“In recordings, it was Quincy Jones on Michael Jackson‘s Bad album. There’s little bits and pieces that if you weren’t listening straight to the songs, you wouldn’t hear these amazing things going on.
"Like with “Speed Demon,” there’s this amazing riff that happens. It’s this incredible synth run that goes up and down and takes about one second to happen and you would never notice it as just another pop listener, but as someone who’s into what’s going on with the making of music it’s amazing that it’s going on. It enhances the song so much, this amazing little thing.
It was one of those moments that still happen now, like you listen to some producers and some musicians and you have to laugh because it’s so ridiculously good. It’s the audacity of doing it. I had it recently. When a song can make me laugh ’cause of how ridiculously good it is, that’s when it’s great.”
11 Revealing Moments From Eminem's Early Days
Everything I do as a person pertains to my singing and I look up to Tupac ‘cause he spoke his mind and always expressed himself even if it contradicted what he said the day before. If you express everything all the time you’re gonna look a little crazy but that’s how you think in your mind and I think I do the same thing [as him]. As a singer, it can be a little weird ‘cause people aren’t used to a singer saying the f-word or a singer talking about gang violence in her neighborhood but I incorporate everything I feel into my music. I feel that’s what he did too. — Jhene Aiko cops to her ‘Pac adoration.
It’s an audio treasure for women and children of all ages to listen to and enjoy at the breakfast table for motivation in the home as well as the work place. It will be cherished for ages. — Riff Raff gets humble about “Real Boyz.”
Ethan Ryman [engineer]: ”At the end of “C.R.E.A.M.,” when Meth is saying, “Dollar dollar bill y’all,” the last “Y’all” is pitched. That happened when RZA was laying down a sample of Meth doing the chorus, and while the tape was rolling, he rocked the pitch wheel on the sequencer to make that happen. That is some typical Wu-Tang creative fuck-you stuff.”
Where’s your technical skills at? Hit the video camera button, son. — RZA drops Skype knowledge at the ODB documentary screening.
The vibe of boom bap is to use the least amount of instruments to create the most amount of rhythmic sound. — KRS-One delves into the genesis of the boom-bap sound.
"One thing they told everybody at the shoot was everyone has to have some sort of characteristic and personality for the photo—find something that’s in your character and give us a strange face that’s also a reflection of your vibe. That’s why when you look at the album cover everyone has this weird look on their face. I remember when the album came out and I saw the picture of my face they chose and I laughed. They definitely had me looking crazy on there."
More Tribe tributes over at MySpace.
I spoke to some of the people involved in the Wu’s debut album on the behind-the-scenes tip. Obligatory anecdotes about Ol’ Dirt Dog ensued:
"My main memory of ODB was one time we had just finished a record and we were in the lobby of the Hit Factory; Poke and Tone [of the Trackmasters] had just pulled up with Destiny’s Child in their Jaguar. They walked into the lobby and were standing there waiting to go into the studio. ODB was like, "Yo, I’m ODB, Destiny’s Child, I got to spit on your record." They literally all got back into the car and sat there! He harassed them!"
More from Chris Gehringer (who mastered the record), Ethan Ryman (engineer), Yoram Vazan (owner of the Firehouse Studio), and Jackie Murphy and Liz Fierro (art director and coordinator) over at Spin.