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Rakim


Halftimeonline: I know half the time it has to be flattery but other times you gotta be like come on man! You like the 15th dude that’s jacked me. Give me my check.

Rakim: Haha it’s all love I gotta take it as a compliment.

Halftimeonline: We always talk about you on an emceeing aspect but obviously you put in a lot of work on the production side. How did you start out producing?

Rakim: Dabbling in music and being in music when I was young I had my own view of what I thought music was whether it was jazz, r&b, or hip hop. Once I got into hip hop it started with telling the DJ put on the Pointer Sisters “Yes You Can Can.” Then it was like put this record on cut the beginning of the break and then put the second break on and go back to the beginning of it. What was going on was me producing the track and then taking the track and putting it together like yo put on “Get up and Dance” and cut up the beginning and then after you hear me say this then throw on the beat and that was formatting right there. It went from that to making beats. I had a little more freedom when I started sampling because you could actually do what you wanted to do. That took me as a surprise because before I went to the studio with Eric B I was just rhyming in the parks. I wasn’t putting together beats like that but I knew what I liked to rhyme to. It shocked me how easy it was for me to put together beats. Find a drum that sounded similar to a sample or find some horns from a different record to go with the sample. It was fun and at the same time surprising the way it was all popping off. That kept it extra fun.

Halftimeonline: With that these were major records you were doing production on on all of your albums with Eric B but you took a step back on the production side on your solo albums. What was it about the solos that had you not wanting to do as much production as you had in the past?

Rakim: At that point the label felt things were changing and they wanted to put the album in producer’s hands. At the time there were a lot of freelance producers starting to spring up. Before that a lot of crews were handling their own production. Then you had a string of producers that started to come out that weren’t attached to an artist so that was big then and the label felt that times were changing and they wanted to put other producers in charge of the album. That goes to show you what major labels do to the artist. So to the young artists that are checking out this interview when you come in the building with your guns don’t take them off. Keep your guns on and don’t let anybody tell you how to load your guns or bust ya guns. The only reason I’m using gun terminology is because I want you to stick to your guns man. Ya’ll love the gun play and gun talk so much this is the one time when you handle ya business stick to your guns. Do what you do don’t let the label tell you to do something else.

Halftimeonline: Our readers would kill us if we didn’t ask about the Dre situation with Aftermath. Obviously things didn’t go as planned. What were some of the things that started happening at Aftermath where you felt like this may not be a good situation?

Rakim: I’ve been doing this for so long I know what I like rhyming to and I know who I am so it got to the point where the production of the album wasn’t going the way that I wanted it to go. The thing is I’ve been doing this for so long and Dre’s been doing it for so long you have a set way of doing things and if it ain’t broke don’t fix it. I respect Dre because he’s got his M.O. but I got my M.O. too. It wasn’t working for me and I think neither one of us wanted to sacrifice which is good that’s what artists are supposed to do. They are supposed to stick to they guns. I didn’t burn any bridges over there. We’re still good. He said if I needed any production on this album to come holla at him but I call it trying to mix day with night. It don’t go.

Halftimeonline: After that whole Aftermath situation I’m sure you probably made some more connections being out there but at the same time a lot of time passed. You know people have been waiting and then to put in that time and for it to not to come to fruition where was your head at the end of that situation?

Rakim: I never liked writing some shit that wasn’t gonna be heard. Every time I touched a notebook it ain’t no just to write rhymes shit. Every time I wrote in the notebook I was planning on writing some shit I wanted the world to hear. When you’re out there and you waste all of that time and you spilled all of the information out of your head and put together this fucking book it gets to the point where I gotta start all over now. So that was the main thing with me doing all of our research and putting so much effort into saying what I felt needed to be said and then at the end of the day it’s like I’m not sure any of this shit is gonna be coming out. So I just tried to take a step back and try to find some good out of it. It’s like when the milk spill you can knock the fucking refrigerator down or you could just pick up the spilled milk. So I didn’t want to make it worse than what it was.

Sure we could have stopped there and it would have been all good but this is Halftime kid. We got another hour with Ra coming next month where he talks more about Aftermath, another writing style, his family life and the concept behind the new album coming out called The Seventh Seal. See you next month!

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