With Gang Starr’s 18-cut LP Step in the Arena (Chrysalis) making much noise in ’91, DJ Premier is producing a highly respected rep for himself and receiving credit where the credit is due. Premier’s blunted Brooklyn beats illustrate the essence of his hardcore meditative sound. His rhythms roll in thick, his cuts amputate, and his melodies keep the vibe flowin’ correctly.

     Recently, Premier found a little time to break from the clouds of creativity in the studio and speak upon the talent and skills that keep his fans content. The interview touches on topics ranging from his record collecting days at the impressionable age of four to his production plans for the future, and this is how he ran it down the line…

[The Source:] When did you start gettin’ into beats?
[DJ Premier:] Well, I’ve been collecting records since I was four years old. I got baby pictures of me with records in one hand and squashed up sausage in the other hand. It started out when this lady was givin’ me all these Stevie Wonder and Gladys Knight and the Pips records. And then she ran out of records. So what she did was she told my moms, “Well, he’s young, he don’t know the difference. Give me some of them records back and I’ll give ‘em to him again and he’ll think I’m still givin’ him records.” So the next time she gave me those records, I went up to my moms and I said, “Look, Ma, I don’t think she knows this, but she’s givin’ me the same records.” Right then my mom said she knew I was gonna go into the music business. I was maybe pushin’ five.

     My parents were into a lot of music, my grandfather was into music, and people around they way were into it. Being around all that and just being addicted to music, I started wanting to toy with the equipment and all that. So I started, you know, just playin’ around with different ideas in the crib.

When did you become a DJ?
Actually, I just learned how to DJ about three years ago. I’m still learning how to improve. I’m not no big standin’ on my head cuttin’ with my ass and all that, but I think I’m still good enough to hang with those brothers that do all that just from the way I kick my own style. I like original, rhythmic scratchin’ styles even if I just use a cut like on “Execution of a Chump,” where I’m just cutting the kick from “Impeach the President,” but I did it all the way through the song without samplin’ it. But I was never battling or anything like that back in the day. I just knew how to mix. I’d mix two records and I’d sit back down and just watch kids rock to my shit.

What did your first demo sound like?
I had this one kid from Boston whose name was MC Topski. We did a demo together with two tracks I did, “Up Another Level” and one called “Let My DJ Get Hyped Up.” “Up Another Level” was real original at that time. It was the first “Think” loop I’ve ever heard. I’m not sayin’ I originated it, but I’d never heard it before, and I heard several versions a few months later. “Let My DJ Get Hyped” was basically all the scratches from “Deep Concentration” [off Gang Starr’s first LP] I still like that demo. Anyway, Stu [Stu Fine, owner of Gang Starr’s former label, Wild Pitch Records] liked the way I hooked it up because I didn’t use drum machines.

What kind of equipment did you use?
I’d just get two copies, loop it, put it on a 4-track, then get the sounds, put it on a 4-track, get another cut, put that on and lay a vocal. I couldn’t afford no sampler.

What kind of equipment did you use?
All I got is one sampler, an Akai S-900, and an Alesis HL-16 drum machine to trigger my samples, that’s it. People in the music business and people that I hang around come into my room, see my shit, and they’ll be like, “Damn, this is all you got?”

     I believe that sampling is an art form if you don’t abuse it.

How do you define abusing it?
Using real obvious shit. I wouldn’t use “Super Freak” and try to do a rap over it. And if I did, I wouldn’t try to make that the hottest single.
Describe a DJ Premier production sound.
Ultramagnetic calls us hardcore jazz funk. A lot of people tell me it sounds jazzy and all that, but that’s not even the goal, to be a jazz rap group or nothin’ like that. I just like catchy hooks. I mean when I hear something that really grabs me by the balls, I like to just keep it going.

     As far as my style, it could change. I mean I want the next Gang Starr album to sound totally different from the other two but still the same. I’ve always wanted myself to sound different, while staying within that hardcore type of appeal. I want the hardcore audience ‘cause those are the people I grew up with, but I don’t wanna sound like Stet or The Large Professor or anybody else. You got some people who all sound similar but they’re dope. I’m just not one of those people.

Who would you like to hear on some of your tracks?
[Pause] Kane.

Why Kane?
To give him some shit back. Word up, ‘cause I really looked up to him and I still play his first two albums a lot. See the thing is, Kane is the type that could bonuce back just like that ‘cause he’s raw, and he can rhyme his ass off.

[The Guru, quietly lounging in the back of the room, interrupts:] We got a track for Digital Underground too.

     Yeah, yeah, I just gotta send it to ‘em. They gave a party when we were in Cali at Money B’s house.

[Guru, coming to life:] The shit was fat.

     It was real cool. Shock G’s real down to earth, you know. I talked to him about the track, and he was like, “Yo, send it.” I still gotta do that.

Hearing Premier get busy for Kane and DU would definitely be fat, but as far Premier’s most recent production projects, he and the Guru are getting down on Neneh Cherry’s upcoming album. Plus, Branford Marsalis is collaborating with Premier on the jazz tip, The Dream Warriors’ next single will feature a Premier track, and Lord Finesse and Intelligent Hoodlum are in the mix for the future. With all those in store, expect Premier to flex mad versatility and come off with ‘nuff innovative flavors for ’91 and beyond.