A Quote by Frank Dukes

I wanted to be a great producer so I studied great hip-hop producers, but also stuff beyond that: Phil Spector, David Axelrod, Gamble and Huff. They're equally as influential to me as Dilla, Premier, and Pete Rock.
You just have to find a lawyer that won't let you sign certain things - and I mean the fine print, because I was gone from Phil Spector and signed with Gamble and Huff in Philadelphia, and Phil bought my record contract back from them.
The hip-hop aesthetic and the way it's produced always motivated me. Alongside that I was still wanting to make great traditional songs because I've never had any desire to rap. My love of hip-hop is driven by my love of rappers, but it was built out of my love of producers.
When hip-hop was new and raw, it was all about being an MC. You wanted to be respected as a lyricist. But as the years passed and hip-hop became big business, hip-hop became like country, rock and pop. And so you now have people who write the songs for rappers.
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
Dr. Dre is the most influential artist and producer in hip-hop history.
I had no idea how much the stuff I was doing was affecting people outside Oakland. At the time, also, hip hop wasn't able to tour because all these clubs that let hip hop come in now, they would never have let hip hop come in.
Hip-Hop is diverse. But the white, capitalist producers and distributors of Hip-Hop are most interested in the Hip-Hip that is misogynist, that is Black-hating, that is pugilistic, that is to say all about fighting and war and killing and gangsterism.
Prince, Bootsy Collins, Earth Wind & Fire and Parliament all had albums that sound different. I wanted to show, as a hip-hop producer, I'm one of those that can do anything, because I was raised on so much music aside from rap and hip-hop.
There are some extremely acceptable male comedians out there: Joel Osteen, Abraham Lincoln, the man who played Phil Spector in HBO's 'Phil Spector.' But even those guys, while insightful and amusing, aren't exactly funny.
The current state of music journalism is not bad, but it's not great at all. Some of the hip-hop stuff people get into is exciting, because there's a passion and there's something to explain to a more mainstream audience, so you get these passionate writers who want to express their love for rap and hip-hop, which is cool. But there are too many magazines, and the access has been diminished, so the quality of profiles has gone way down. Internet stuff can be really good, though. I like the dialogue between fans on the Internet. I think that's the best rock writing that's going on right now.
Hip-hop started with street poets with great lyrical skills, and that's what hip-hop has always been about for me.
We listen to a lot of hip hop. They're the ones that are trailblazing. It used to be rock, but it's really turned to hip hop, and they're doing really unique and cool things, and we wanted to do that, too.
The Lifted Crew, I think that they're a great band that plays great soul music. They may have studied a lot of soul, but really, their heart and soul is in hip-hop.
I used to skate a lot when I was a kid. I loved it and was quite good. When I came back to London in around '85, I got really into skating again. But at the time, it had no influence from hip-hop. It was just thrash rock, hardcore rock, and skulls and all black - that kind of style. In Japan, the skaters were also strictly into rock culture, too, but I was coming from the hip-hop side, so for a while it was difficult to mix both interests.
I was a hip-hop head. When I really found my own lane in music, it was hip-hop. I wanted to make hip-hop music. And I did, I made a lot of hip-hop music.
I don't know enough about hip-hop, though I've heard some great hip-hop. I just did a thing with Qwest Love - we did a performance together in Memphis at the Folk Alliance Festival, and we had a great jam and a conversation.
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