The Spinzone

For the DJ's Spinning Vinyl, Beat Diggers, Hip Hop Culture, Vinyl (Record) Junkies, Fashion & Lifestyle.

Wednesday, August 08, 2007


DJ House Shoes Live @ The BBQ Vol. 17!

First, you check the article, "Detroit To LA" written by my Nephew, Governor Slugwell from Feb 2007 in Scheme Magazine.

Get the podcast right now. This is quality music period. Detroit Hip Hop has to be taken very seriously worldwide.
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House Shoes, resident DJ of Detroit. I’ve pretty much been at the help of all the hip-hop, since about ’94, in the D. From St. Andrews, ground zero for Hip Hop in the D since ’92, its still poppin now, but its real commercial, but yeah, resident DJ in St. Andrews from ’94-2005. Also down with Northern Lights and Buddah House the go to home for good Hip Hop in the D. Basically it’s been my platform, I got hired in June of ’94, so it’s been my platform to put whatever I wanted to on the ears of the people of the club. I introduced the whole Slum movement, the Dilla movement, I used to have a tape deck there, to get fresh joints from them, then I moved to a portable DAT player so I got the joints fresh out of the studio. I played Players like, 3 hours after they made it. People was like DAMN! What the fuck is this!?! From the first time I heard Dilla’s shit, I wanted to have other people be inspired by it. Like I said, I had the portable DAT player, so they brought me the joints and we’d just get it crackin, then it started bubbling and a large percentage of my set would be Dilla’s shit. I always tell people, that D sound that is so heralded all around the world, it’s not the Detroit sound, it’s a small family of maybe 50 peeps, that listen to it, the rest of Detroit, they listen to Jeezy and Pac and all that other radio shit. Let me give you the perfect description of this, when Jay passed 98WJLB the so-called ‘Home of Hip Hop,’ played a tribute to Dilla, and they played three Slum joints, Tainted, Ez Up and Selfish, none of which are produced by Dilla. Yeah man. The most imitated sound in music in the last 15-20 years, and we don’t get credit for it in the industry. What really fucked me up was the grammy’s, when they put Jay’s face up, I was like ‘just his face?’ That’s the first and last time we’ll hear about Dilla at the grammy’s. Another good example of all this, when I was out in L.A. for the funeral, the week after that they did a quote unquote, ‘what’s next on the menu’ feature, that my man DDT hosts, and he was playing Dilla all night and the fuckin program director, while they’re playin the Badu shit, and the Janet shit, and the program director is all like ‘Oh shit, I didn’t know he did that joint. I didn’t know he produced that.’ Yeah, but it’s still just a fraction, people on the larger scale are not concerned with something new, they just want to listen to whatever is quote unquote hot, regardless of the fact that the greatest producer of all time is from the D, they don’t give a fuck. They want to hear ‘This is why I’m Hot.’ I feel like I touched everyone I could while I was there, ain’t nobody else listening. I first met Dilla working at a record shop called Street Corner Music in like ’94. He was up there digging and we started chopping it up, we went to his whip and he played me some shit, I was loving it. Then we went digging out at Car City, over on the east side, after that I just started going over his crib and he would lace me with beat tapes and new joints he produced for cats likeBusta Rhymes, Pharcyde and A Tribe Called Quest, and he once gave me a tape of remixes that had been fronted on by the labels. That became the Jay Dee Unreleased EP I put out in 96-97. Dilla was a good cat. He looked out for me, showing me how to work the SP1200, the (MPC) 3000, he used to set me up in his basement, and leave me there all night, while he went out the bar or to mess with some chicks. He was real open-hearted, but he could get on some wild shit. We fell out for a minute, but we mended it and it was all good. He just wanted people to hear the music, but I seen him snap off on cats, he was good people though. He just wanted to make music and do his thing. It’s like a double-edged sword, better late than never on one page, but then I wanna be like, ‘you motherfuckers are late to the party on this one. What was y’all listening to when his joints were out, why weren’t you fucking with him then?’ As far as Detroit goes, I’ve produced everyone in Detroit, but again, the thing that’s frustrating is that none of it gets out. This cat Magnetic, one of my close friends, he’s and engineer, he roasted me before I left, and one thing he said was that he got the front row seat for the best show you’ve never seen. I swear in Detroit it’s like the blind leading the dumb, cat’s don’t know how to get distribution. Honestly, I’m a real, what’s the word…I’m kinda like a sole entity. I fuck with alotta crews, but I’m never a member, because I’m not sinking with the ship. I’m not trying to ride unless someone’s fucking with someone extremely close to myself. I’m not pursuing the business until my shits done, right now my shits at 50%, my solo album. But man, I fucking hate that shit [the business], I hate that shit. The business is fucked up; I’m a real motherfucker so I’m being completely honest. The powers that be aren’t trying to make motherfuckers any smarter; they want to get the dumbest fuckin record on the radio, to keep the masses as stupidly as humanly possibly. This is why I’m sceptical that shit is gonna get better, if it is, it’s gonna get worse before it gets better. I don’t have faith in the business, because it’s all about commerce first, then maybe the album will be hot. When did you start making beats? In ´94 on a 4 track, with a blue Rock n´Play shit that ran off a 9volt, a 16 second sampler. Then I started fucking with Dilla, he showed me a lot of shit. DJ Dez took me over to Amp Fiddler’s crib and they showed me how to work the MPC 60. Also, Jeru J Star, he taught El Da Sensei, I would go over to his crib and work all night, the good thing about them too is that they wouldn’t help me, unless I really really got stuck. That’s the best way you learn though, doing shit by yourself, it sticks in your memory a lot better. If you can’t chop some drums up, then you’re not a fucking producer, you don’t just sample a drum break, have a program chop it up for you. With all this computer shit, the older generation, me at least, we’re used to physicality, but it’s not about you gotta use an MPC, you just gotta put in the work. Find your own way to do it, but put in the work.

Click the image below to download the FREE MIXTAPE by Alpha-bet: "The Warm up: One Take Mixtape" with artist, Delo.

This entire mixtape was recorded spontaneously during one day this July in a recording session at Detroit’s Keyz Studios. It’s a what Alpha-bet calls, “The NFL network before the game on Sunday”, leading to the street album "Im Popular", coming late-fall, 2007.

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