DJ Premier & Pete Rock were sitting together for an interview when they had to do their show in Montreal, Canada. A local radio station took their time to both interview them and I have off course the audio of that. They talk about their upcoming projects, their secret project, InI, Guru, who’s the best today in NY, the best places for hip hop outside USA, working with artists outside the USA and they had to define each other style in one word + giving  top 3 of each other and some other games… Props to Pete Rock for naming a fucking real top 3 of DJ Premier, damn!  Don’t expect their project with 9th Wonder soon, at least next year if you hear what DJ Premier is going to release this year (if he’ll make it). And Preems next European collaboration is with the France group Soulcast, somebody got more info of them? Couldn’t find it. Enjoy:

DJ Premier & Pete Rock Sits Together With CISM 89.3FM

Also: Erykah Badu quote on DJ Premier, Dr. Dre & J Dilla.

Some wise words over here!

(Click on picture to enlarge…)

Scans from The Redbull Bulletin magazine. DJ Premier was already rumored to be on Kanye West new album “Good Ass Job” dropping in June (featuring Pete Rock confirmed by himself),expect a delay…

One little extra, new track I ripped from Statik Selektah’s first radio show on Sirius XM:

Kali – Rock Star (Feat. Termanology) (Produced by Statik Selektah) (Radio Rip)

MONTREAL – I have this fear. You know the stereotype of the baby boomer who swears by the Beatles and the Stones, and complains that they just don’t make music like they used to?

I fear I’m the hip-hop equivalent.

Don’t get me wrong. Great rap records continue to be made, but not as often as they used to. The first rap album I bought was Run-DMC’s Raising Hell in 1986. From then until – let’s say the day Notorious B.I.G. died, March 9, 1997, was what I consider the heyday of the genre.

So news that DJ Premier and Pete Rock – two of the biggest hip-hop DJ-producers of the ’90s – will be in town Saturday night is heaven-sent. And a chance at a phone chat with the former was just too good to pass up.

As the beat-making half of New York City rap duo Gang Starr, Premier is an icon. The group defined a rugged yet poetic musical vision where art met street. They crafted several classic albums in a career that spanned from 1989’s acid-jazz-predating No More Mr. Nice Guy to 2003’s late-career statement The Ownerz.

“We ran the entire decade,” Premier said, reached last week in Queens, N.Y. “Not a lot of hip-hop groups run a decade. But from 1989 to 2003, we were consistent and relevant non-stop.”

Premier and rapper Guru had gone their separate ways in recent years, but Premier has been checking in daily for updates on his old partner, who remains hospitalized after a heart attack at the end of February.

“He’s still in a coma,” Premier said. “There have been a lot of rumours going around. I deal with his family directly, and get my updates from them. … He’s breathing, he’s alive, and he’s fighting to maintain.

“It hurts,” he continued. “It saddens me that it’s like that. I miss him. I’ll love him forever.”

Times have changed. It has been more than 20 years since Guru heard Premier’s demo tape and asked him to join Gang Starr. Their first single, Words I Manifest, sampled a Miles Davis and Charlie Parker recording of A Night in Tunisia.

It was the beginning of the “jazz-rap” tag that Gang Starr would be identified by, and would later try to move beyond (leading to Guru’s Jazzmatazz series on the side). At the heart of the group’s sound was Premier’s instinctive blend of musicality and hard-edged undertones. Known for his intricate layering of samples, his tracks always told a story, and were based in his knowledge of a wide variety of music.

“I’m 44 years old,” he said. “I didn’t have hip-hop as a kid. We had soul, jazz, blues, zydeco, country. I’m from Texas. Country was normal – George Strait, Merle Haggard, Patsy Cline.

I grew up watching Hee Haw and loving it. It was all we had.”

As Gang Starr’s status grew, Premier became increasingly in-demand as a producer. He made tracks for KRS-One, Das EFX, Nas (including three tracks on his classic 1994 debut Illmatic), Jeru the Damaja (producing his acclaimed debut, The Sun Rises In the East), the Notorious B.I.G., Group Home, M.O.P and, later, Jay-Z, Rakim, D’Angelo and many more.

Of all his collaborations, I asked Premier which he is most proud of. He answered not as a producer, but as a fan.

“Definitely Rakim and KRS-One,” he said. “They are artists I looked up to and who I wanted to accept me for being dope. That they wanted to work with me, it felt like I had made it. Big Daddy Kane, Gang Starr even, these were monumental things. Working with Nas, Jay and Biggie was fun, but they were younger than me. They were up-and-coming youngsters making a statement. I didn’t put them on as high a pedestal. … Jay didn’t make me want to do it. I was already doing it.”

Which is not to say that he didn’t throw himself wholeheartedly into tracks he made for the “youngsters,” or that he was any less of a fan. He recalled in detail the recording sessions for Nas’s Illmatic, made with a who’s who of producers including Pete Rock, Large Professor and Q-Tip.

“I was at the session for Life’s a Bitch,” he said. “I met Nas’s father (jazz musician Olu Dara). He went to play the horn at the end and Nas said ‘Get crazy. …’ I remember The World Is Yours session, with Pete laying it live; it was cool to watch the process.

I remember when Q-Tip gave the One Love sample, he had it looped on cassette. He was pause-mixing it, with no drum machine. I said ‘Wow, I can’t wait to hear this song.’

“I witnessed all that. I remember giving Nas a ride home that day … Those memories mean a lot to me.”

But Premier is not one to rest on his laurels. He produced several tracks on Christina Aguilera’s 2006 album Back to Basics, and worked on the follow-up, Bionic, due in June – though his tracks reportedly didn’t make the final cut, as the sound went in a more futuristic direction.

He began our conversation by talking excitedly and at length about current projects, including his label Year Round Records, protégés NYGz, his Friday night show on Sirius satellite radio, and more.

Asked what fans can expect from him and Pete Rock on Saturday night, Premier replied: “Back and forth motion of hot records. He picks a song, I pick a song. We go through different categories and bring nothing but heat.”

Source: The Montreal Gazette

Premo stopped by DJ Semtex’s show last Friday after Tim Westwood. They discuss Guru, his latest signing Nick Javas, wanting to work with Drake, and new artists coming through such as Nicki Minaj and Diggy Simmons.

Oh yeah, and I think I know what’s going on why he wants to work with Drake while a lot of real heads think fuck Drake. He wants to prove to us (or the media) how dope he can make some one with his sound I THINK.

You can find the Tim Westwood interview here that is practically the same. Go to the 2hour mark for DJ Premier:

DJ Premier Interview with DJ Semtex

DJ Premier & Nick Javas were friday evening guest at Tim Westwood‘s radio show, Tim Westwood had some questions ready for DJ Premier. They talk about Guru, Gang Starr, Roc Raida and more. Cool interview! Enjoy:

DJ Premier Interview With Tim Westwood

“The second beat I ever made in my life was ‘Take It Personal’ but I never played it for Guru until 1992” -DJ Premier

If you’ve ever listened to Hip-Hop music then you should know who DJ Premier is. Premier was one-half of the legendary group Gangstarr and arguably the greatest Rap producer of all time. Primo has made classic beats for the likes of Nas, Jay-Z, Snoop Dogg, Ludacris, Rakim, KRS-One, and The Notorious B.I.G.

Word has it that he’ll be behind the boards for the next release of a certain tantrum throwing MC from Chicago.

I had the honor of meeting DJ Premier at an event sponsored by 944 Magazine during NBA All-Star Weekend in Dallas, Texas—the pleasure was all mine.

SS: What has All-Star Weekend been like for you so far?

DJ Premier: It’s been really great. We just got here today. The funny thing is I’m from New York and we just got a little rough snow but I’m used to it. I shovel my own drive-way, I shovel the side walk, take care of all my neighbors, and make sure all the old ladies get their drive-ways shoveled and get taken care of with salt and all of that. I’m from Texas originally but I’ve been living in New York for 22 years. My sister lives out here and to come out to 9 inches of snow is funny. I’m used to 36 degrees but everybody out here is panicking, flights were cancelled and all of that. We made it here safely.

Big shout out to 944 magazine for having us out here, we appreciate it. Shout out to The Boardroom for having us, Russell Simmons, Melanie Fiona, Paul Pierce, Snoop Dogg, DJ Reflex, and Doug E. Fresh. It’s a beautiful thing to be out here. Shout out to Nick Javas who ripped it with me. He’s on my label Year Round Records. Also shout out to all the people that came through, Amare Stoudemire, LeBron James, Chris Tucker, Magic Johnson and also Allen Iverson who couldn’t be here who I’m a big fan of.

SS: I read that you were working with MC Eiht on his new album, how did that come about?

DJ Premier: We’ve been friends for a long time. I’ve known him since the 90’s; we came up in the same era. When the West Coast was strong with Death Row MC Eiht had his own lane—he also became an actor in the film Menace II Society. I did my first gig in L.A. in 1989 with Gangstarr, Compton’s Most Wanted, WC and the Maad Circle, and Ice Cube. This was when Ice Cube first left N.W.A. He got into a big beef backstage. All the action wasn’t out in the crowd it was backstage. It was crazy to witness that and see how many people were mad at Cube for moving and taking that step. It turned out to be one of the best moves that he made.

The first person I met in Long Beach at the show was MC Eiht. He had two beepers on his hip, a big fresh jheri curl, and black khaki’s. He said, “What’s up DJ Premier my name is MC Eiht,” and we’ve been friends ever since. I just love his style. He has a unique voice and a unique flow—he has his own lane. That’s what it’s all about, having your own lane. Everybody always wants to sound like everybody else but when you’re different you always prevail even if it takes a minute to get there. He never switched that up.

When I put out an artist named Blaq Poet on my label Year Round Record in June of 2009 we wanted to do a remix. Eiht and I were on the phone talking about new music he was working on and I let him hear the song and he loved it. He was like, “Yo let me get on it.” I let him get on it and then my man Young Maylay who’s down with Dub C WC and Crazy Toones who is also from the west coast let me hear his stuff and he’s a great MC. He’s going to be on my label too. I asked him to get on it too and he sent it to me in a day—done! I said let’s shoot a video because I was working with Christina Aguilera on her new album out in L.A. Gordon Franklin who runs my label said, “Yo I got some cheap tickets we can get. Let’s bring Poet, fly out to L.A., shoot the video, and go back to New York the next day.” I stayed out there and worked with Christina. I snuck away…she don’t even know I broke away. I’m going to get in trouble now. I broke away from a session that she’s paying me to be out there for to go and shoot the video with Poet, MC Eiht, and Maylay. It came out really good, it’s called “Ain’t Nuttin’ Changed.” Then they came to New York and did the show for our release party. We flew them up, put them in nice hotels, and took care of them—we’re old friends. I said you know what, we should do an album. Eiht gave me like 40 songs and he doesn’t know how to mix. He gave me like 40 songs all sparse and crazy but the beats and lyrics were dope. I said, “Yo man we could do two albums together! I’m gonna put you on my label and do a couple of one-offs.”

That’s what my label represents, pure Hip-Hop from the bottom up! You gotta start from the bottom and work your way up. Everybody now is so caught up on first week sales and soundscan. Forget soundscan and forget first week sales, it’s all about integrity and quality music. We care about our fans and we care about giving them their money’s worth. That pays more than a payola record. Paying for a record means you’re buying your friends. I don’t have to buy my friends to like me. I want you to like me because I’m real and I’m me. So all those other expletives let them pay for their records, we know that they don’t hold water next to what we do. I don’t care if they get 20 million spins they can’t stand next to us when we drop our stuff. Play yours then play mine—ours is better (laughs).

SS: Pete Rock is in town, I think 9th Wonder just left town…

DJ Premier: Family man…all family.

SS: I recently saw clips from the show that 9th did to honor you and Pete in North Carolina….

DJ Premier: Yeah man. That’s one of the dopest things I’ve ever experienced. To be honored…. Man I feel like I got so many more miles to go. I’ll be 44 years-old this year. The love that 9th Wonder gave me and Pete was so incredible. The band that played for us mimicking our records and sounding just like the beats we produced from out heart and soul, it was one of the biggest, dopest events ever in my lifetime. I love 9th Wonder, I love Pete. Big shout out to both of them.

SS: Are you still using the SP 1200?
DJ Premier: No I’m using the S950 which is one of the old, old 1984-85 machines. And I’m still using the MPC60! The first MPC! Roger Linn, big up.

SS: I watched you deejay tonight, what’s your opinion of Serato?

DJ Premier: I used to be against Serato just because vinyl is the essence of how we’ve developed Hip-Hop culture. Shout out to Kool Herc the father and Afrika Bambaataa the godfather. I was against it for a long time and then DJ’s I respect like Jazzy Jeff and DJ Jazzy Jay from the Zulu Nation were like, “Preem this is what you’ve earned. You’ve carried records, amps, and speakers for years; bruising your legs, being tired, sore, paying overweight fees on planes for your record crates on tour. This is a gift to you–utilize it, learn it, and master it and you’ll be incredible.” I finally mastered it and I can do the same thing I wanted to do which is what I was afraid of losing—the integrity of what makes me great when I do vinyl.

I own all of these records that are actually played on Serato. I have every one in storage with the ar
twork and the credits showing who produced it, engineered it, mixed it, and shout out to my man Ronnie, Ra-Ra, and Rollo! All that means a lot to us so I don’t want that to go away. I like all the rock artists like Katy Perry, Pearl Jam, U2, and Radiohead that put out vinyl. Jay-Z still puts out vinyl, Blueprint 3 is on vinyl. I love that because they don’t neglect what made our culture great which was the DJ. Before there was an MC there was the DJ and we are the reason why you dance and party. I stay true to the essence. I can play these types of party’s where it’s cross-over music but I’m really deep rooted in the 80’s, 90’s era of Hip-Hop. I like the grown and sexy stuff, 70’s funk, Parliament, Curtis Mayfield, Al Green, Aretha Franklin, Natalie Cole you name it, all of that stuff.

SS: When you deejay at a club do you try to avoid playing Primo records?

DJ Premier: Nah, ‘cause I know that’s what they want. I didn’t do it tonight. The gig’s I usually get that’s all I do is do a big segment of Premier and Gangstarr. Then I go into other stuff like breaks and the original records that we sample from. At the end of the day it’s all about your knowledge and respect for music. As long as your knowledge and respect for music is there you will always prevail because I can do any gig from House, Folk, Country, Rock, and everything. We really, really respect music. We don’t just listen to it and love it, we respect it. You gotta respect it to love it and take it to the next level and that’s what I do.

SS: I interviewed MoSS a few weeks ago and he said that you guys had a surprise coming this year. Can you drop a hint for Examiner.com?

DJ Premier: If it’s a surprise then it’s gotta remain that. Shout out to MoSS, Works of Mart, Toronto, Canada. He’s one of the illest, fiercest, original producers that I really respect. That’s why I signed him to my production company because he brings another piece to the puzzle. And plus I give people their credit. You have a lot of producers that take the credit but other people produced the song—that’s just how they’re structured. With me if MoSS produced it, it will say produced by MoSS for Works of Mart. If Gemcrates produced it, it will say produced by Gemcrates for Works of Mart. If it’s produced by Premier, it’s Premier for Works of Mart. I’m not gonna take it and put my name on it but they did it. Plus my sound is already embedded and I don’t want people to say, “Ah man now you getting other people to do your beats?” I worry about that stuff. We all have our own style; they’re just another added piece to making solid albums. It’s all about albums, I love making solid albums.

SS: This is the 20 year anniversary of Just to Get a Rep. That’s my favorite Premier beat of all time.

DJ Premier: I appreciate it man, thank you.

SS: Go back and talk about Just to Get a Rep and how you made that beat.

DJ Premier: We made that record based on that fact that Guru and I had just got our record deal for Step in the Arena on EMI and Chrysalis Records. We both bought brand new whips, he had a 4Runner and I had a brand new MPV. He was actually robbed for his car and he wrote a song about it. The crazy thing is, the guy who robbed him for his car, we found the guy. We chased him and he ran into an ice cream truck crashed and died. God bless his soul. He crashed into an ice cream truck and died, what can you do? Guru wrote the lyrics based on that incident. That’s a very, very sacred and deep record. I remember the day that we went to the precinct to see the car and it was smashed up like an accordion. There was no way he would have survived that crash. It’s unfortunate that the guy got lost but at the same time it’s unfortunate that he took it upon himself to take Guru’s car. At the end of the day we prevailed. God bless his soul and God bless his family. We don’t wish death on anybody.

SS: You have over 20 year’s of experience beat-making. Do you have a favorite Primo beat?

DJ Premier: Nah. I’m not into riding my own expletive. It’s not my style. You know? Not my style.

SS: So what’s up for DJ Premier in 2010?

DJ Premier: Year Round Records is my label for 5 years strong. We have a NYG’z album coming out. They have an album that came out in 2008 called Welcome to G-Dom, more of a compilation type of an album with me bringing up the body of it and they did their own thing while I was on tour with Big Shug of Gangstarr Foundation. We’re also working on his album called Blue Collar. Also Nick Javas from Jersey, his album is called Destination Unknown—a very good album. I got Khalil from Houston, Texas–Missouri City to be exact. His album is called My MC Name is.… I’m also doing my DJ Premier album, MC Eiht, and Young Maylay. Also KRS-One and DJ Premier, we’re doing Return of the Boom Bip. Not Boom Bap, Boom Bip. Shout out to Q-Tip who is already on it. Grand Puba and Ice-T who are on it, it’s going to be one of the illest album’s of 2010!

Source: Examiner