Nas intervju i Scratch
Mycket Nas-intervjuer att dela med sig av just nu, här en schysst från Scratch Magazine.
Nas snackar om att jobba med Premo igen, 50 Cent och att stå på scen med Jay-Z, samt chansen att göra en låt tillsammans. Forumet jag kopierat intervjun från har ett filter där nigga är utbytt mot "intelligent black men" so dont get confused.
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Scratch: You and DJ Premier have done some great songs together. Which is your favorite?
Nas: "N.Y. State of Mind" will always be my favorite. I vaguely remember the session. It was in the wee hours of the night and his comfort zone for recording was like mine. It was just the homies in his lab coming straight off the block. He used to come pick me up in his car for the sessions because I didn't have a car back then. He'd stop in the 'hood and pick me up and that night I really, really found my way with how Premier works. When I was getting in the game in '94 a lot of producer intelligent black men wasn't street intelligent black men. Large Professor was more , Pete Rock's style was way more soul, Q-Tip was eclectic. So Premier was the only street dude other than my boy L.E.S. that dressed like me, talked like me, acted like me. It was such a relief to work with somebody in this business that was a normal ass ######. And by that time he was already a proclaimed member of Gang Starr, but still humble.
Your first line for "N.Y. State...." started, "Rappers I monkey flip'em with the funky rhythm I be kickin'/Musician, inflictin' composition." Rather than rhyme about rhymin' you spoke about music. Why?
It was definitely the track, the track told me that and, of course, my background. My pops does music, so obviously without a question I'm going to look into music more. He wrote music, I saw how you compose a song is mathematics so I definitely saw another side of music because of my dad.
You have co-producer credits on "Life's A bi*ch," "One Mic," and "Get Down." What was your actual involvement in each track?
The only reason I co-produced on "Life's A bi*ch" is bringing my father there to play trumpet. That was my first album and I don't remember what I might have added, but I credit L.E.S. with all of that. He did all of that. "One Mic," I basically put the whole thing together, I brought the record to sample and told him where I was going, but Chucky Thompson made it sound the way it needed to sound. I also did "Suicide Bounce" on Street's Disciple and the Rakim joint , I programmed the drums on that and added the sounds. It's not like it's a big deal. I don't think I could fu*k with none of thee intelligent black men . If I feel like doing, I'll do it, but I don't want to be a producer. I just play with it sometimes.
Do you remember which machines you used for your beats?
I used an SP1200 for the Rakim joint, an ASR-10 for "Suicide Bounce" and an MPC for the drums to "One Mic."
What do you like about working with your other co-Ds, Salaam Remi, L.E.S., and Large Professor?
I like working with Salaam because he reads my mind musically and lyrically. He's right there with me as I'm writing it. L.E.S. was there on my first album so that's family, and I got love for Large Pro because he put me on.
So did you pay $2 Million for a Neptunes beat?
That's a crazy rumor. I talked to Pharrell about creating a record that would go with the rumor. An issue with me has always been beats. I don't like using what everyone else is doing.