In the past year, Ski Beatz has moved from being producer of 90’s classics such as Jay-Z’s “Dead Presidents” (as well as others from “Reasonable Doubt”) and Camp Lo’s “Luchini” to the forefront of game putting out fresh sounds with new school rappers like Curren$y, Stalley the Cool Kids and many more, and was easily my favourite producer of the year. Teaming up with Dame Dash and becoming affiliated with Creative Control, DD172 and BluRoc records was the perfect move and saw Ski Beatz bring a refreshing variation of boom-bap to the masses. I got the chance to talk to Ski about the changes he has made to his music over the past year, his work ethic, the creative space known as DD172, his upcoming projects as well as addressing the issue, that many of you have been asking about, as to why Mos Def wasn’t included on “24 Hour Karate School.”
With it being the start of a new year a lot of people are putting out lists of their favourite albums of last year, what were your top albums of 2010?
Last years which album was I feeling? That’s funny because last year I didn’t buy any albums, so I don’t even know what to tell you, I didn’t listen to anything! I was just kind of caught up in my own world of what we was doing. I don’t really listen to new music like that.
You seem to have drastically increased your work rate over the last year. How did this come about?
Yeah I think my work ethic in one year just totally exploded. I didn’t know how to stop. I just kept going. I was like fuck it, I’m not going to stop, because I was away so long.
The reason for me being away is because I went back to North Carolina and you know, I got married, I got a house, I was being I guess more of a family man; hang out with my mom my pops you know just taking a break. And then when I came back to New York I felt that bug to want to create again. So while I’m feeling the bug I’m going to take advantage and I’m going to go hard.
What caused your decision to want to move back to New York?
You know, just the feeling to want to make music. Being down south, its cool, North Carolina that’s where I’m from, I love it to death, but I just wanted to get back on the scene. I miss the scene, I miss making music, I miss recording artists, I miss putting music out. So I just wanted to do it again, and I wanted to see if I could still do it, because I’m older than a lot of these producers that’s coming out now. I wanted to see if I (would) still be able to make good music that people will appreciate.
For you personally, what is the difference between the tracks you made in the 90’s in comparison to the tracks you are making now?
I feel like the difference for me is that I have musicians that I work with. That’s teaching me a lot about music, and it’s a more mature style of what I was doing back in the 90’s. It’s not taking away it’s just adding on to what I was doing, because my formula is pretty much the same: I go in the studio, and I pretty much have the same approach to how I’ve been doing it forever. It’s just (that) now I have access to live musicians that helps fill everything out, so it’s not so sample based and so raw, it’s more musical now. Now I can really be super experimental with melodies, and music, and chord changes, and different arrangements of how I want the music to go.
What instigated the change from sampling to the use of live musicians?
Being an independent label, not wanting to clear the samples; Dame (Dash) was like “Man this is a hot album, but we cant clear these samples because we ain’t got no budget; we independent. We’ve got to figure it out, so what you need to do is you need to get the musicians to come in and just play.” So what I did (was) I got them to come in and just keep the same vibe as the record that I sampled, not play it over, just keep the same vibe, the same style, and change the music to what we want. So everything we’ve been making has pretty much just been coming out my head, but it still has that feel of a sample.
One artists that you’ve particularly worked well with is Curren$y, putting out two albums in just a matter of months. How did you start working with him?
I’ve been working with Curren$y for a little over a year. I met Curren$y at Dames house, Dame introduced me to him and he told me that he liked the work I did with the Camp Lo’s and the Jay-Z’s, and he always wanted to work with me, so we started working. We fell into a nice little groove and we just kept it going from there.
You obviously have very good chemistry when recording together, you produced the vast majority of “Pilot Talk” and “Pilot Talk 2,” is the third one going to be more of the same?
Yeah, same formula. The chemistry is crazy man. Let me go back in time little a bit: I understood Camp Lo, so I was able to produce the type of records that they needed and I understood Jay-Z, so I was able to produce the type of records that he needed, and I understand Curren$y and I know the theme music to his life. And so once you are inside a persons head, and you hang out with a person, you can kind of see the persons vibe, the music pretty much writes itself so to speak, and that’s what’s going on with Curren$y right now.
When should we expect to see the release of “Pilot Talk 3?” The second one came out within a couple of months of the first, are you planning to get the third out that fast too?
I’m hoping that its going to come out quickly. But since we dropped part one and two, obviously Curren$y is getting extra busy, and more in demand, which is cool I understand that, I know the nature of the game. We are going to try and do that as quick as possible. But it might take long, but whatever, if it does I got “24 Hour Karate School 2” about to drop, so I’m cool.
How about the project you are doing with Tabi Bonney? I saw the UStream of you guys recording the other night, the track you working on sounded very different to a lot of the other stuff you are doing.
Tabi and I are working. We’re actually going upstate tonight to do some more songs for his album. Tabi is a lot different from Curren$y; I’m still trying to get inside his mind totally, but I kind of know what he likes, so we’re working out the kinks man, we’re working out the kinks.
Is that a full album that you are making with Tabi then?
I’m doing the majority, like if there are 13 songs I’m probably going to end up doing 10.
Do you have any idea of the release date, or title for that album yet?
It should be out soon, because we’ve been working on it for a minute. I have no idea what he’s going to entitle this album, but it should be pretty out soon. I wish I had more info to give you, but you know, we in the dojo, we don’t even know how things be coming out half the time, we just start creating projects. But you know I got Terri Walker’s album coming out?
When is that?
I’ve got to turn in the masters in two weeks, so I’m thinking that’s probably going to be March. I think she’s probably going to title that “Walk This Way.”
And is all of that produced by you?
Yeah I produced all of that except one song.
How would you describe the feel of that album?
Terri Walker’s album is just vibey, it’s not like neo-soul, it’s like soul, but its like hip-hop and its like… I can’t really explain it. It’s her style, it’s her sound; it’s soulful and it’s jazzy all at the same time, all that combined.
How about features, did you get any rappers on there?
Yeah she’s got a few rappers on there. One of the new artists that we got coming out, his name is Dash, he’s on it; he did an amazing job on one of her songs, it’s crazy. She got Jean Grae, (she) did a record with her that’s dope. I think Rugz D, Stalley maybe. Her album’s dope.
When are you expecting to put out your “24 Hour Karate School 2” album then?
Soon man, I’m trying to get it together. I got so many artists that I’ve got to get on it: Curren$y, obviously he’s going to be on it, you seen the STS snippet? I’m trying to get Nipsey Hussle, I got Mac Miller coming here in two hours, I got Big K.R.I.T on it, I got Dom Kennedy, Talib Kweli, I got Stat Quo on it, I got Stalley of course, Rugz D (Bewler), Tabi (Bonney) the crew right heres on it. I got a new kid by the name of Najee that’s going to be on it, Kano came through last night to record for it, Terri Walkers gonna get on it. It’s going to be dope, its not going to be right out, but it’s going to be soon.
You mentioned on UStream the other day that you had the Cool Kids recording separate tracks for “24 Hour Karate School.” What made you make the decision to do that?
Yeah I’m doing a joint with Mikey, and I’m doing a joint with Chuck, because they want to branch out and do individual records, so I said “Yo, you can do an individual record on my joint,” see what it sounds like.
Have you recorded those tracks yet, or is that just something you are planning?
I recorded like 3 songs with Mikey (Rocks), haven’t done anything with Chuck (Inglish) yet.
Here at HipHopFiend.org we run a guest-blogging program, where affiliated artists can post updates on what’s been happening in their careers. I know that two of our guest-bloggers, ScienZe and Hi-Jynx, have worked with you (or are set to work with you.) Will they be on the new album?
I’m thinking about Hi-Jynx man, I like his flow. If it makes sense, if I can get the right track for him, and the right time then I’ll definitely get him.
How did you end up working with him?
I never actually worked with Hi-Jynx, but I met (him.) I was doing this producers show for a second, and one of his producers, Half Amazin,’ brought him in and I heard him rap, and I was like, “OK this kid sounds dope,” and his friend Tony Billz played me more music from him; I said like yeah I like him he’s really good. But I never personally gave him a track and he did anything on it, as of yet. But hopefully we can get him on this “24 Hour Karate School” part 2.
A lot of people are asking why Mos Def wasn’t on “24 Hour Karate School” despite tracks like “Taxi” and “Cream Of the Planet” being used to originally promote the album (via Creative Control visuals,) instead appearing as instrumentals on the album?
The problem was this. I’m going to tell you the real situation. The problem was; when we started this project, everybody, me, Dame Dash, Curren$y and Mos Def were all under the same mind-frame that, yo, “24 Hour Karate School” is going to be the mixtape that Ski puts out. And Ski’s going to use “Taxi,” and Ski’s going to use “Cream of the Planet” and “24 Hour Karate School” and the songs I did with Curren$y and the songs I did with everyone else. Everybody knew this already, Mos Def was coming to the dojo everyday; we were all working together as a unit. But somewhere along the line, Mos Def changed his mind and felt disrespected as if we were trying to put things out, or Dame was trying to put things out, without letting him know. Now I don’t know where that came from, and I don’t know how he came to that conclusion when we all knew what we was working on. We was going to do the Center Edge (Mos Def, Jay Electronica, Curren$y and Stalley’s supergroup) record, Curren$y’s albums came out like they were supposed to, and “24 Hour Karate School” came out like it was supposed to, without Mos Def unfortunately. I would have loved to put those records out, but he would just not clear it for us. He was just like “No I feel I don’t want to do it” so I’m like “aight cool.” I wasn’t mad, I just said, you know, I learned my lesson from that project, part 2 is going to be a zillion times better, and I’m going to make sure I get all the artists to sign clearance forms to say “you can use me for this album.”
I’ve seen a lot of references, including from yourself, to “24 Hour Karate School” as a mixtape rather than an album, is that how you see it?
Its definitely an album, I didn’t even mean to call it a mixtape. That’s how it initially started, as a mixtape, then I was like “nah this is going to have to be an album.” At first I was just going to give it away for free because it was going to be a mixtape and I was going to give it out. But you know we did all the videos, most of the songs are out for free anyway (because) we did all the videos then everything got leaked, which is fine with me. You have to do those things when you are building a brand, which is cool, I understand that. But it’s definitely and album and its definitely dropping, part 2, this year.
It’s going be cool; I’m really excited about it. The first one, I’m not saying I didn’t take my time, but it definitely wasn’t really planned out completely. But the second one, you know, I got more time to think about it, like “Pilot Talk,” I could actually sit down and think, you can feel a theme or some kind of foundation with the music and the album because it meshed together. The first “24 Hour Karate School” was dope, but it was almost all over the place you know what I mean?
The two “Pilot Talk’s” have quite different feels to them, do you have a favourite? I was recently trying to choose my favourite for my “2010 Round-Up” and opted for the first, mostly based on the fact that I’d had it longer…
That’s what I was going to say, I love two, but one is my favourite, because that was the baby; that was the birth of it. “Pilot Talk” one is a lot edgier than two, two is definitely more smoothed out lounge type of music.
A while back a video dropped for a remix of Miles Davis’ “Blue and Green” that you did with Nesby Phips, which was from an EP you were working on of Miles Davis inspired tracks. Are you still working on that?
I’m still going to do that. The only reason why I haven’t completed it is because, the Miles Davis estate, I did two remixes for them, they actually gave me the multi-tracks for the “Bitches Brew” and for “Miles Runs the Voodoo Down” and I did the remixes for them. So while doing the remixes I was like, yo, they should really give me some songs that, I’m not saying I don’t love “Bitches Brew” or “Runs the Voodoo Down”, but there’s other joints like the “Blue and Green” that’s just so much crazier to me. So what I decided to do was just put together an EP of Miles Davis beats and just submit it to the Miles estate, and they heard the “Blue and Green” and got really excited by that. I’m definitely going to continue that as soon as I get “24 Hour Karate School 2” out, and Terri Walker’s joint out, and “Pilot Talk 3” out then I’ll have time to focus on finishing the Miles joint. It’s just something that’s going to be free that I’m going to give out, it’s just one of those projects I want to do just because I love his music.
How long have you been working in the dojo?
I’ve been working here for like a year, rocking up in the dojo. DD172 man It’s a dope creative space, the energy here is good man, you’ve got all types of creative people here man from video directors to painters to live musicians to rappers to producers to magazine editors just everything in this building, everyone comes here to display their talents.
What is the set up of the DD172 building like?
It’s a building and I have my own little room. Its nothing fancy, it’s just like any other room in like a crib. I just got my speakers set up, with my microphone and we just make it happen out this little room. But you know in the building, it consists of 3 levels you got the basement where you got the color wall, where we make all the clothing and silkscreen shirts and stuff. Then the next level is where the art gallery is; just a big ass room full of paintings. Then the next level is where all the video editing, Creative Control, and everything is done up there, Dame’s office, it’s like the main brain up there.
How important has Creative Control been to building your new brand?
Yeah man, Creative Control is synonymous to Ski Beatz, they definitely gave me that jump-start on the net, those visuals was crazy.
In many cases the introduction to a newly leaked track of yours, is via video from Creative Control, how important do you think these visuals are?
Yeah man I think the visuals are defintely important for what we are doing. We are trying to be the fore-founders of this whole way of putting out content on the net, and this way of having ownership of everything, and having a company that contains every facet of what a music company should have. We are trying to have all of that under one roof, which we’re doing.
And by the way we start our tour, we’re going on the BluRoc tour, which starts on January 26th, we are going for like 3 months to promote all this stuff we’ve been doing around the US possibly with a few dates in Japan.
There is an alternative version of “24 Hour Karate School” in Japanese, how did this come about?
Jonah (from Creative Control) used to live in Japan, and Dame was like “Yo you need to talk to Jonah because he knows all the Japanese artists, you need to do a different version of it,” so Dame was the mastermind, I was like “aight cool.” So I spoke to Jonah and was like “Yo B, can we get a “24 Hour Karate School Japan” version popping,” and he said, “yeah let me speak to my homegirl.” He spoke to his homegirl, and she knew all the rappers. I sent her the music, and in 2 months they had it done, mixed and mastered. It’s actually the number one selling hip-hop album in Japan right now, which is kind of crazy.
You tend to work with a lot of newer generation rappers, rather than the more established ones, is this a conscious decision?
I always wanted to work with the newer rappers, no disrespect to the older rappers, but I just feel like a lot of older producers and older artists don’t really embrace the younger generation, who has the same seed of love for hip-hop that we had when we started. That’s like having a child who does something that you did back in the day, but you pretend like you don’t know why he’s doing what he’s doing, like you never been down that road before. And I hear like a lot of the older artists like, “hip-hop is dead,” “these younger kids, they don’t know nothing about rap” and they’re always bashing them. I’m just like “yo, it’s a different time, love is love, the same way they love their former hip-hop, is how we love our former hip-hop. You’ve got to remember how that feeling felt, when you first felt that feeling. Now you can relate to them. There you go, now sit down with them and make them a track, and if they like the track, if they love it, then they rock to it. And then you know, that’s like the Curren$y’s and the Stalley’s and Wiz Khalifa’s and the Cool Kids; they are bringing me back into the game through the next generation of artists.
Are there any older artists who you haven’t had the chance to work with, but would like to?
You know I’ve worked with Joell, but I wanna do a whole project with him because I think he’s incredible. Jean Grae, I wanna do a whole project with her. Talib, I just did a track with him. I love Mos Def I would love to work with Mos Def again man. There’s a couple of older artists I want to work with still, but I want to work with more… A lot of people would say I was crazy, but I’m not into the mainstream, I’m not trying to be the next Timbaland or whatever, I’m not really into that. I just want to make the music I like to make, just to see what it sounds like, and if it makes money that’s great, if it don’t then whatever, I’m just doing it for the love.
Do you think we will ever hear more music from you and Jay Electronica?
I hope so man, I hope signing with Jay-Z doesn’t change anything, because I definitely love Jay Electronica. His style is dope and I know I could bring something dope to the table with him.
You’ve also expressed an interest in J. Cole…
Definitely want to work with J. Cole, that’s like the North Carolina love connection, he’s from NC I’m from NC and it would be a no-brainer. Matter of fact, he should just do an album with me and 9th Wonder producing J.Cole, that would be kind of cool…
For more info on Ski Beatz please visit…
http://24hrkarateschool.blogspot.com/
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