An interview with Jake One by Dale Coachman

First there was Starbucks, then Microsoft, and now the renaissance of the Supersonics, but Hip Hop in Seattle? Producer Jake One has been there since fat laces and Kangols and, believe it or not, Seattle has been good to the humble beat-maker. The Northwest is just another example of why it’s not where you’re from but where you’re at. Having worked with an impressive and diverse roster of Rap music’s elite, Jake One’s current mission is to bring back what he says has been missing from Hip Hop. Beats sold separately, biting not included.

BB: When people think of Hip Hop, Seattle doesn’t automatically come to most minds…

Jake One: Yeah definitely, it probably surprises a lot of people but it doesn’t for people here because we’ve been making good music for a minute, but to the rest of the world for sure.

BB: What was it like growing up in Seattle for you and when did you first encounter Hip Hop?

Jake One: My first experience with hip hop was being six or seven years old and break-dancing. Wildstyle, Run-D.M.C.’s first album; that was the point where you couldn’t tell me anything and it was all Hip Hop and I didn’t want to hear nothing else.

BB: The way Hip Hop is now do you still carry that same kind of passion for it?

Jake One: There are still songs I hear and beats I hear that give me that feeling. As long as it’s like that I’m always going to be a fan of Hip Hop. It’s not as easy to catch that high because we know too much at this point. I think that’s the problem with a lot of the older rap fans is that they’ve been through all this stuff and nothing is impressive - but things can (still) be impressive in a different context.

humble roots: jake one’s home studio, circa 1997

BB: Do you feel like there is a type of elitism when it comes to fans and critics who were there at the beginnings of Hip Hop?

Jake One: The thing that irritates me is that people act like you can out grow Hip Hop. It’s like I’m too old to listen to Hip Hop if I feel it but I don’t go out and do what they’re saying in the song; we didn’t (ever) go out and do what they were saying in any song (just) to like it. I feel like the older generation—whether they have kids or want to chill and be more adult (they feel) rap isn’t that adult—they can feel any way they want to. I just don’t see myself going that way. I like being around the youngsters because it makes me remember how excited I used to get all the time.

BB: Who today inspires you to get in the studio and behind the boards?

Jake One: Since I’m a producer it’s mostly producers like my homie Vitamin D, Nottz, Just Blaze; you know, the usual suspects. As I’ve gotten older I’m starting to respect people who have their own sound and to continue with that and evolve through it.

BB: When did you start making music, can you remember some of the first beats you attempted to make?

Jake One: Yeah it’s funny; I ran across a box of tapes - I was thinking I needed to archive some of this shit, so for days I’ve been listening to some of the first beats I ever made in 1994 and, man, it’s been a long time. Around 2000 I got a better idea of how to put stuff together - 2003 I got (to the point) I could do what was in my head, do something close to what I really wanted.

BB: Has your process of making beats changed from when you first started until now?

Jake One: I would say everything was just wide open because I really didn’t know records that well. I’m still learning with records but I’ve adapted and learned how to play a little bit and work with musicians so it just depends on what I’m feeling and what I’m trying to bring across. I’m working on my own album right now and I’m really focused on making that super hip-hop because I feel like that’s missing. I kind of sampled but I’ve been doing it in unconventional ways. I might go back and try to create that same sound but with master tapes and musicians and all types of crazy shit.

BB: What do you feel are the essential components that are missing in Hip Hop?

Jake One: I would say one is originality, I had a conversation with Vitamin [D] yesterday about the ethics we used to have and things, in general in hip-hop you didn’t do. Stealing is so commonplace and accepted now; I think that’s one of the reasons hip-hop has lost a lot of luster. You can copy someone’s shit and it’s still embraced.

BB: At what point did you feel like this was something you could do for the rest of your life?

Jake One: I did a 12-inch record with this label called Construction and that was like my training ground for the first songs I ever did. I also did a record called “World Premiere” for an artist named Eclipse and that record just took off. Gangstarr came to town and Premier [DJ] opened with that beat and I think Hiero [Hieroglyphics] they opened with that beat and that just blew me away. It was just weird to see something that I made in my mom’s house go that far.

another home photo, circa 1994

BB: You’ve worked with a multitude of artists; who were some that stuck out, or maybe completely dispelled the perception you had of them before hand?

Jake One: I would say Young Buck definitely. I’m not going to say he’s a nice guy, I mean he is, but what you see is what you get. He treats everyone the same. Some rappers will be in the studio and ignore people, but he’s just genuine - a ‘man of the people’ kind of guy. E40 is the exact same way.

BB: What can we expect from the album you’re currently working on, White Van Music?

Jake One: When I first started making beats I was into N.W.A. and Pete Rock - you won’t hear that (sound, specifically), but I’ll have stuff where the chorus is a different sound from the verses and no one does that anymore. I did a song with Alchemist, Evidence, and Prodigy rappin’ and the beat is from the “Love no Limit” song but then I make another beat for the chorus with all organic real sounds…

check out jake one on myspace

by Dale Coachman

a hi-tek classic to get things started…

The term Super-Producer gets thrown around very loosely these days. Cincinnati native Hi-Tek however, is just that, and without self-proclamation. Working with the likes of Talib Kweli, 50 Cent, Dr. Dre, the Game, and Little Brother, Hi-Tek has walked a path less traveled, and has consistently stayed true to his art form. Never getting caught up in the trendy sounds that come and go, Tek-Zilla still manages to produce quality and original music. The BODEGA™ had the opportunity to speak with the Midwest father of one about business, G-Unit, collaborating with Dr. Dre, and his new album, which hit stores yesterday.

BROOKLYN BODEGA: What was your train of thought (had to do it) going into this third ’solo’ album?

Hi-Tek: My main goal was to finish the album and get out of the Babygrande deal. I didn’t want it to be held over my head any longer. Not to put their business out there, but they’re changing their business structure and the distribution, and that basically leaves me in limbo. I wouldn’t be able to do anything else as an artist. Second was to basically give back to my fans a little sooner than normal, because I usually wait too long - then there are too many expectations and it leaves me open. Third, it was just giving back to the hood - I kind of went into more of a street direction with this album.

BB: From Vol.1 to Vol.2 it was a long spell. Even though you wanted to get out of Babygrande did you feel like you were rushing this project?

Hi-Tek: I definitely feel like if I had more time, it would’ve been a better project - but I’m not mad at it and I still stand behind it 100%. I feel like there are a lot of strong records on the album and I feel good about it. I rushed but I realized how much music I already had done.

BB: You talk about your advantages about coming out of the Midwest, what were some of the things that you took away from the Midwest experience?

Hi-Tek: I mean at the end of the day, right now I think that the Midwest saved hip-hop - and you can tell them Hi-Tek said it! Shout out to my man Kanye and Eminem and shout out to me! I just think the advantages are that we’re fans of the music, and what was going on around us, we absorbed everything. We basically put it into our music and it comes out that way. We’re like good tropical Kool-Aid.

BB: When did you feel like you found your lane or your space when it came to producing?

Hi-Tek: I think I started finding my niche on Reflection Eternal. I did stuff with Mood and that was my introduction to the music industry, but at that time my approach wasn’t solid. Once I got the album out - it was on a smaller scale, it didn’t matter to me as long as it was out. Once Rawkus started doing videos for songs that I didn’t necessarily like, and the reaction of the people to [them] just let me know that I was on the right track. I started approaching it in a more confident way.

BB: You tend to use artists that are somewhat under the radar on your albums, but they still seem to fit perfectly on your tracks. Who were some of the artists you were excited to work with on this album?

Hi-Tek: I worked with Sha-Money and D-Prosper on this album. I’m most excited about this artist Estelle, from London. She’s signed to John Legend and she’s so dope. I think she created one of the best records on the album. Other than that I have another song on there called “Ohio All-Stars” where I got to work with some up and coming Ohio cats and that’s something I always wanted to do.

BB: The track you have currently playing on your media player features Ghostface and Raekwon. Who approached who in regards to making that record?

Hi-Tek: Well initially, I did the track and originally, it had a guy singing in Spanish under the hook - you really can’t hear it. Dion and I came up with the concept and after finishing the track. I’m definitely big fans of Raekwon and Ghost, and the drive of that track reminded me of Wu-Tang - I love to work with those guys. That was my attack.

BB: Did you get anything out of the process in creating Hi-Teknology Vol.3 within the time constraints?

Hi-Tek: Just [the ability] to work under pressure and meet deadlines and still be creative at the same time.

BB: Where’s your inspiration coming from these days and is your prospective any different than what it once was?

Hi-Tek: I think first and foremost it comes from being happy within myself and surrounding myself with positivity. Happiness is something you have to have to make music and for me looking back and seeing what I’ve accomplished helps inspire me. Sometimes I come in the studio and look at the plaques on my wall, and I want more.

BB: After the release of this album what’s next for Hi-Tek?

Hi-Tek: It’s not super definite but it’s like 80% that we’re (Talib Kweli) going to do another Reflection Eternal album, we’re trying to hash out the business, but I think that’s my next move.

BB: That would be ill. On the business side, you’ve dealt with the Rawkuses and the Babygrandes, what would you tell any up and coming producer that is doing it for the art but also has to deal with the industry side?

Hi-Tek: You have to get a good manager and a good lawyer that understands the artists thinking process. You can get with lawyers that are strictly in it for the money but they can suck you dry and have you not wanting to make music anymore, because they’ve sold you out or sold your dreams. So you need someone who is going to allow you to stay in the studio. Practice always makes perfect - but you need someone that you can trust, that can handle the business and get you paid for what you do.

BB: If your jaw was wired shut and you couldn’t explain your music, all you could do was play your records… what would you want people to get out of your music?

Hi-Tek: Just the feeling. Because I think the music definitely represents who I am as a person. I think I speak through the music now, I’m not really an outgoing person. A lot of people feel like they know me through my music!

The BB would like to officially welcome our newest addition to the fam, Dale Coachman. Check out his review of OhNo’s latest masterpiece, Dr. NO’s Oxperiement. Dale blessed him with 4 cans, what do you think?

Check it here.