Hello perspective backers.My objective is to put together a documentary about D&D Studios,NYC, one of the most well known and respected Hip Hop Recording studios in the business.This studio itself was world renowned for cranking out a distinct and unique sound which in turn lead to the rise of a era of undeniable Hip Hop classics.With this film I hope to give the background stories on some of the most influential Hip Hop records and albums of our time,show you the place where they were made and tell what it took to make them .

Through candid, in depth interviews with the producers and artists who made this happen, we will also explore the personal experiences of these artists and producers whose hard work made these albums and who ultimately became a part of the most influential era of Hip Hop Music to date.Also we will gain insight as to what it was like working at D&D,what made it so special and how being there helped to mold their sound, giving birth to timeless gems.Every Hip Hop fan and those who are just curious to know, will most definitely get answers to questions they have had for decades.

I’ll “chop it up” with the studio’s original owners,former staff members and various Hip Hop production notables and pioneers, such as :

• DJ Premier,one half and producer for GangStarr,Group Home,Jeru Da Damaja and the Notorious B.I.G.
• Ski Beats,producer for Jay Z,Camp Lo and Sporty Thievz
• Da Beatminerz,producers for Black Moon,Smif N Wessun and Heltah Skeltah
• Lord Finesse,producer for D.I.T.C.,Big L and Fat Joe
I’ll talk with artists including:
• KRS One legendary EMCee who gave us “You Must Learn”,”Sound of the Police” and “Rapture”
• The Lost Boyz, who gave the hits “Jeeps,Lex Coups,Bimaz and Benz” and “Music Makes Me High”
• Craig G. who penned “Droppin’ Science” and “The Symphony”

We will also spend time reminisce and pay tribute to some of our fallen comrades such as Christopher “B.I.G.” Wallace,Lamont “Big L” Coleman,Keith “Guru” Elam and others, all of whom recorded at the studio and over the years became family to all of us who worked there and whose music was a voice for countless numbers of fans.

The funds I am attempting to raise through KickStarter will be used to get things started, no pun intended.To pay for travel and filming costs and incidentals, as I am in the infant stages of the production of the project.This is a completely independent work and a long time passion of mine.Being present at D&D during this period as an Intern and later as an Engineer,I was privileged to be a part of creative process on some of most of the greatest albums of that era.With the help of backers such as yourself, I hope to bring my vision to life and share this with the world.Thanks you for your interest.

Project location: New York, NY

For a preview, you can read Dexter’s older stories on D&D Studios here. Lets see what the future will bring. Good luck my friend.

With Kanye West’s much-anticipated comeback nearing fruition, contributing producer DJ Premier talks about his involvement with My Beautiful Dark Twisted Fantasy.

I know Kanye West has changed a lot of stuff for My Beautiful Dark Twisted Fantasy because he didn’t even use my track. I just jumped on a song a few weeks ago that he had already done called “Mama’s Boy” and he had me do some scratches on it. It was last minute, he called me in the middle of the night and I did it and knocked it out for him before he had to turn his album in like four days.

So I asked him, “Yo, you’re not using the one I gave you?” I gave Kanye a banging, boom bap joint, some original left field Preem sh*t because I know I’m dealing with Kanye so I know I gotta go deeper in my thoughts and creativity but he didn’t use it.

I can’t be mad at him, he told me as he grew and began shaping the album, it didn’t fit and the beat is dope. He loves it and it will be used but he has the album with Jay-Z and he’s like, “Yo, I need two for that.” So I’m going to give him some stuff for the Jay album.

No stress. I have been turned down many times for tracks. “I” think he should have used it but I’m not mad at him. This is a business and so what he chooses is what he chooses. When he saw me and Showbiz from D.I.T.C., he was way in the early stages of the album and he was playing me like 11 joints then and said he was just starting. Everything was back to brakes, hard kicks and snares, things like that that we are used to.

Kanye told me “Return of the Boom Bap” was one of the records he was studying to get him back into that mind state. I haven’t heard the updated version except from the stuff that’s leaked so I’m hoping [it doesn’t leak also]. I heard the Pete Rock with Jay on it and Pete even played me, when we were on the same flight to Japan together, for the “Pete Rock Vs. Premier” show, Pete played me the tracks he gave Ye. Even though I love the one he did with Curtis Mayfield, he had this other one that was knocking out the box. Oh my God. I don’t think they used it.

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