rick thing, let Roc Raida scratch it in, but I just felt like it wasn’t a complete record. But sometimes you can’t just listen to yourself, everybody around me was like trust this is it, you know? I took their judgment as that it must be okay, but at the same time when you put that first record out, it can define your career. So that was the only thing I was kinda afraid of, that people wouldn’t respond to it, but then I got the total opposite.

Is that how you still feel no? Cos I mean for me and a lot of my friends, that’s one of the greatest records of the era.

No, I feel good about it, like yo it’s a blessing. If that’s what people know me for and they don’t know anything else out of my catalog, I’m fine with that. That’s a record that’s lasted 20 years, it’s stood the test of time, so how can I be mad at that?

Now, you grew up opposite Pharoahe, is that right?

Yeah I grew up across the street from Monch. I moved to Jamaica, Queens and he lived right across the street.

So that’s how you first came to connect with Organized, but how did you first link up with DITC?

I met Lord Finesse on the very first Source Tour, with Pharoahe and Prince. Finesse was on that tour, Biz Markie, Shante, MC Serch – that’s how I met him – Almighty RSO, who had Benzino who was one of the owners of The Source. Then on a few of those dates Finesse brought Buckwild along with him, so that’s how I met Buck and that’s how my history started with Diggin’.

Coming back to the present to finish off; now the album is done, what’s next for you? Anything else in the pipeline?

I just started on the last installment. It’s a three-part series with Same Moon Same Sun and A New Dawn, so me and Show are just starting on the last installment which is called Blood Moon and so I’m getting to work on that. It’ll probably be out later in the year.

Oh so quite soon then.

Yeah, I’m not stopping, man. My hand is hot right now and I ain’t letting it go cold.

That’s good to hear, man. And that’s with Showbiz you said?

Yeah, Show is the executive producer on the first two and I just let him pick everything. People think it’s me but it’s really Show picking all the music and then I just take a bunch of tracks home, write to them and then that’s our formula.

Well, it’s working.

Definitely.

That’s about it from me, but thank you for talking with me.

I appreciate you making the call, I appreciate you doing this.

No, we appreciate it and it’s been good to connect with you. We’ll speak soon.

No doubt, Tim. Peace.

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A New Dawn by O.C. is out now. Cop it over at Bandcamp, and follow O.C. on Twitter here. 

Gingerslim has been a hip-hop fan since 1994 and has written for various blogs and websites since around 2006. During that time he has contributed to style43, Think Zebra, Headsknow and Front Magazine. His main interests in rap are UK hip-hop and the underground movement in America, with a focus on Rhymesayers Entertainment and the once mighty Def Jux label. He lives in Bristol and has a beard. All other details are sketchy at best. Follow him here.