P
pete10k
Guest
on the busta rhymes album the big bang. didnt a artist back in the day use that same exact beat just as it is. i heard that beat way back. let me know.
pete10k
pete10k
-
Beat This!The next Beat This! Competition is from November 27-28th!
bigdmakintrax
BeatKreatoR
DJ scratch produced that beat for EPMD, then supposedly Diamond D got ahold of it, then boom Busta and Swiss Beats on the same track but DJ Scratch is still credited for the production, but the funny thing is I have the record that was sent to me on CD about 3 or 4 years ago from a producer in NY when we were exchanging samples on vinyl, now this song I have is the original because he knew I was just wanting to sample he gave me the song for about 15 or 20 bars of it including that now famous intro used by scratch and also the intro with the song itself and the verse , but the Song that you hear being used on the Busta album and Diamond D tracks is literally "UNTOUCHED" and just looped completely from that 70's cut....I am still tryna find the name of the record and get it to you, I hear all these people going crazy over the beat, it is ill no doubt but all was done is the original had the first 8 or 9 bars of the intro looped..that't it, not a lot of production skillz on it...i found an interview but it still isnt revealed I don't think where the sample came from, so if anyone knows the record please share it, you will then know how much production went into it LOL.
anyhow I found an interview with DJ Scratch and he talks about how the song came about...
http://www.nobodysmiling.com/hiphop/interview/86214.php
DJ Scratch - Your favorite DJ’s favorite DJ
Interview By : Kenny Rodriguez
DJ Scratch calls himself your “favorite DJ’s favorite DJ,” which is a hefty claim, but his boast definitely holds weight. Few turntabilists have the versatility to bust a stuttering transformer scratch, produce a head-nodding track for LL Cool J and 50 Cent, and then have the know-how to rock a packed club party.
But the former EPMD DJ, known recently for producing Busta Rhymes’ thematic “New York Sh*t,” has a newfound ambition: bringing the crown back to NYC.
DJ Scratch spoke to NobodySmiling about how the Big Apple needs to come correct, which up-and-coming MCs are repping the City right, and how “New York Sh*t” was almost a Jay-Z song.
NobodySmiling : You’ve always been a behind-the-scenes, low key kind of person – even when you were DJing for EPMD in the 1990s. What made you become more vocal nowadays?
DJ Scratch : No reason in particular, it was just that you’ve got to keep reinventing yourself throughout the years, you know what I’m saying? I’ve been in the industry for over 23 years now, and just like LL Cool J, you’ve got to keep reinventing yourself. The DJs are usually the man in behind, and the rappers are out in front. I never really was interested in the shine and all that, because everybody who always reaches for the shine, they always get in trouble in some way.
And that’s not my personality really. I might show my face here, but then I keep it moving. I’ve seen what happened throughout the years in this rap game with people. People get caught up because they’re so visible, you know what I’m saying? I’m a private dude; I still want my private life to be private. I could still go to the mall with my family, and nobody recognizes me. There might be one or two diehard hip-hop heads in the street that would know me by face. And it’s cool, I could relax. I could go to the movies and cool out. But I see a lot of people I work with, they can’t just do regular things that I do. I still cherish that.
NobodySmiling : Are there any downsides to that? Because I remember reading an interview with DJ Babu of Dilated Peoples, and he said you were one of the reasons he got into scratching. You’ve influenced a lot of DJs, but you haven’t become “famous” as a result, so you might not receive the props and recognition you deserve.
DJ Scratch : Yeah, but I was never in it for the props. The real people know, and that’s all who really need to know. My peers know through the years, they make me a legend, you know? Not the general public. So I was never in it for the props. But the only downside of it is like, if you try to get into a club or a concert, security at the door doesn’t recognize you. You know, that’s the only real downside. But other than that? I rather walk with Busta Rhymes, or stand with Jay-Z – and they look at Jay-Z and don’t know who I am, so I could just walk right out of any situation.
NobodySmiling : Talk a little bit more about that, because I heard that you actually used to spin for Jay a few years back…
DJ Scratch : One day, I went up into Def Jam and I bumped into Jay – and I know Jay from back in the days in Brooklyn. And he asked me for some tracks, he’s like: “What up Scratch, can I get some tracks?” And I was like: “Yo, can I get a twenty-minute solo on stage?” And he was like, “Are you serious? For real? Because I really need that shit.” So I was like, “Dog, I’m with it.” His Har...(continued below)
--------------------------------------------------------------------------------
--------------------------------------------------------------------------------
d Knock Life Tour [in 1999] was about to leave within a month, and we flew out to Arizona to rehearse for about a week, and we just got it cracking from there.
NobodySmiling : The heads know you primarily for your onstage set, especially for Big Daddy Kane’s “Friday The 13th I’ma Play Jason” line that you scratch up. But it’s been a while since we’ve heard any real scratching on a mainstream record. Once in a while, you might get a DJ Premier track where he cuts up the chorus, but even that’s been a minute. Why do you think that’s happened?
DJ Scratch :It’s because, basically, it’s a new generation. In hip-hop – well, let’s say rap music; I wouldn’t even give it that much credit. In rap music, a new generation comes along every three years. So the last few years, who do these new rappers have to look up to that does scratches on songs? Nobody, you know what I’m saying? So it’s gonna take dudes like myself, dudes like Busta Rhymes – cats who witnessed the golden era and want to bring that flavor back. Like this “New York Sh*t” song, I had to bring the flavor back to the game, because nobody’s even thinking about that kinda shit. You can’t expect dudes to put scratches in songs when they never even witnessed none of that. It’s not about doing their homework, because these younger dudes are not looking back on their history, they’re looking forward to getting paper. So it takes us, from the golden era and beyond, to school these cats.
NobodySmiling : So how’d the “New York Sh*t” song come about? Did Busta Rhymes initiate it, or did you approach him about it?
DJ Scratch : It was all me, basically. The song was done before I even gave it to Busta. I just placed that song on Busta’s album. I felt that he can lead this movement that I started. Like, I was complaining for a while because New York radio is 99% Dirty South, and 1% New York hip-hop. And a lot of rappers are complaining that [the South’s] getting played on the radio heavy, but you can’t get mad about that because they’re doing their thing. You just gotta do your thing, too. Wasn’t nobody really making no hot records repping for New York. Like you know, Dip Set was doing their thing, but it’s only Dip Set out right now. G-Unit hasn’t came yet – they’re making all of their albums right now, along with all these other cliques – but the only ones that are out now is Dip Set. So the only thing getting played from New York is Dip Set, because everybody else’s albums ain’t done yet.
So I did this beat, and Swizz Beats came up with the hook. We played it around town and it started a crazy buzz, then it became a bidding war for the song. A lot of cats wanted it, and they were like: “Yo, we wanna do an album.” But I was like, nah, if we do an album this song won’t be out until 2007. This song needs to be out right now; New York needs this shit right now. So I was like, whose album are we gonna place this song on? Jay-Z wanted it, but Jay ain’t coming out no time soon. I hear Jay’s recording his album, but he’s not coming out no time soon. Busta Rhymes heard it first, and he wanted it too. So I was like, okay, let’s give it to Busta. For one, me and Busta have been working for ten years now. His career is ten years strong, and I know he would rep the song right. So we gave him the song, he put his vocals on it, and the rest is history from there.
NobodySmiling : Looking forward, who are some up-and-coming New York artists who you think are going to rep the city right in the next few years?
DJ Scratch : Well, I hope everybody reps New York, but it’s basically up to us to guide it. Like DJ Kay Slay’s a veteran, so I’m sure he’s gonna guide Papoose. I think Papoose is gonna be the next dude from New York that’s gonna make an impact. I like Maino. And Jae Millz. Jae Millz is real sick with it, too. We just gotta make sure these dudes are making quality music. Because you could spit whatever you want, just make quality records to bring the essence back to NY. If we don’t do it, who else is gonna do it?
NobodySmiling : I heard you’re planning on making four remixes to “New York Sh*t” featuring a lot of prominent guest MCs. Is that true?
DJ Scratch : Yeah. I can’t even mention the artists on that right now, but it’s about to be crazy. And it’s crazy because there are so many mixtape versions of “New York Sh*t” that have been made. I think this is going to be the most remixed song in history, just on the mixtape level. Everybody’s freestyling over “New York Sh*t” right now. It’s real catchy. But I can’t even mention who’s gonna be on the remixes. I can’t expose that right now. [Laughs].
NobodySmiling : So aside from Busta Rhymes, who are some people you’re currently working with on a production level?
DJ Scratch : Right now, Papoose. Maino. P. Diddy, he’s working on his album right now. And I’m doing some R&B shit: Chauncey Black from Blackstreet. He’s signed to Flipmode Records, too. A few other cats, but I’m basically trying to make a mark with Maino and Papoose, just because they’re the new breed in NY right now. I’m not just trying to give them a beat to get a check. I’m gonna give them a real concept record that’s gonna make cats think, and make their heads nod also, instead of just giving them a beat and letting them do what they do with it. And that’s how I’ve always worked anyway. When I do business with somebody, I wanna make some shit that’s gonna mean something. Whether it’s for the streets, for the clubs, or whatever.
NobodySmiling : You mentioned Jae Millz. He’s been out for maybe two, three years now – and he’s probably been grinding for longer than that. How do you think a NY artist like him can break through, where he can get some nationwide spins? What would he need to do to break through that local shell?
DJ Scratch : Well, there’s a bunch of different things to it. There’s a bunch of rappers that’s hot out here, and their labels don’t support them. That’s one thing, too: the labels are running to Down South artists – not because of their talent, but because they’re selling on their own down there. It’s basically a numbers game with these labels right now; they’re signing movements instead of signing the hottest artists. It’s just dollars and cents with labels. But with us, it’s about talent. Like, Jae Millz is talented. He’s nice as hell, but his label might not support him. They might run Down South and put out their shit before his, you know what I’m saying? Basically, everybody needs to support everybody’s movements up here in NY. And Millz got a hot joint now. “Bring It Back” is hot for the clubs, hot for the radio, but we need to support our own.
NobodySmiling : Let’s talk a little bit about the “Scratch-umentary” DVD you’re working on. How’s that been going?
DJ Scratch : It’s going good, I’ve been filming for like a year-and-a-half now. It’s basically celebrating over 23 years in the game. There’s a lot of never-before-seen footage. I’ve been in DVDs before about DJs, I’ve been in books, but I can’t tell my story in five minutes. I have a lot to talk about, a lot to share, and a lot to show. It’s basically three parts: (1) DJ Scratch, the battle/concert DJ. (2) DJ Scratch, the producer – interviewing cats I look up to, such as Pete Rock, Marley Marl, and DJ Premier. (3) DJ Scratch, the party DJ. People think because of all the tricks I’ve done on the turntables throughout the years, they think I don’t know how to rock a party. But that was the first thing I was doing. Basically, everything you didn’t know about me will be on the DVD.
And I’m paying homage to DJs that never get mentioned: Mixmaster Ice from UTFO. DJ Cash Money. Barry B and Chill Will from Doug E. Fresh and the Get Fresh Crew. Grandmaster DXT. Howie Tee. These are DJs who were doing these tricks in arenas, and people don’t even mention them. But I don’t blame them for not mentioning them, because they don’t really know. When these young dudes go back, they go straight to Kool Herc, Afrika Bambaataa, Grandmaster Flash, and Grand Wizard Theodore. They skip over the whole age from the ‘80s to the mid-‘90s, and there were a lot of DJs during that time that put so much work. They invented stuff that DJs are doing right now. So I’m just doing my part.
anyhow I found an interview with DJ Scratch and he talks about how the song came about...
http://www.nobodysmiling.com/hiphop/interview/86214.php
DJ Scratch - Your favorite DJ’s favorite DJ
Interview By : Kenny Rodriguez
DJ Scratch calls himself your “favorite DJ’s favorite DJ,” which is a hefty claim, but his boast definitely holds weight. Few turntabilists have the versatility to bust a stuttering transformer scratch, produce a head-nodding track for LL Cool J and 50 Cent, and then have the know-how to rock a packed club party.
But the former EPMD DJ, known recently for producing Busta Rhymes’ thematic “New York Sh*t,” has a newfound ambition: bringing the crown back to NYC.
DJ Scratch spoke to NobodySmiling about how the Big Apple needs to come correct, which up-and-coming MCs are repping the City right, and how “New York Sh*t” was almost a Jay-Z song.
NobodySmiling : You’ve always been a behind-the-scenes, low key kind of person – even when you were DJing for EPMD in the 1990s. What made you become more vocal nowadays?
DJ Scratch : No reason in particular, it was just that you’ve got to keep reinventing yourself throughout the years, you know what I’m saying? I’ve been in the industry for over 23 years now, and just like LL Cool J, you’ve got to keep reinventing yourself. The DJs are usually the man in behind, and the rappers are out in front. I never really was interested in the shine and all that, because everybody who always reaches for the shine, they always get in trouble in some way.
And that’s not my personality really. I might show my face here, but then I keep it moving. I’ve seen what happened throughout the years in this rap game with people. People get caught up because they’re so visible, you know what I’m saying? I’m a private dude; I still want my private life to be private. I could still go to the mall with my family, and nobody recognizes me. There might be one or two diehard hip-hop heads in the street that would know me by face. And it’s cool, I could relax. I could go to the movies and cool out. But I see a lot of people I work with, they can’t just do regular things that I do. I still cherish that.
NobodySmiling : Are there any downsides to that? Because I remember reading an interview with DJ Babu of Dilated Peoples, and he said you were one of the reasons he got into scratching. You’ve influenced a lot of DJs, but you haven’t become “famous” as a result, so you might not receive the props and recognition you deserve.
DJ Scratch : Yeah, but I was never in it for the props. The real people know, and that’s all who really need to know. My peers know through the years, they make me a legend, you know? Not the general public. So I was never in it for the props. But the only downside of it is like, if you try to get into a club or a concert, security at the door doesn’t recognize you. You know, that’s the only real downside. But other than that? I rather walk with Busta Rhymes, or stand with Jay-Z – and they look at Jay-Z and don’t know who I am, so I could just walk right out of any situation.
NobodySmiling : Talk a little bit more about that, because I heard that you actually used to spin for Jay a few years back…
DJ Scratch : One day, I went up into Def Jam and I bumped into Jay – and I know Jay from back in the days in Brooklyn. And he asked me for some tracks, he’s like: “What up Scratch, can I get some tracks?” And I was like: “Yo, can I get a twenty-minute solo on stage?” And he was like, “Are you serious? For real? Because I really need that shit.” So I was like, “Dog, I’m with it.” His Har...(continued below)
--------------------------------------------------------------------------------
--------------------------------------------------------------------------------
d Knock Life Tour [in 1999] was about to leave within a month, and we flew out to Arizona to rehearse for about a week, and we just got it cracking from there.
NobodySmiling : The heads know you primarily for your onstage set, especially for Big Daddy Kane’s “Friday The 13th I’ma Play Jason” line that you scratch up. But it’s been a while since we’ve heard any real scratching on a mainstream record. Once in a while, you might get a DJ Premier track where he cuts up the chorus, but even that’s been a minute. Why do you think that’s happened?
DJ Scratch :It’s because, basically, it’s a new generation. In hip-hop – well, let’s say rap music; I wouldn’t even give it that much credit. In rap music, a new generation comes along every three years. So the last few years, who do these new rappers have to look up to that does scratches on songs? Nobody, you know what I’m saying? So it’s gonna take dudes like myself, dudes like Busta Rhymes – cats who witnessed the golden era and want to bring that flavor back. Like this “New York Sh*t” song, I had to bring the flavor back to the game, because nobody’s even thinking about that kinda shit. You can’t expect dudes to put scratches in songs when they never even witnessed none of that. It’s not about doing their homework, because these younger dudes are not looking back on their history, they’re looking forward to getting paper. So it takes us, from the golden era and beyond, to school these cats.
NobodySmiling : So how’d the “New York Sh*t” song come about? Did Busta Rhymes initiate it, or did you approach him about it?
DJ Scratch : It was all me, basically. The song was done before I even gave it to Busta. I just placed that song on Busta’s album. I felt that he can lead this movement that I started. Like, I was complaining for a while because New York radio is 99% Dirty South, and 1% New York hip-hop. And a lot of rappers are complaining that [the South’s] getting played on the radio heavy, but you can’t get mad about that because they’re doing their thing. You just gotta do your thing, too. Wasn’t nobody really making no hot records repping for New York. Like you know, Dip Set was doing their thing, but it’s only Dip Set out right now. G-Unit hasn’t came yet – they’re making all of their albums right now, along with all these other cliques – but the only ones that are out now is Dip Set. So the only thing getting played from New York is Dip Set, because everybody else’s albums ain’t done yet.
So I did this beat, and Swizz Beats came up with the hook. We played it around town and it started a crazy buzz, then it became a bidding war for the song. A lot of cats wanted it, and they were like: “Yo, we wanna do an album.” But I was like, nah, if we do an album this song won’t be out until 2007. This song needs to be out right now; New York needs this shit right now. So I was like, whose album are we gonna place this song on? Jay-Z wanted it, but Jay ain’t coming out no time soon. I hear Jay’s recording his album, but he’s not coming out no time soon. Busta Rhymes heard it first, and he wanted it too. So I was like, okay, let’s give it to Busta. For one, me and Busta have been working for ten years now. His career is ten years strong, and I know he would rep the song right. So we gave him the song, he put his vocals on it, and the rest is history from there.
NobodySmiling : Looking forward, who are some up-and-coming New York artists who you think are going to rep the city right in the next few years?
DJ Scratch : Well, I hope everybody reps New York, but it’s basically up to us to guide it. Like DJ Kay Slay’s a veteran, so I’m sure he’s gonna guide Papoose. I think Papoose is gonna be the next dude from New York that’s gonna make an impact. I like Maino. And Jae Millz. Jae Millz is real sick with it, too. We just gotta make sure these dudes are making quality music. Because you could spit whatever you want, just make quality records to bring the essence back to NY. If we don’t do it, who else is gonna do it?
NobodySmiling : I heard you’re planning on making four remixes to “New York Sh*t” featuring a lot of prominent guest MCs. Is that true?
DJ Scratch : Yeah. I can’t even mention the artists on that right now, but it’s about to be crazy. And it’s crazy because there are so many mixtape versions of “New York Sh*t” that have been made. I think this is going to be the most remixed song in history, just on the mixtape level. Everybody’s freestyling over “New York Sh*t” right now. It’s real catchy. But I can’t even mention who’s gonna be on the remixes. I can’t expose that right now. [Laughs].
NobodySmiling : So aside from Busta Rhymes, who are some people you’re currently working with on a production level?
DJ Scratch : Right now, Papoose. Maino. P. Diddy, he’s working on his album right now. And I’m doing some R&B shit: Chauncey Black from Blackstreet. He’s signed to Flipmode Records, too. A few other cats, but I’m basically trying to make a mark with Maino and Papoose, just because they’re the new breed in NY right now. I’m not just trying to give them a beat to get a check. I’m gonna give them a real concept record that’s gonna make cats think, and make their heads nod also, instead of just giving them a beat and letting them do what they do with it. And that’s how I’ve always worked anyway. When I do business with somebody, I wanna make some shit that’s gonna mean something. Whether it’s for the streets, for the clubs, or whatever.
NobodySmiling : You mentioned Jae Millz. He’s been out for maybe two, three years now – and he’s probably been grinding for longer than that. How do you think a NY artist like him can break through, where he can get some nationwide spins? What would he need to do to break through that local shell?
DJ Scratch : Well, there’s a bunch of different things to it. There’s a bunch of rappers that’s hot out here, and their labels don’t support them. That’s one thing, too: the labels are running to Down South artists – not because of their talent, but because they’re selling on their own down there. It’s basically a numbers game with these labels right now; they’re signing movements instead of signing the hottest artists. It’s just dollars and cents with labels. But with us, it’s about talent. Like, Jae Millz is talented. He’s nice as hell, but his label might not support him. They might run Down South and put out their shit before his, you know what I’m saying? Basically, everybody needs to support everybody’s movements up here in NY. And Millz got a hot joint now. “Bring It Back” is hot for the clubs, hot for the radio, but we need to support our own.
NobodySmiling : Let’s talk a little bit about the “Scratch-umentary” DVD you’re working on. How’s that been going?
DJ Scratch : It’s going good, I’ve been filming for like a year-and-a-half now. It’s basically celebrating over 23 years in the game. There’s a lot of never-before-seen footage. I’ve been in DVDs before about DJs, I’ve been in books, but I can’t tell my story in five minutes. I have a lot to talk about, a lot to share, and a lot to show. It’s basically three parts: (1) DJ Scratch, the battle/concert DJ. (2) DJ Scratch, the producer – interviewing cats I look up to, such as Pete Rock, Marley Marl, and DJ Premier. (3) DJ Scratch, the party DJ. People think because of all the tricks I’ve done on the turntables throughout the years, they think I don’t know how to rock a party. But that was the first thing I was doing. Basically, everything you didn’t know about me will be on the DVD.
And I’m paying homage to DJs that never get mentioned: Mixmaster Ice from UTFO. DJ Cash Money. Barry B and Chill Will from Doug E. Fresh and the Get Fresh Crew. Grandmaster DXT. Howie Tee. These are DJs who were doing these tricks in arenas, and people don’t even mention them. But I don’t blame them for not mentioning them, because they don’t really know. When these young dudes go back, they go straight to Kool Herc, Afrika Bambaataa, Grandmaster Flash, and Grand Wizard Theodore. They skip over the whole age from the ‘80s to the mid-‘90s, and there were a lot of DJs during that time that put so much work. They invented stuff that DJs are doing right now. So I’m just doing my part.
Opera Populare
Graduate Of The Game
ill o.g.
Battle Points: 1
the sample is from S.S.O. Faded Lady like D said its a straight loop. Heres the link to it http://xxlmag.com/online/?p=1931#comments.
bigdmakintrax
BeatKreatoR
^^^^^^^GOOD shit I tried to find it based on what I heard the lyrics saying, thankx man!
bigdmakintrax
BeatKreatoR
ok cool, actually Ryan Banks recorded to that the night I was a session a few weeks ago, I think that instrumental is at the top of the mixtape track list to go on about right now.
Opera Populare
Graduate Of The Game
ill o.g.
Battle Points: 1
no doubt D, everybody did a freestyle to the beat such as talib and jean grae like mentioned,hi tek,freeway and a handful of others
O
open mind
Guest
interesting interview bigd.
Rhythmikal
Beat's Disciple
ill o.g.
"DJ Scratch you sick for this one"
for looping an intro? fuk off.
for looping an intro? fuk off.