A Quote by Big Daddy Kane
Good rap records don't get too far, but rap records that are made for crossing over to white audiences do go a long way.
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I'm at a point where I don't have to wait for the income from the record to survive, so I'm in a comfortable zone, but I'll make rap records as long as I feel I have something to rap about.
It's always cool when you get immortalized on records. I am just happy that I have gotten to the level where rappers who can actually rap say my name in records, regardless if it's a diss or not.
The godfather of rap, that is what I am known as, and the king of party records, the records I do.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
To have so many years in the rap industry and so many number one songs, and sold so many millions of records, introduced the world to people like Cool & Dre, DJ Khaled, Pitbull, Rick Ross, Trick Daddy, Remy Ma, Big Pun, Rico Love... I could go on and on. Having been able to influence the rap game for so long is very important to me.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
Rap - it's a childhood passion. Writing rhymes, it's something that I was doing before rap records even existed. And I will continue to write until I can't write anymore.
I'm just trying different styles and switching it up, but getting back to rap and the essence and the swag that I brought to the game from records like "Rack City" and "Faded," records like that. I got some good collaborations that people are gonna be excited about.
I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I want to keep making records as long as I can, but I don't know how long you can be taken seriously in rap.
Until House came along I don't think the English made very good dance records, you know, there were very few really good English Rap records, whereas once House came along all of a sudden we started and now I think we probably lead the world, and have overtaken America in dance music.
Champagne Jerry records are definitely, in one way, on the very far end of the weird spectrum of rap music, then, in another way, very far on the weird punk spectrum.
Rap has so many possibilities that need to be explored. There are different factions of rap, but some are in a rut. Rap doesn't have to be about boosting egos and grabbing your crotch and dissing women. There's a way to make political and social issues interesting and entertaining to the young rap audience.
I like to consider myself a student of hip hop. There's a certain level of certification and wit and craftsmanship that comes with rapping. As rap progresses - it's a young genre - it's becoming way more mainstream, crossing over to different lanes. I feel like it's losing its essence in a way, because it's getting commercialised. I want to keep it fresh and keep it progressive, but I also want to respect the foundation of what rap is about.
If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.
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