I must be, like, on some other shit, if I could sit here for hours and hours and do this with these records and get these little pieces and just continually loop it like that. It was played at block parties a lot. So my sister would take me to the block parties.
My sister would go uptown. So my memory of that record, we went to a block party and everybody was, like, doing The Freak, and I was just like, I saw all the teenagers had a Freak line, and all the little kids like me had a Freak line. Sorry, I digress. I was alright, you know? And the thing is like, you know how today, everybody is like And those things came out of, unfortunately, like a cocaine thing, you know what I mean? Kids, you can go, this is an adult thing. I did, I did. Everybody sounded like LL.
This style to me was like one that kind of influenced LL. It influenced T La Rock. Like, this is kind of the pre-cursor of that. They used to call us the fast rap, intelligent rap, fast rap. You know what I mean? And that influenced LL. And L was from around our way in Queens.
I grew up in Jamaica, Queens, in St. And they was like right over there in Hollis and then Run D. It was Run D. A lot of MCs from over there. But LL, kinda resembled that style there. We all went to high school together. And my neighborhood was pretty tough. And, my zone high school was Andrew Jackson, and Andrew Jackson, I remember that shit just always being on the news and was, besides Bishop Loughlin back then, one of the craziest high schools. It was for business careers.
You had to get a recommendation to get in there, have like a B average and all that shit. Afrika and I produced that record together. And this was like the first It was the first record I did. I was He also played bass. You know, he had like the crazy Columbia jacket that he wore all the time, even in the summer. So I would take my pause tapes over there and I would start messing with the 4-track machine, Ali and I. You mentioned the Zulu Nation briefly. Back then the gangs used to have dancers, they used to have your color, but then a crew would also have their dancers and they were called b-boys and if there was a rumble, the dancers would come out and do dances that kind of symbolized which gang it was before they got down.
Does everything have to be available, like the reality TV shit? Am I one of the last people to really believe that having some sort of talent at something really can get you currency in this world, or do you have to kind of be a buffoon or some sort of vixen to make it?
What was the thought process going into the first Tribe album? Because it was such a different sound for hip-hop at the time. I felt like that that first album is kinda representative of that kind of energy. And to really not purposefully try to fit into something.
Just be yourself. And just, you know, be open. I think that first album was about those things, really. I mean, my dad was a huge jazz guy. He was like a huge hard bop guy.
Like, he was just like on that end. You know, I could just remember as a kid hearing that stuff and then hearing space in it. And I felt like at that moment, you know, we were still figuring out ourselves.
We were still like young fawns and stumbling a little, but it was a lot of frenetic stuff that was happening. I just started thinking about space like that, you know what I mean? Well, the reaction was pretty good and it caught people off guard.
The radio stations started playing it. Then we needed to go and travel abroad and you see that it was happening kind of all over so it was just a great feeling, you know what I mean?
And, for people to kind of get certain things like that, like what you just played, those kind of subtleties. Like, what I was trying to play too with was just dynamics, which is still a thing with me with music. And it depends on what it is, really. All that shit. It was just like, the energy of it, and they were dealing with dynamics as well and it was frenetic but Dre is such a master the way that it was laid out.
He took what PE was kind of doing but he got to that whole Bomb Squad mentality a little bit before. And, the tapestry that he laid out for those things, it was just, still to this day, I just get chills.
So that was a big contributing factor. Do you remember the first songs off of that album that you made, coming off that inspiration? Those were the first things I was messing with. Do you have that? Actually, do you have the Art Blakey joint? Is there wi-fi in here? Now, if you listen to the time and signature on there The other thing about that too is just like the drops.
Like, I drop stuff out, because again, it was just me dueling with dynamics. That should be a band name, Dueling with Dynamics. During that whole Low End Theory thing I was just catching pieces and just making it malleable and just stretching and contorting, you know what I mean? And what was really going on in the studio with you guys, to try to really get this low end for Low End Theory? When I first met Bob, we were at this place called Calliope Studio. It was at 37th Street, still a pretty seedy area, but was even more back then, but I met him there.
He was doing jingles at the back of the room and he would occasionally engineer. And everybody was rocking with this one guy named Shane and this other girl named Sue. And that was like the place where we were all cutting stuff. I remember the Jungle Brothers, I was in a session with them. And Afrika was the one to rap and whatever and he messed up. Fucking clown. I think it sounds good. It seems like it hit the tape pretty good.
Would you guys want to do another one? And sometimes I sit with the guys, yeah. OK, see you later. And one of the records was Stetsasonic. And I looked back up again. That sounds a little bit out of bounds, but I would see what I could do. You know, we were fucking , years- old, you know? But he made it happen. Sonically, how do you compare the two?
Because they both had this impact. There was a lecture with Bob Power at the Academy several years ago where he talks about how with Midnight Marauders it was meant to be grittier, conceptually. And he felt that in a way he messed that up because it sounds more state-of-the-art in a lot of ways. I think Midnight Marauders was meant to have the sheen that it has. I thought that it was meant, if anything, to be boomier.
In a tradition of Low End , but it was always meant to have a nice sheen to that record. Maybe when it is remastered, when you listen to the original, like a lot of that top is muddled. We did a lot of that record on a Neve, on what everybody calls the John Lennon Neve, because they had that in Battery [Studios], we did a lot of Low End Theory on that. But when we got to Midnight Marauders we were on the SSL, and it had a little bit more sizzle up there. So it just has the top, it just has a little bit more sheen.
When you sit back and listen to these two, can you compare them? Do you, do you have a favorite? Do people who have kids have favorites? Oh boy. Bob also did mention something about underlying those snares, these kicks with extra sounds, do you remember that in the studio?
Yeah, I would double up on all that shit. I would like to stack things like that just to give it more [impact]. Like a certain snare can have, like we were talking about, that sizzle but then a certain snare could have more like a mid thing or low-mid thing and has a certain characteristic, you know? Yeah, Nas was just like, you automatically knew. So I knew it was gonna be the impact it was.
What was it? I love Prem. So he came through, him and Akinyele, and Large, you know? Then when we had the session and we was in Battery, we recorded in Battery, he brought his book in and he started spitting that shit in the room first for everybody.
It was one of those perfect sessions. Just do the chorus, man. You did some work on another album by a Queens group. Went a little something like this.
That, of course, is Mobb Deep , from the album The Infamous. Now, you came in on this project kind of as the mixer, fixer in a way. Yeah, yeah. Fights, shooting dice, it was all of that. And then I had to kind of negotiate between So the engineer, his treads on his tires kind of wore out a little bit on that. You know what I am saying? It was really the first album that I really mixed. And I remember very young Duro, Ken Duro Ifill, is a famous engineer, he was interning for me on that thing, on that album.
You know, I remember like, that was one that I really had a lot on mixing on and Havoc is just an amazing talent. Yo, son, yo! Check this shit out, son! Move that shit, move, move the drums this way. Put your shit on it. We, we, we, spit the rhymes. But just move that shit a little bit more like, on your side, son. He wants me to do So, you know, it was just a lot of that negotiation going on there. But it was just a great learning experience for me in terms of mixing and engineering. So, nobody really thought that I brought it out.
They were really astute musically too and had great [understanding]. Prodigy was like, the rhymes he was coming in with then was just so ill. So I mixed probably like about five, six records on there and produced about three others. Something like that. And I did additional production on a couple of things. So it was just great. And to see that album have the accolades that it has and how, you know, steeped in celebration that shit is is great.
What did you learn when you first heard J Dilla and his music? Well, when I first heard J Dilla I was on tour. Kurt passed and then we started to tour. Yeah, and L7. It turned out being a dope tour.
So we started on the tour and this brother with a crazy big afro came by and it was Amp Fiddler. It was a pleasure meeting you. I got this kid I really want you to hear. You gonna love him! He loves you. He looks up to you so much. I want you to meet him when we get to Detroit. I remember Dilla had on some glasses. He came on smiling. The first thing I saw was a smile.
Oh, man I started listening to it in the back. You know, Dave had this tooth that was missing and he was always laughing he used to cover his shit like this [ holds hand to mouth ]. I gotta do something with this kid, bring him out. People need to hear this shit.
People gotta hear your shit, somehow we gotta figure something out. We gotta work, man. And at the time the Trackmasters was out pumping, you know? Of course, you had the Bomb Squad. You had different production crews that consisted of three or four men teams. So I was thinking this could be like our version of that, you know what I mean? Like, all of the Tribe Called Quest albums, especially the first three, I was always about the unit.
And that was kind of the aesthetic that I had for the Ummah, like the unit, you know what I mean? Report incorrect product info. Shipping details Estimated ship dimensions: 9. Return details This item can be returned to any Target store or Target. This item must be returned within 90 days of the in-store purchase, ship date or online order pickup.
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Disappointed in lower quality 2 out of 5 stars. Unhappy - 4 days ago. I used to pay extra for Q-Tips brand cotton swabs because they really were better and had more cotton. The quality and amount of cotton has definitely decreased and I long see the value in paying extra for this brand.
Please bring back your old standards and amount of cotton! Helpful Not helpful Report review. Q tips 5 out of 5 stars. Chellij - 11 days ago , Verified purchaser. Very good quality qtip.. Did you? Great 5 out of 5 stars. Groot - 26 days ago , Verified purchaser. The Change IS Awful! Maureen - 27 days ago.
So now I have to inspect them all before using. And with less cotton on them it can still hurt. So in all these decades of trusting this product I am highly disappointed in the poor quality. I will be searching for a replacement product which I am not at all happy about doing but I am tired and stressed about my ears hurting.
Less is not best. Shame on you for making an inferior product. What a disappointment. The album finds Q-Tip rapping, singing and exploring his jazz influences with loose arrangements providing space for an improvisational sound. The legacy of Q-Tip is a constantly evolving one. He introduced a form of jazz sampling and bohemian chic that heavily influenced the neo-soul and progressive soul movements, while shying away from the hardcore posturing and misogynistic tones of hip hop that were popular at the time.
Q-Tip is a leader and a maverick who took myriad nonconformist risks. He is an iconoclast who always made sure to charm the Bonita Applebums while practicing the art of moving a crowd — hip-hop and music in general are all the better for it. This is a stressful, insecure time for many.
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