Lifted from Brooklyn Bodega
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super sonic
An interview with Jake One by Dale Coachman
First there was Starbucks, then Microsoft, and now the renaissance of the Supersonics, but Hip Hop in Seattle? Producer Jake One has been there since fat laces and Kangols and, believe it or not, Seattle has been good to the humble beat-maker. The Northwest is just another example of why it’s not where you’re from but where you’re at. Having worked with an impressive and diverse roster of Rap music's elite, Jake One’s current mission is to bring back what he says has been missing from Hip Hop. Beats sold separately, biting not included.
BB: When people think of Hip Hop, Seattle doesn’t automatically come to most minds...
Jake One: Yeah definitely, it probably surprises a lot of people but it doesn’t for people here because we’ve been making good music for a minute, but to the rest of the world for sure.
BB: What was it like growing up in Seattle for you and when did you first encounter Hip Hop?
Jake One: My first experience with hip hop was being six or seven years old and break-dancing. Wildstyle, Run-D.M.C.’s first album; that was the point where you couldn’t tell me anything and it was all Hip Hop and I didn’t want to hear nothing else.
BB: The way Hip Hop is now do you still carry that same kind of passion for it?
Jake One: There are still songs I hear and beats I hear that give me that feeling. As long as it’s like that I’m always going to be a fan of Hip Hop. It’s not as easy to catch that high because we know too much at this point. I think that’s the problem with a lot of the older rap fans is that they’ve been through all this stuff and nothing is impressive - but things can (still) be impressive in a different context.
humble roots: jake one's home studio, circa 1997
BB: Do you feel like there is a type of elitism when it comes to fans and critics who were there at the beginnings of Hip Hop?
Jake One: The thing that irritates me is that people act like you can out grow Hip Hop. It’s like I’m too old to listen to Hip Hop if I feel it but I don’t go out and do what they’re saying in the song; we didn’t (ever) go out and do what they were saying in any song (just) to like it. I feel like the older generation—whether they have kids or want to chill and be more adult (they feel) rap isn’t that adult—they can feel any way they want to. I just don’t see myself going that way. I like being around the youngsters because it makes me remember how excited I used to get all the time.
BB: Who today inspires you to get in the studio and behind the boards?
Jake One: Since I’m a producer it’s mostly producers like my homie Vitamin D, Nottz, Just Blaze; you know, the usual suspects. As I’ve gotten older I’m starting to respect people who have their own sound and to continue with that and evolve through it.
BB: When did you start making music, can you remember some of the first beats you attempted to make?
Jake One: Yeah it’s funny; I ran across a box of tapes - I was thinking I needed to archive some of this shit, so for days I’ve been listening to some of the first beats I ever made in 1994 and, man, it’s been a long time. Around 2000 I got a better idea of how to put stuff together - 2003 I got (to the point) I could do what was in my head, do something close to what I really wanted.
BB: Has your process of making beats changed from when you first started until now?
Jake One: I would say everything was just wide open because I really didn’t know records that well. I’m still learning with records but I’ve adapted and learned how to play a little bit and work with musicians so it just depends on what I’m feeling and what I’m trying to bring across. I’m working on my own album right now and I’m really focused on making that super hip-hop because I feel like that’s missing. I kind of sampled but I’ve been doing it in unconventional ways. I might go back and try to create that same sound but with master tapes and musicians and all types of crazy shit.
BB: What do you feel are the essential components that are missing in Hip Hop?
Jake One: I would say one is originality, I had a conversation with Vitamin [D] yesterday about the ethics we used to have and things, in general in hip-hop you didn’t do. Stealing is so commonplace and accepted now; I think that’s one of the reasons hip-hop has lost a lot of luster. You can copy someone’s shit and it’s still embraced.
BB: At what point did you feel like this was something you could do for the rest of your life?
Jake One: I did a 12-inch record with this label called Construction and that was like my training ground for the first songs I ever did. I also did a record called “World Premiere” for an artist named Eclipse and that record just took off. Gangstarr came to town and Premier [DJ] opened with that beat and I think Hiero [Hieroglyphics] they opened with that beat and that just blew me away. It was just weird to see something that I made in my mom’s house go that far.
another home photo, circa 1994
BB: You’ve worked with a multitude of artists; who were some that stuck out, or maybe completely dispelled the perception you had of them before hand?
Jake One: I would say Young Buck definitely. I’m not going to say he’s a nice guy, I mean he is, but what you see is what you get. He treats everyone the same. Some rappers will be in the studio and ignore people, but he’s just genuine - a 'man of the people' kind of guy. E40 is the exact same way.
BB: What can we expect from the album you’re currently working on, White Van Music?
Jake One: When I first started making beats I was into N.W.A. and Pete Rock - you won’t hear that (sound, specifically), but I’ll have stuff where the chorus is a different sound from the verses and no one does that anymore. I did a song with Alchemist, Evidence, and Prodigy rappin' and the beat is from the “Love no Limit” song but then I make another beat for the chorus with all organic real sounds...
check out jake one on myspace
::::::::::::::::::::::::::::::::::::::::::
super sonic
An interview with Jake One by Dale Coachman
First there was Starbucks, then Microsoft, and now the renaissance of the Supersonics, but Hip Hop in Seattle? Producer Jake One has been there since fat laces and Kangols and, believe it or not, Seattle has been good to the humble beat-maker. The Northwest is just another example of why it’s not where you’re from but where you’re at. Having worked with an impressive and diverse roster of Rap music's elite, Jake One’s current mission is to bring back what he says has been missing from Hip Hop. Beats sold separately, biting not included.
BB: When people think of Hip Hop, Seattle doesn’t automatically come to most minds...
Jake One: Yeah definitely, it probably surprises a lot of people but it doesn’t for people here because we’ve been making good music for a minute, but to the rest of the world for sure.
BB: What was it like growing up in Seattle for you and when did you first encounter Hip Hop?
Jake One: My first experience with hip hop was being six or seven years old and break-dancing. Wildstyle, Run-D.M.C.’s first album; that was the point where you couldn’t tell me anything and it was all Hip Hop and I didn’t want to hear nothing else.
BB: The way Hip Hop is now do you still carry that same kind of passion for it?
Jake One: There are still songs I hear and beats I hear that give me that feeling. As long as it’s like that I’m always going to be a fan of Hip Hop. It’s not as easy to catch that high because we know too much at this point. I think that’s the problem with a lot of the older rap fans is that they’ve been through all this stuff and nothing is impressive - but things can (still) be impressive in a different context.
humble roots: jake one's home studio, circa 1997
BB: Do you feel like there is a type of elitism when it comes to fans and critics who were there at the beginnings of Hip Hop?
Jake One: The thing that irritates me is that people act like you can out grow Hip Hop. It’s like I’m too old to listen to Hip Hop if I feel it but I don’t go out and do what they’re saying in the song; we didn’t (ever) go out and do what they were saying in any song (just) to like it. I feel like the older generation—whether they have kids or want to chill and be more adult (they feel) rap isn’t that adult—they can feel any way they want to. I just don’t see myself going that way. I like being around the youngsters because it makes me remember how excited I used to get all the time.
BB: Who today inspires you to get in the studio and behind the boards?
Jake One: Since I’m a producer it’s mostly producers like my homie Vitamin D, Nottz, Just Blaze; you know, the usual suspects. As I’ve gotten older I’m starting to respect people who have their own sound and to continue with that and evolve through it.
BB: When did you start making music, can you remember some of the first beats you attempted to make?
Jake One: Yeah it’s funny; I ran across a box of tapes - I was thinking I needed to archive some of this shit, so for days I’ve been listening to some of the first beats I ever made in 1994 and, man, it’s been a long time. Around 2000 I got a better idea of how to put stuff together - 2003 I got (to the point) I could do what was in my head, do something close to what I really wanted.
BB: Has your process of making beats changed from when you first started until now?
Jake One: I would say everything was just wide open because I really didn’t know records that well. I’m still learning with records but I’ve adapted and learned how to play a little bit and work with musicians so it just depends on what I’m feeling and what I’m trying to bring across. I’m working on my own album right now and I’m really focused on making that super hip-hop because I feel like that’s missing. I kind of sampled but I’ve been doing it in unconventional ways. I might go back and try to create that same sound but with master tapes and musicians and all types of crazy shit.
BB: What do you feel are the essential components that are missing in Hip Hop?
Jake One: I would say one is originality, I had a conversation with Vitamin [D] yesterday about the ethics we used to have and things, in general in hip-hop you didn’t do. Stealing is so commonplace and accepted now; I think that’s one of the reasons hip-hop has lost a lot of luster. You can copy someone’s shit and it’s still embraced.
BB: At what point did you feel like this was something you could do for the rest of your life?
Jake One: I did a 12-inch record with this label called Construction and that was like my training ground for the first songs I ever did. I also did a record called “World Premiere” for an artist named Eclipse and that record just took off. Gangstarr came to town and Premier [DJ] opened with that beat and I think Hiero [Hieroglyphics] they opened with that beat and that just blew me away. It was just weird to see something that I made in my mom’s house go that far.
another home photo, circa 1994
BB: You’ve worked with a multitude of artists; who were some that stuck out, or maybe completely dispelled the perception you had of them before hand?
Jake One: I would say Young Buck definitely. I’m not going to say he’s a nice guy, I mean he is, but what you see is what you get. He treats everyone the same. Some rappers will be in the studio and ignore people, but he’s just genuine - a 'man of the people' kind of guy. E40 is the exact same way.
BB: What can we expect from the album you’re currently working on, White Van Music?
Jake One: When I first started making beats I was into N.W.A. and Pete Rock - you won’t hear that (sound, specifically), but I’ll have stuff where the chorus is a different sound from the verses and no one does that anymore. I did a song with Alchemist, Evidence, and Prodigy rappin' and the beat is from the “Love no Limit” song but then I make another beat for the chorus with all organic real sounds...
check out jake one on myspace
