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Jadakiss: 20 classiques décortiqués…

Aprés Primo, c’ est au tour de Jadakiss de décortiquer 20 de ses classiques…


The Last Kiss → Jadakiss (2009)

“Def Jam didn’t expect this album to do as well as it did. They expected it to do dirt. It shocked them. They had to come back and get on the bandwagon [laughs]. This is the last album that will have the Kiss title on it. When I signed with Roc-A-Fella it wasn’t like Jay was right there coaching me or doing anything big. It was the fact that the fans seeing me affiliated with him sparked interest back up for me because I had not released an album in five years. That was a challenge for me because the music scene had changed. They were doing ‘The Stinky Leg’ and ‘Party Like A Rock Star.’ It was a whole new era of peers involved in hip-hop. So for me to come out and still be able to cater to my fans that started with me in the early 90s and still reach these young kids that are my son’s age, I’m good money.

Doing a collabo like ‘Respect My Conglomerate’ with Busta Rhymes and Jeezy is something that brings spice to the game. Everybody likes the individual player, but you love to see all the great players come together. Why do you think the Miami Heat sells so many tickets? It brings an interest to the song. And working with Lil Wayne was great. I got the track for ‘Death Wish’ and it sounded scary…dark. I knew I wanted to put Weezy on something different than people were used to hearing him on. I like to come left field with my collabos, and Weezy was hot as fish grease. He nailed it.

‘Who’s Real’ got a lot of play. It felt like I knew what was going on at the time industry wise. That was the last song I recorded for the album. I needed one last song that was contemporary to what was going on. I didn’t want it to be too hard. I wanted the hook to be friendly for the kids. But I wanted the lyrics to be hard as shit. And who else is better to work with than Swizz Beatz? He made another banger for me. I was on my promo tour in the south when I leaked ‘Who’s Real.’ I let it come out from Atlanta and go all the way to New York. It was a hit in the Dirty South first, which was new for me. With this album, I showed that I had the game down to science.”


“Made You Look remix” → Nas feat. Ludacris and Jadakiss (2003)

“I remember Lenny from Columbia calling me saying, ‘Yo, Nas wants you on a remix.’ But it really happened before that when I went to the video shoot for the original ‘Made You Look.’ I see Nas, Jungle, Lenny and [Steve] Stoute. And they are like, ‘We are going to get you on the remix.’ And I’m like, ‘Yo, I can’t wait…send me that beat, now!’ I actually had the beat for three or four days, which was very different for me, so you can hear the difference.

I wrote this rhyme in front of my bathroom mirror. I came up listening to Nas when he came out with ‘Halftime.’ So whenever he sends you something you have to be on you’re A-game. It was always different when Nas, Jay or Big called. You know you have to outdo your best work. And when they put Luda on it that was a great look. It brought a whole other demographic to it. Nas gave people three different flavors. We performed it a lot at different shows. We did Summer Jam, which is always crazy. And we shot a live video in New York.”


“Banned From TV” → N.O.R.E.  feat. Big Pun, Nature, Cam’ron, Jadakiss & Styles P (1998)

“When you talk about this song you have to start with Pun. He was my man. He used to always tell me that I was his favorite rapper. We used to kick it a lot and he had a lot of love for me. There will be no other. He was a priceless piece of work that was lost in this hip-hop game. We should never underrate him…never forget him. He was an incredible lyricist.

Having Swizz Beatz do the track for ‘Banned From TV’ was great. But you want to hear something crazy? My solo song ‘All For The Love’ on that first Lox album was Swizz’ first beat heard by the world. I rhymed on the first Swizz Beatz track! So I had a one-up on everybody on ‘Banned’ [laughs]. We already heard the beat in the studio before, so Styles and me new exactly how to approach the song. We had a special synergy. Me and Styles would do that back and forth rhyme style like Run-DMC and EPMD. We admired all the groups that had two MC’s. I think the first time we recorded in that style was on ‘Dope Money’ on that Ruff Ryders compilation album. We just kept it going.

We knew when we laid our vocals on ‘Banned From TV’ we could not play around because we had all of these great rappers on one song together. Me and Styles sat down with each other like we were studying for an SAT or the Bar exam [laughs]. Styles would throw out a line and then I would bounce something off of him. Sometimes we shot each other ideas down. It took us hours to write it, but it was worth it. ‘Banned From TV’ is an incredible posse cut. I love all that ‘90s music. That’s what my IPod mainly consist of. Like I said, that was a golden era for hip-hop.”


“Niggaz Done Started Something”→ DMX  feat. the Lox and Mase(1998)

“At that time there was no where else to go but the studio. ‘Niggaz Done Started Something’ was a song that we had maybe a year before people even heard it. It was just laying around the studio and it didn’t belong to anybody. We would lay some verses to it from time to time. Mase would lay some verses as well. But it wasn’t until X laid his verse that it became his song. We were making records together so frequently—the Lox, X and Mase. With X it’s family. We grew up with him, but he’s a little older. We knew him for years when he was hanging in the ‘hood. We knew X before either of us had a dime. I’m talking about going half on Chinese food and splitting money for a cab. We can’t bullshit each other. X was really aggressive in the studio. But he was also a funny guy who worked hard.  X and the Lox had a special chemistry. We always had to bring in on our A game when it came to recording songs with X.”

Pour les autres tracks, checkez le sit de Vibe:


Primo: 38 classiques décortiqués…

Nas “I Gave You Power” (1996)

Nas “I Gave You Power” (1996)


DJ Premier: “I was on tour with Gang Starr, and I was just getting back. And I was going right back out to go to Japan. So I didn’t have any time to make any other beats for It Was Written. But Nas said, ’I want to make a record as if I was a gun.’ We started messing around, trying to figure out what he’s going to do, and we finally figured out a way, because he said, ’Maybe I should do a skit where I drop the gun, and somebody else finds it.’ And that’s how it all built, and I said, ’You know what? Instead of making this a hard mean shit, let me make it sound sad.’ Because he said I’m going to be the gun talking about being tired of all the stuff I’m doing to people. That’s why I put that emotion behind it.”

Gang Starr f/ Nice & Smooth “DWYCK” (1992)

DJ Premier: “It was just a fun record. It was a B-side joint. We did ‘Down the Line’ on the Nice & Smooth album, so we were like, ‘Ya’ll do one with us.’ So we just made a B-side and it was ‘DWYCK.’ WC was here when we cut that record. He was up in New York hanging with me. Don Barron from Masters of Ceremony was also here. Everybody cut their vocals, and Smooth came the second day. He laid his, and we put it out there, and all of a sudden it was a summertime smash. After that we were doing shows everywhere thanks to ‘DWYCK.’ It was a very high point in my life.

“It was supposed to be on Daily Operation, but the label wasn’t rolling with it. They just wanted to leave it the way it was. The buzz, however, was so big, we re-mastered it and tacked it onto the album, but then [the label] just didn’t do the re-pressings. I think we would’ve gone, maybe even platinum. ‘DYWCK’ was that big. We were upset, so we said, ‘Let’s at least put it somewhere down the line because even if they don’t want anything on the album, if they want ‘DWYCK’ on it, they’ll cop’em.’ So that’s why we put that on Hard to Earn.”


Gang Starr “Mass Appeal” (1994)

DJ Premier: “It was recorded as a joke. We just wanted to make fun of the radio on what it sounded like to get airplay. That’s why I made the background melody real simplistic. I was making fun of the radio, but I’m going to make a funky version of making fun of it. Everything’s a vision, and your brain has to be that intense to be able to capture that. What the radio played, when it came to hip-hop, it sounded too watered down. That was making fun of it, but that record did real good for us. We shot the video in Riis beach out in Far Rockaway, but don’t mention that video, man. It was cold, too cold.”

Jeru the Damaja “Come Clean” (1994)


DJ Premier: “Guru wanted six artists on Gang Starr Foundation. He said, ’I’m going to sign three, and you’re going to sign three.’ I never got my three. So I said, ’Let’s start with your three.’ It was Big Shug, Group Home, and Jeru. Jeru was the most ready, so we started with him. I cooked it up, and I thought about putting some melodies to it, but Jeru’s so grimy and hardcore, the beat was perfect for him. He didn’t need any extra keyboards, or melodic sounds. It just sounded raw, and no one made a beat like that. And I ended up making two albums with [Jeru]: The Sun Rises in the East and Wrath of the Math. I stopped working with Jeru because of business issues. I keep business and friendship separate all the time. So I was like, ’Let’s just chill, and we’ll keep it cool.’ And we’re still cool to this day.”


Notorious B.I.G. “Unbelievable” (1994)

Notorious B.I.G. “Unbelievable” (1994)

DJ Premier: “I almost didn’t make the record. Big called me at the last minute, and said, ’Get me a track,’ and I told him, ’I don’t have time to make one.’ I had other deadlines to meet at the time. He was on his way to blow up, and I loved him, and I wanted to help, but I really just didn’t have the time. I used to see Big in the area all the time. Just to hang. Mister Cee put me on to Big, and we would go down to the store where we used to buy 40s. We’ll see Big, and he’ll be like, ’Yo, what do I got to do to get put on?’ And I said, ’Well, you messing with Puff.’ And he’s like, ’Yeah, but he’s taking too long.’ And I would be like, ’Nah, stay with him. He’s going to help you get rich.’ He was just impatient like all artists, but it’s a process.

“So he just kept pushing me like, ’Yo, Prim, please, please, I ain’t got no more money in my budget. All I got is $5,000.’ And I’m like, ’Dude, I cost way more than that, but I love you, and I’m going to go ahead and look out for you. Just get up here tonight.’ And I did that beat. He was here. Standing right over there [points at the corner next to the turntable] while I was sampling the beat, and goes, ’I just want to watch [imitates Biggie’s breathing].’ [Laughs.] I don’t like people watching me making my beats, but with Big I was just comfortable. He was actually the one who said, ’Yo, scratch R. Kelly’s ’Your Body’s Callin’.’ You know where he goes, ’Unbelievable~’’ And I was like, ’Yo, that sounds like it’ll work.’ Then he just went in there and spit it. No paper, no nothing. He actually just sits there for hours. And you’d think he’s not doing anything, or even concentrating, and then when it’s getting damn near three or four in the morning, you ask him, ’Dude, are we going to do this tonight? Or are we coming back tomorrow?’ He’ll be like, ’Nah, I’m ready.’ And he just gets up, and goes in there. Bangs it. Done.”


Big L f/ Big Daddy Kane “Platinum Plus” (2000)

DJ Premier: “Jay-Z was supposed to be on [’Platinum Plus’] too. It was supposed to be the three of them, but he never had the chance to do it in the time frame. We really had to turn it in to make the date. So we just went ahead and did it without him. This is when Jay and Big L were talking about a deal, but they were friends anyway. L used to take Jay everywhere and go, ’Yo, this is my man Jay-Z. He’s dope.’ He took him to Stretch & Bobbito, and he would take Jay to all the spots. It wasn’t the other way around. I met Big L through Lord Finesse and Showbiz way back. [Finesse] met him at Rock N. Wills, which was one of the spots we used to go digging and all that. They used to have battles there. L was at a battle, he met Lord Finesse who he was a big fan of, and they clicked. He introduced to him to Show, and then Show put him on ’Represent’ on Runaway Slave.

“We were just always around each other a lot. L was just super funny. He was a jokester. One time, him and Showbiz were arguing about Malcolm X and Martin Luther King in this room. Showbiz was like, ’Yo, you’re stupid. You think you know everything, but you’re stupid.’ And L was still trying to justify himself. And he talks like he rhymes. He’ll be like, [raises the pitch of his voice] ’Yo, yo, yo, Premier like, that nigga don’t know what he be talkin’ bout. Yo, check this out, yo, Martin Luther King, he said in his book like, yo, Malcolm X, yo.’ You know what I mean? And Show was just like, ’You’re stupid! You don’t know shit! Fucking, you’re the dumbest motherfucker in the world!’ And L would be like, ’Yo, fuck you, you don’t know shit, yo, let me tell you about Malcolm X.’ And they were waiting for Fat Joe to get here to do ’Da Enemy.’ Joe finally walks in and goes, ’What are ya’ll arguing about?’ And then Show was still going at it like, ’You’re a stupid motherfucker.’ And L would be like, ’Yo, yo, yo, you don’t know shit. Yo, ya’ll get the beat ready? I already got my rhymes.’ And Joe was like, ’You go first.’ And then we heard L said his shit, and we were like, ’Oh, my God. When the streets hear this? It’s on and popping.’”


Pour le reste ça se passe ici:


Making Of « Mixtape Volume 1 »

Comme promis, nous avons réuni Dutch Boogie, Verbal King & Tony Ca$h pour disséquer la mixtape que nous avons précédemment posté dans nos colonnes… Lire la suite

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