[8] During this time he handled a significant amount of production on several projects for other artists. The dudes [in the Paid In Full Posse] who were co-signing Nas couldn’t really get to Rakim like that, like Supreme [Magnetic], [DJ] Hot Day, Ant Live – Ant Live was Eric B’s brother.

DX: A quick off-topic question I gotta ask you as a producer many consider one of the greatest of all time: Whodini, Run-DMC, Fat Boys and Kurtis Blow producer Larry Smith, the man who was essentially Dr. Dre and DJ Premier in one, is he officially the greatest Hip Hop producer of all time in your mind? [16] Large Professor also used the same vocal sample from the chorus on the song "The Man" for his 1st Class album. During and after his tenure with Main Source, he worked with Pete Rock & CL Smooth, and he produced a number of tracks for Nas, Busta Rhymes, Masta Ace, The X-Ecutioners, Tragedy Khadafi, Big Daddy Kane, Mobb Deep, A Tribe Called Quest, and others during the 1990s.

It was just something that [was intended to sound like] the sun going down or something like that.

DX: I wanna go back to LP’s new LP. All the sounds are already in there.” It was a millennium move, it was like, “Yo, alright, so I’ll just do the beats like this.” And then once I did it like that, and I started putting some songs together [and discovering that] I can use all stock sounds and get busy like that, people started coming at me like, “Yo, but he don’t use samples no more” and all of that bullshit. Records were toys when we were children. But the ones that do pay homage are the ones that are 1,000 in this. Large Professor: Nah, nah, nah, I just got like scriptures, ‘cause it be on some Biblical shit too. So that kinda deterred me from doing that more. I hear like, “Some of that shit right there might be a little naïve.” But, for the most part [I’m impressed]. Joe Blow Thinks So, DAX Reveals Why He Wants To Sign With A Major Label In 2019, How Fredo Bang Used His Jail Stint To Get His Bars Up, Brittney Taylor Talks Female Unity In Hip Hop & Making 2019 Her Year, DJ Self On "Love & Hip Hop," Being An Entrepreneur & Modern DJ Culture, Killer Mike Talks Capitalism, New Netflix Series & His "Billionaire Mindset".

Like I said, I look at a lot of the records from back in the days, and it was a format. We still have joints from God’s Son sessions …. (This article is a modified and updated version of a story that was originally published on Micro-Chop.). So definitely, Larry Smith is up there though, with the early [Hip Hop producers], and especially with the instrumentation. At that time in life, I was eighteen years old.

We went through a few different drum loops.

Much like past Eric B. One half of golden age hip hop duo Eric B.

… It’s not just more rhymes, and words and words and words.

So, I’ve been here for a lot of the albums, and we have a lot of songs just in the cut. Large Professor: Nah, nah, nah, ‘cause it’s just [pauses] you know, this is music. But I noticed in the beginning they had the drum loop and they had The Commodores’ [“Assembly Line”] shit in there, and I took the “huh” out of it. Eric B just had the studio booked. And people’s reactions have been crazy, so I’m like, well then I can just hook up my [boom bap] shit and just throw it out there.

It’s not just like, Yo, I’ma slap some songs together. [3], William Paul Mitchell was born in Harlem, New York City, New York and raised in Flushing, Queens, New York, where he attended John Bowne High School. Smooth.

Okay, yeah, of course you gotta have skills to begin with, but along with that you gotta be on the right label, and they gotta promote you, they gotta do videos and all of that shit for you [to blow up]. DX: I need to switch gears here and ask you as the man who hooked Pete Rock up with that timeless Tom Scott horn sample for “They Reminisce Over You,” I gotta get your thoughts on Lupe Fiasco’s flip of “T.R.O.Y.” for “Around My Way (Freedom Ain’t Free).” In your opinion, was Lupe within his Hip Hop rights to reinterpret that track, or should he have left it alone? Nas is a master crafter builder.

It was like a dip, dip dive kind of thing, so it was like, “Yeah, this is that city shit right here.” A lot of times the beats will just tell you what to write. DX: Speaking of telling you what to write, you didn’t spit to three of the tracks on Professor @ Large – “Barber Shop Chop,” “Sun, Star & Crescents” and “Back In Time” – instead opting to just let the beats ride.

Large Professor: Right. [4] Large Professor now considers "Looking at the Front Door" one of the most emotional records of his career, later saying "That's a deep record. DX: Who were the guys who were like the icons that you were modeling yourself after?

Large Professor: Yeah, some of ‘em I hear the 18, 19, 20-year-old. Large Professor performing at the Rahzel & Friends – Brooklyn Bowl in 2016, Lost & Found: Hip Hop Underground Soul Classics, Most of My Heroes Still Don't Appear on No Stamp, "Breaking Atoms: The Legendary Album That Invented The Sound Of "Classic" New York Hip-Hop", "Large Professor Tells All: The Stories Behind His Classic Records (Part 1) Eric B. Large Professor: Nah, Paul, he entirely did “Run For Cover.” There were a few other ones, um … “Untouchables,” Paul did that entirely.

DX: One more ’89 question, I gotta ask it while I got you here, can you clarify once and forever what you actually did on Let The Rhythm Hit ‘Em?

‘Cause I know you did like [the whole track for] “In The Ghetto.”. There’s a thought process that goes into this. They using these records and they know what that is and they flipping some old-time shit but in a new way and they just using that part right there.” Yo, that shit just … the light went on. Like, Marley Marl and them? Are you sitting there like, “Alright, I’m doing a sun-is-rising song right here”? That dude was putting them joints together. ‘Cause that’s the God right there, so it’s like, “Alright, we gotta turn this shit off, wrap this shit up real quick and let Rakim do what he gotta do.”. G Rap was working on his joint, [Wanted: Dead or Alive]. Large Professor: Well, on [the title-track] a lot of that is Rakim and [Rakim’s brother] Stevie Blass. I mean, we still have joints from Nastradamus sessions. It’s just you growing in life and you just writing as you still learning.

That’s why I don’t understand [the Lupe Fiasco and Pete Rock controversy]. So I was just learning some wild shit right there.

And then a few of them other joints I did entirely. Like, I totally did [the track].

And, at that time, he was executive producing G. Rap’s album, he was executive producing his own album [with Rakim, Let The Rhythm Hit ‘Em]. It would be nice if all the long everything would have been [together]. And, the only thing with me is that I really wish brothers would have had they real mogul hat on, where it’s like, “Alright, yo, let me hear something else.” Or like, “Yo, who is that?” He kinda was just like, Yeah, yeah, yeah, that’s alright, now let me get to work.



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