With Gang Starr’s 18-cut LP Step in the Arena (Chrysalis) making much noise in ’91, DJ Premier is producing a highly respected rep for himself and receiving credit where the credit is due. Premier’s blunted Brooklyn beats illustrate the essence of his hardcore meditative sound. His rhythms roll in thick, his cuts amputate, and his melodies keep the vibe flowin’ correctly.
Recently, Premier found a little time to break from the clouds of creativity in the studio and speak upon the talent and skills that keep his fans content. The interview touches on topics ranging from his record collecting days at the impressionable age of four to his production plans for the future, and this is how he ran it down the line…
[The Source:] When did you start gettin’ into beats?
[DJ Premier:] Well, I’ve been collecting records since I was four years old. I got baby pictures of me with records in one hand and squashed up sausage in the other hand. It started out when this lady was givin’ me all these Stevie Wonder and Gladys Knight and the Pips records. And then she ran out of records. So what she did was she told my moms, “Well, he’s young, he don’t know the difference. Give me some of them records back and I’ll give ‘em to him again and he’ll think I’m still givin’ him records.” So the next time she gave me those records, I went up to my moms and I said, “Look, Ma, I don’t think she knows this, but she’s givin’ me the same records.” Right then my mom said she knew I was gonna go into the music business. I was maybe pushin’ five.
My parents were into a lot of music, my grandfather was into music, and people around they way were into it. Being around all that and just being addicted to music, I started wanting to toy with the equipment and all that. So I started, you know, just playin’ around with different ideas in the crib.
When did you become a DJ?
Actually, I just learned how to DJ about three years ago. I’m still learning how to improve. I’m not no big standin’ on my head cuttin’ with my ass and all that, but I think I’m still good enough to hang with those brothers that do all that just from the way I kick my own style. I like original, rhythmic scratchin’ styles even if I just use a cut like on “Execution of a Chump,” where I’m just cutting the kick from “Impeach the President,” but I did it all the way through the song without samplin’ it. But I was never battling or anything like that back in the day. I just knew how to mix. I’d mix two records and I’d sit back down and just watch kids rock to my shit.
What did your first demo sound like?
I had this one kid from Boston whose name was MC Topski. We did a demo together with two tracks I did, “Up Another Level” and one called “Let My DJ Get Hyped Up.” “Up Another Level” was real original at that time. It was the first “Think” loop I’ve ever heard. I’m not sayin’ I originated it, but I’d never heard it before, and I heard several versions a few months later. “Let My DJ Get Hyped” was basically all the scratches from “Deep Concentration” [off Gang Starr’s first LP] I still like that demo. Anyway, Stu [Stu Fine, owner of Gang Starr’s former label, Wild Pitch Records] liked the way I hooked it up because I didn’t use drum machines.
What kind of equipment did you use?
I’d just get two copies, loop it, put it on a 4-track, then get the sounds, put it on a 4-track, get another cut, put that on and lay a vocal. I couldn’t afford no sampler.
What kind of equipment did you use?
All I got is one sampler, an Akai S-900, and an Alesis HL-16 drum machine to trigger my samples, that’s it. People in the music business and people that I hang around come into my room, see my shit, and they’ll be like, “Damn, this is all you got?”
I believe that sampling is an art form if you don’t abuse it.
How do you define abusing it?
Using real obvious shit. I wouldn’t use “Super Freak” and try to do a rap over it. And if I did, I wouldn’t try to make that the hottest single.
Recently, Premier found a little time to break from the clouds of creativity in the studio and speak upon the talent and skills that keep his fans content. The interview touches on topics ranging from his record collecting days at the impressionable age of four to his production plans for the future, and this is how he ran it down the line…
[The Source:] When did you start gettin’ into beats?
[DJ Premier:] Well, I’ve been collecting records since I was four years old. I got baby pictures of me with records in one hand and squashed up sausage in the other hand. It started out when this lady was givin’ me all these Stevie Wonder and Gladys Knight and the Pips records. And then she ran out of records. So what she did was she told my moms, “Well, he’s young, he don’t know the difference. Give me some of them records back and I’ll give ‘em to him again and he’ll think I’m still givin’ him records.” So the next time she gave me those records, I went up to my moms and I said, “Look, Ma, I don’t think she knows this, but she’s givin’ me the same records.” Right then my mom said she knew I was gonna go into the music business. I was maybe pushin’ five.
My parents were into a lot of music, my grandfather was into music, and people around they way were into it. Being around all that and just being addicted to music, I started wanting to toy with the equipment and all that. So I started, you know, just playin’ around with different ideas in the crib.
When did you become a DJ?
Actually, I just learned how to DJ about three years ago. I’m still learning how to improve. I’m not no big standin’ on my head cuttin’ with my ass and all that, but I think I’m still good enough to hang with those brothers that do all that just from the way I kick my own style. I like original, rhythmic scratchin’ styles even if I just use a cut like on “Execution of a Chump,” where I’m just cutting the kick from “Impeach the President,” but I did it all the way through the song without samplin’ it. But I was never battling or anything like that back in the day. I just knew how to mix. I’d mix two records and I’d sit back down and just watch kids rock to my shit.
What did your first demo sound like?
I had this one kid from Boston whose name was MC Topski. We did a demo together with two tracks I did, “Up Another Level” and one called “Let My DJ Get Hyped Up.” “Up Another Level” was real original at that time. It was the first “Think” loop I’ve ever heard. I’m not sayin’ I originated it, but I’d never heard it before, and I heard several versions a few months later. “Let My DJ Get Hyped” was basically all the scratches from “Deep Concentration” [off Gang Starr’s first LP] I still like that demo. Anyway, Stu [Stu Fine, owner of Gang Starr’s former label, Wild Pitch Records] liked the way I hooked it up because I didn’t use drum machines.
What kind of equipment did you use?
I’d just get two copies, loop it, put it on a 4-track, then get the sounds, put it on a 4-track, get another cut, put that on and lay a vocal. I couldn’t afford no sampler.
What kind of equipment did you use?
All I got is one sampler, an Akai S-900, and an Alesis HL-16 drum machine to trigger my samples, that’s it. People in the music business and people that I hang around come into my room, see my shit, and they’ll be like, “Damn, this is all you got?”
I believe that sampling is an art form if you don’t abuse it.
How do you define abusing it?
Using real obvious shit. I wouldn’t use “Super Freak” and try to do a rap over it. And if I did, I wouldn’t try to make that the hottest single.
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