The Come Up Show recently caught up with Termanology and Statik Selektah while performing in Toronto to discuss last year’s album 1982. During the interview, Statik discussed working as a radio DJ in Boston and how it differs from his other job as an underground producer/DJ. He said that while he normally gets to decide his own DJ sets, politics does often come into play.
“I’m on a bunch of commercial radio stations,” said Selektah. “They pretty much let me do what I want to do. Sometimes, there are certain songs that we’ve gotta throw in, but for the most part I do what I want to do. I’ve never in my played strictly records that someone else told me to play. There’s always a couple records you’ve gotta play just from the business side of it…I’m on Jammin’ 94.5, and it’s as commercial as gets. That’s like the Kiss 100 of Boston, strictly cross-over [hits]. But when I’m on there, I make sure to get in some Biggie, and Jay-Z and Nas, 1982 and records like that.”
Termanology also addressed Hip Hop’s primary means of publicity, the Internet. He said that while the Net has its benefits for artists, it hurt music to a degree by making song releases a more disposable affair.
“[Music] is so disposable now that it’s almost not even worth to spend $20,000 on a [DJ] Premier beat or $200,000 on a Timbaland beat,” he said. “Somebody might be like, ‘Oh, I’m not feeling this’ an turn it off [with listen the full way through]. You don’t even get a chance anymore sometimes…that’s one thing I really hate about the new age [of Hip Hop]. It kinda really fucked shit up. That’s one thing I really miss about mixtapes being relevant and [DJ] Clue having an exclusive [song].”
AD LOADING...
Statik Selektah also discussed his involvement in AZ’s recent Doe Or Die 15 Anniversary with his contribution “Gimme Yours 2010.” He said that his work on the album wasn’t really as though out or planned as many fans thought. He even said that hook to it was recording during 1982’s release party.
“You want to know how it happened?” he asked. “People looked way into that stuff. AZ came by, told me what he wanted to do. I started playing beats, I go, ‘Oh, hold on, what about this beat?’ He goes, ‘Yup, that’s it.’ Put on the mic, rapped the lyrics. Josh came over and did the hook and that was it. There was no thought to it, I didn’t make the beat for it. AZ was just like, ‘That’s it, let me spit on it,’ he spit on it, the hook got done. Josh Xantus did the hook of the 1982 release party in New York. There had to be 25 people in my crib talking while he was singing.”
The full interview can be seen below.
