ALC: Yeah it was just a single. We did a full-length album but the way it went was we did the album, turned it in, they released the single and the video. It was getting a good response but it was like mixed reactions at the label [Tommy Boy]. I guess they were scared, didn't wanna take the chance. I think, when I look back, everybody had a different opinion or feeling. I guess the response that they got wasn't what they were expecting, so they just kinda just shelved the album.
B: Were you discouraged?
ALC: Not really, cuz I was so young and just enjoying life and following my dream that I wasn't really focused on my long term goals. It was like, I had gotten so far so quick, that whatever happens it don't matter, I'm already down with this team, if the album doesn't come out hey. {so what} they never really came to us and told us that, we were just kids, in the studio, recording, with a lot of our heroes. It was a great learning experience, and I'm glad I got to go through that at a young age and not go through shit like that now. It was good training, and a lot of that stuff I learned back then I still use now, like in meetings and shit.
B: While you were being mentored by Muggs, did you do some ghost production for any of his older projects?
ALC: I mean, I wouldn't really call it ghost production, but I worked a lot with Muggs under the radar basically. I was still coming up, I had just learned how to make beats, and I was just eager. So Muggs kinda took me in. We split it down the middle sometimes in terms of production duties, like I knew how to work the ASR-10 real well and he was strictly SP-1200. So it was good how we collaborated. Like sometimes I would chop up loops on the ASR and he would do the drums. We would collaborate on beats a lot, I was living at his crib damn near every day. He was living in the Hollywood Hills, I would just crash on the couch, we'd wake up and make joints, it was the Cypress III album we were working on. It's not like I was making whole beats and giving them to mugs. Muggs was running the show, it's his show, he's the man. I was blessed to be in the circle and just be able to learn. Plus I was passing tricks off to him too on the ASR cuz I knew that pretty well. You know, when you're young and eager man, you got a lot of energy, and I think it rubbed off on Muggs and it was just a good relationship. He was, he still is like a big brother to me. He was keeping me paid, I'd have $1000 cash in my pocket, it was great, we were eating at Benihanas everyday. Then the album came out and everything said produced by Muggs, I didn't really have any credit anywhere. But at that time man, I really didn't trip. I was very confident with it because I knew that I was making my mark, and I was earning my stripes. It was a lot of training, so I guess it was like good karma versus me trying to jump out a window being like "yo, you jerkin me!" There was a handful of my friends that I grew up with being like "yo man, what's up, why is your name not on here?" So I had to correct them so they could understand that was part of the game. It helped me realize that I needed to become Alchemist. And I owe Muggs for that, it was like a life lesson thing. And plus, when the album would be playing, when the album dropped a lot of the homies from the crew who were there when we were making the album, we'd be in the club or at a listening party or whatever, and certain songs would come on that I did a lot of work on, they would kinda nudge me with their elbow like "yeah muthafucka, we know you did this." They reassured me that they knew the work I was doing wasn't being overlooked. And it grew from there. I'm still down with Soul Assassins, I still rep Soul Assassins.
B: How did you first come in contact with the Mobb?
ALC: Basically thru Muggs. I was out in New York living, going to school, grinding out with the beats but not heavily, just making a couple connections here and there. Muggs was working on his Soul Assassins 2 album and he hooked up with Mobb Deep, he was like "yo I met these cats down with Mobb Deep," it was their crew Infamous Mobb. So Muggs hooked me up with them, and they brought me to Mobb Deep. It was right when the Murda Muzik album was being made. It took a while, they don't really let a lot of people into their circle like that, there's been a lot of deaths over the years that's brought people closer together and also filtered out the people who ain't there for the long haul. So the music was the first thing that we collaborated on but then they realized that I'm a loyal dude. And then also a succession of beats, we did the joints on the Murda Muzik album and then P's solo album [H.N.I.C.]. And we kinda grew from there.
B: For "Got It Twisted" you flip a pretty well-known 80s sample, whereas a lot of your other stuff has been more obscure and harder to identify. Was that a conscious choice trying to make a hit single?
ALC: Well what it was, the Mobb album was already done, I had done like ten joints, maybe two of them would make the cut. And at the label, nobody was screaming single. And at this point I felt like my relationship with the Mobb, I gotta be able to make hit records with them, and not just ones for the album. As a producer you want everybody to hear your shit. So we were sitting back, the album's almost done, we're at my crib just working on some songs. And P's nickname is "Science" cuz he reads a lot, he's real smart. So he was at the crib and I was going "Science!" Then I was like "you remember that song?' And he's like "nah." I'm like "you know that eighties joint "She Blinded Me With Science." He's like, "I gotta hear it." So I had my man download it and we were listening to it and he's like "oh yeah, yeah!" And then that part came in (sings in) and I was like, this is my favorite part. I was thinking of how Havoc used "White Lines" for "Quiet Storm." Like making some eighties shit real sinister sounding. So I hooked up the beat real fast, like a skeleton of it, and they came in and it was instant. They started writing to it and it just developed into something crazy. So, subconsciously we was definitely trying to make something big, but I knew to keep that Mobb edge to it, make it gutter and bang a little harder. Shout out to Thomas Dolby cuz I couldn't have done it if it wasn't for him. We used to bounce to that back in the day, even though we were hip-hop addicts, that was a cool song.
B: As somebody who uses a lot of samples, how big of an issue is clearance? Or does it just depend on the act/label/budget of the record?
ALC: I don't even really get involved in all that. Whoever's job it is to do that, that's their job. I leave it to them. We follow all the proper rules and everything, but that don't effect the way I make music.
B: You did the CNN "Bang Bang" beat which more or less led up to the whole HOT97 shoot-out thing and now Kim's perjury case. What's your take on all of that?
ALC: I mean, you know, it happens everyday, in rap, outside of rap, it's intertwined with music. Music is powerful.
B: Are you doing any more stuff with CNN?
ALC: Those are my peoples man, I'm one phone call away, if they need me I'm there for em. I just seen N.O.R.E recently, we might get up on some things. I'm probably not gonna make his new album cuz I think its done, but those are my peoples, I got love for them.
B: You've been working with Dilated since day one, now that they're on a major, doing big videos and whatnot, do you feel partially responsible for their success?
ALC: You gotta give credit to a lot of people, that goes without saying. Up until this year I think I made most of their singles. We work organically, that's family those guys, I know all them personally real well, so we make good music together. So I always wanted to see them do well, I remember when we came up with the name of the group and everything. I been there from day one with that group, so it's good to see them grow from ABB, with Beni B, who's a good friend of ours, to get to where they're at now with this major company and major money behind them. Especially when I see them perform live and they kill it. A lot of my fans are their fans, like you know with the songs they're like "Alchemist!" The crowd says it, sometimes I come out at their shows and I get a lot of love. It's good to see them succeed.
B: You're one of the few producers out there who's really bi-coastal, doing big things with artists from both coasts. On the new album you've got some Southern acts on there, how did you get together with Devin and T.I.?
ALC: It was really just thru my travels with this music, my journeys. Good people meet up on the same page, see eye to eye, and respect recognizes respect. T.I.'s manager is a good friend of mine, T.I. is a good dude too, his whole click, that's my peoples so we ended up collaborating. I met Devin in L.A. at the radio station, so it was like mutual respect. I reached out, we did some stuff for my album, we did some stuff with Everlast that never came out. I gave him the beat and said you know, you got any ideas what you're gonna write about? And he said "oh it's gonna be about the pussy, it's definitely gonna be the pussy." (laughs) He's just funny man.
B: Even though 1st Infantry is your official debut, you've also dropped projects like Insomnia and Cutting Room Floor. Are you going to continue to do smaller-run comp type albums through your own label?
ALC: I mean, ain't no reason to make something small. It's still gonna be the same quality of music. I feel like Cutting Room was a step and Insomnia was another step up, and this one is another step up. Whatever's gonna be next is gonna be bigger but the quality of music is gonna be the same. It's definitely a process, I hope to take bigger steps each time without changing the music. If people like that stuff then on a bigger scale maybe the whole world will end up liking it.
B: You've also released a few instrumental albums, do you have plans for any more of those?
ALC: Well we just put out a CD on the street with my man J.Armz who's a DJ, does a lot of "Best Of" instrumentals. We put sixty joints on there. Even I listen to it like "yo I forgot!" It's pretty powerful. We won't be able to do the vinyl because there's too many songs, but it's available online, its called Instrumental Kings Vol. 3 featuring The Alchemist. Double edition, It's two CDs
B: These days the producer has kind of taken center stage more than ever before, whether it's the Neptunes or Timbaland, Kanye or Lil Jon or whoever, they're getting a lot more shine than ever. Do you feel like there's more pressure on you to be a "star," or are you content just laying back and doing your thing?
ALC: You know, I'm an artist. I cover all spectrums of the page. I work on the artwork, I rhyme, make the beats, I scratch on some songs. Even though I cut through the industry as a producer, I have many variations on how I like to create, extend my mediums. I definitely feel like I'm growing and it's time for me to reach out and become a little bigger than just me behind the scenes or just being a small credit. We all gotta get our shine. I got a personality of my own, I wanna let people know all the sides of me. So by being able to do my own albums and put out my own projects, I'm slowly letting people know who I am and the relevancy of me. Stand behind the music instead of just being this ominous title. Now it's time to combine that with who I am so people can get an idea of why I make the type of music I make. Cuz it's all about personalities. When people are buying somebody they don't wanna just buy music. So this is like the first spoon-feeding of Alchemist. I didn't over do it where I'm like on every song, it's just a slow progress where people are gonna wanna see and hear more. It's just a straight fact, I can't just sit back and hide in the studio and expect my album top sell cuz it's hot. The girls, the kids, the people, they wanna know who or what they're buying into, how you look, talk, walk, how you live, what kinda car you drive. They wanna know. And I ain't mad because I'm sure there's a lot of kids out there growing up, they wanna be in the position I'm in, getting props and respect from these people, whatever whatever. So I'm just letting my story be known.
B: Tour?
ALC: Yeah were putting together some dates right now, it's tough because I gotta collaborate with the artists that's on the album, a lot of them have their own agendas or they're busy doing other stuff, but if I could get some promoters to put up the dough to tour this album I'm sure we could jump on the road and we could kill it. We'll see how it progresses. I'm sure we're gonna do a couple of things. It'll be fun.
B: A lot of producers today, you hear a track and it's obvious who made it. With your stuff, you have a distinct sound, but it's not so formulaic, your records have a lot more variety. How do you maintain that?
ALC: I feel like I have freedom to do any type of music, I think that over the years producers and artists come up and do something good, then people want that all day and they just do that. It puts them in a little category and they burn out eventually. I'm at the point where I'm constantly turning corners. And I'm confident in the track record of what I already made in the past. Kind of like when I hear a Premier beat, I'll hear a beat and be like "yo this shit is deep." And then somebody will say "yeah Premier did that." And then I'll go "ahhh, right" because you attach his persona and everything he's done in the past and you kinda put all of them on the level of what you hear right now, and I think people do that when they find out Alchemist did the beat and they give it that listen. Because they know what else I've done and they know it's the same brain giving it the okay and it kind of gives it a new persona, they might even listen closer. It's like what I used to do when I'd hear a Premier beat, Pete Rock, Diamond, Large Professor, whatever. It would just be a vibe like "ah alright, now I get it." You listen to it closer and it's like "alright, now I get the science." Sometimes things go over people's heads you know what I mean? I might put out a joint some people don't like, but it's never like "Al fell off." No matter what, even if the song didn't become a single or whatever. And that's part of the reason I did this album, cuz I was getting sick of not being able to control the gauge on how much stuff I put out there. Worrying about what's a single to the record label, or a sample doesn't get cleared or this or that. It's out of my hands. So it's like let me do this shit, my own album.
B: You started out as an emcee, and you rhyme on "Different Worlds" on the album, would you like to do more rapping? Like a full album or EP or something?
ALC: Yeah definitely man. It's all an extension of creativity, it's what the people want. I wouldn't be able to make beats if people didn't have a demand them anymore. I mean I would still be making em but they wouldn't reach anyone's ears. I was able to grow as a producer because people wanted to hear more of my beats, so I'll be able to grow as a rapper when people are like "I wanna hear more of that." I keep my ear to the street and I keep my thermometer out there so I know how things are doing. That doesn't stop me from recording, but it may decide whether I wanna go hard with the album, if that's what people want you know. I'm gonna always be writing, putting rhymes down, maybe doing songs or whatever, but I'm a tough critic, so if it's really high quality I'm gonna give it to the people.
B: As far as underground guys go, both Madlib and MF DOOM are getting real big, are you feeling those guys' stuff?
ALC: Yeah they're dope. They got their own thing. Its derivative of the era I grew up in. They have similar styles, you can tell the difference, but either way it's creative. That's the essence of hip-hop, being original, staying in your lane. We do what we do, we do it good. That's why when I hear their shit I'm like "wow they're dope!" It's a different style and it ain't always fitting into what's going on right now, but that's never what rap was about. That's what made rap dope, it was over to the left. It was progressive and it was cutting edge. Not being afraid to take risks, that's why I like Madlib and MF DOOM, they take risks. They don't even give a fuck. Madlib is ill, he makes beats sometimes and don't even save em. And then be like "you wanna buy this beat, alright I'll remake it right now." That's ill man, he's a real artist, he's straight creating. They remind me of the classic era of jazz, when people were just experimenting. They were under the radar but it was so creative, they were just venturing into new territories. They're definitely ill.
B: You've worked with so many different cats in the business, all different styles and locations, is there anybody out there you'd really like to collaborate with but haven't got the chance yet? Anybody you wish you could work with?
ALC: I don't know if I'm "wishing" or nothing, I think it'd be good for both of us if me and Jay-Z hooked up. At this point man I done work with so many people I idolize, the thrill is gone, I don't get giddy no more, I'm just happy to be able to still be relevant at this point and have lasted so long in this industry. But Jay definitely, the streets would love it if we did a big joint. I can't work with Biggie, I ain't trying to put a beat to an old vocal. Sometimes it kills me when somebody be like "check my album, I got this new joint with Pac!" (laughs) There ain't no such thing. That shit is weird to me. Its definitely a little out of control, but as far as artists who are still alive, I'd definitely like to work with Jay-Z.
B: You worked with Big Pun.
ALC: Oh man, that's like my favorite experience ever in my career, being able to work with him. I had the most fun in those sessions, I got stories for days. Pun was incredible man, it wasn't just the way he rapped, it was him. He shined, he shined as a star, he was hilarious, the guy was so funny. Pun had his own humor, he was a jokester, he was playing jokes on people all day. He was just one of a kind. Nobody will ever be like Pun ever again.
B: It's lame that he doesn't get the same props as Biggie and Pac.
ALC: That shit's corny man, that's all media and bullshit. It's like maybe if he had beef with another rapper and they both died. The whole thing with Biggie and Pac ain't even based on their music. That's how America does, we make our celebrities our royalty. A lot of people wear them shirts and stuff and don't even know the full catalogue. Pun, creatively, he was up there with them, and he doesn't get remembered the same way and that's a shame. But, that's just a testament to our society and doesn't have anything to do with the music. Pun was the fuckin truth, and it was a blessing for me to be able to work with him, it was a big upset when he died, it was a big shock to me like "yo, what?!" I mean everybody knew about his weight issue but it didn't seem like it would overflow and one day he would just die. But man, Pun, I got stories for days, that was fun working with him, I'm glad I was able to.
B: Are you still working with Cormega at all? Your beats on "The Realness" were out of control.
ALC: Yeah, Mega is good peoples, we haven't been able to work on anything recently, but it's all good, that's my man.
B: Even though you've got a rep for real grimy, street-style production, the new album has some lighter moments, like the Devin and Chinky tracks. Are you into doing more R&B type stuff in the future?
ALC: Hell yes, totally man. What's good music is good music, I don't even put nothing in no category any more because everybody dips into every category, so like it's over now. Some people, they'll judge my beats on certain ones they heard and think I have this particular sound or that, but that just leaves it open for me to shock em. Like Chinky's shit is crazy, that's the tip of the iceburg on her project. She's like the Mary of the future. She's from Queensbridge, she's just naturally talented. You listen to the lyrics to that song and get a feeling where she came from, the pain that goes behind the voce you know what I mean? It's exciting for me to work with her because we don't have any rules or regulations on how to make R&B. We just thug it, and we make hot shit because it's cutting edge and it's not what you would expect from an R&B artist. Like the same beat I could give to the Mobb, I can give to Chinky and we could make a hit out of it. It's fun to be able to journey outside of what people expect. I did a joint for Mashonda, who's an R&B artist, Swizz Beatz' wife, she's coming out on J Records. It was some beats I gave Swizz for some rap shit and he ended up using one for her album and it came out hot. It's like "We Gonna Make It," Alicia Keys did a version of that when it came out on Flex's tape, and it got me thinking, "yo I gotta start getting some people to sing on here." Every beat is a different mood, I do beats like times of day. Like okay, this beat sounds like 12 o'clock noon, this is like six in the morning, the suns just coming up, this beat sounds like midnight, you know what I mean? The sun goes up and down and we all go thru different emotions, so that what I'm trying to reflect.
B: It seems like your music would really lend itself to movie or TV scores. Are you interested in doing soundtrack work, commercials, things like that?
ALC: Yeah I got my feet wet a little with that stuff, but corporations turn me off man. The corporate bullshit, having to answer to people who don't really know about the music. That's the thing about commercials and movie stuff, it's like work for hire. People don't understand what you do, and it just turns me off. I mean if somebody is coming at me with crazy money it's like you'd have to be a fool not to do this, but I ain't even try to deal with the bullshit, I don't have to no more.
B: You got Game and Stat Quo up on there, two young cats who are set to make some big moves. Are you doing any beats for their upcoming records?
ALC: Yeah, we're working, I don't think the stuff for Game made his album, but me and Stat are still working.
B: How bout Saigon? That "Stocking Cap" joint is crazy.
ALC: Yeah his deal is done, I think Atlantic, so he's slated to probably come out next year, so there will definitely be some more ALC-Saigon collaborations.
B: What's your most crucial piece of gear? Something you couldn't do without?
ALC: This crazy shit, it's called the BRAIN! (laughs) It's all in the head, I don't put too much money on the machine man, whatever. Most people know, over the years, people who follow me, I work off the Ensoniq ASR-10. But I don't like to put too much stress on it for the tech-heads, I just never was that type of person. Anybody who's that way, much respect to them, and if that's what they love, investing in new equipment and mastering every piece of machinery, that's dope. Me personally, I don't trip on that. It's all about what's inside the person you know what I mean, if you ain't thinking in that demented way or that different way, then I don't think that any machine will help you. So I try not to put so much stress on the machinery, it's more like a state of mind. I use the ASR-10 and I use Pro Tools, that's pretty much what I do most of my work on.
B: Do you ever use live instruments for anything?
ALC: Yeah no doubt, I venture out man, everything I do I end up chopping up. I'll still chop and sample it like it was a record even if I played it or somebody else played it, I put it into my formula.
B: Do you record or do pre-production
at a home studio and then take it to another spot for vocals or whatever?
ALC:
Yeah I got the lab, the home spot where I do most of my cooking, cutting
and pasting. Then Ill hit the big studio when we mix, sometimes we record
in the studio but you know, save as much paper as we can
B: When you're in the studio with somebody, are you giving them instructions in terms of how you want the vocals laid down and all that? Or is it more like just handing off a beat and letting them do they own thing?
ALC: Most of the time, yeah, we'll work together with it, unless somebody is a perfectionist and they know how they want their shit to sound, I let em do their thing and if there's some pointers I can give em when their done, or how to switch something up, Ill let em know. There really ain't a formula for that, you gotta feel each situation out in its own way. It's like females, you have a different way to approach every different girl, same thing with artists, everybody is individuals and you gotta kinda feel it out once you start working and making decisions on the fly.
B: Are you recording something everyday or does it come in bursts?
ALC: Everyday, I'm working everyday on music non-stop. Unless I gotta promote something or be on the road, the lab is my home.
B: As a DJ, do you ever fuck with CD-Js or more high-tech stuff like Final Scratch, or do you stick with vinyl?
ALC: Final Scratch, I've seen it. I'll mess with the CD-J no problem
B: These days, with the internet and MP3s and all that, it seems like every rap record that comes out is getting leaked early or bootlegged or whatever. What's your take on the whole digital music scene?
ALC: I mean, you can't fight technology, you'll lose. And I ain't trying to lose a battle you know, so I just run with it, I find ways to utilize it. If a record leaks out I find a way to utilize it. We're in the middle of a revolution, technology-wise, so when it comes to this music, you can't fight it. You'd be crying forever. The game changed you know, that's just part of life, you gotta find ways to adapt to the current situation. I used to lose sleep but I don't trip anymore because, if people want it I just hope they go to the store and cop the original and that's all I can do you know.
B: It seems like there's a million kids out there trying to be producers, with some of these new computer programs it's pretty easy to get started. What's your advice for people trying to get into the business?
ALC: Love what you do. Fuck the business you know what I mean. [If you're] thinking about it as a business, it's probably a wrap already. It was never a business for me, it was a shock to me when I realized I could get paid, you know what I'm sayin? It was a pleasant surprise. It was for the love of music that had me making the shit. My advice is, get a hustle, so you can make ends meet so you don't have to make every single thing you do creatively make money immediately. If you stressing on that out the gate, it's gonna be a problem. People get motivated for all the wrong reasons so I would just say, get a hustle where you can pay bills so you don't have to squeeze money out of it immediately. Once its ready, you'll already know.
B: I know "Hold You Down" is the lead single, will there be a follow-up single/video for the new album?
ALC: Yeah definitely, were gonna drop some more joints but I'm gonna let the streets decide that. We knew "Hold You Down" was a good call for the first single, and we're doing a remix. After that I'm gonna let the streets decide. People are already picking certain records, like the Prodigy and Game joint, that's a lot of people's favorite, the Lox record…
B: What else do you have on deck that heads should be looking out for?
ALC: Be on the look out for the new H.N.I.C. album me and P are putting together. We got mad tapes out on the streets, I got a tape out right now, Street Chemistry: The Best of Alchemist and Mobb Deep with DJ Big Mike. Mobb got a string of mix-tapes out there, my man Littles got a mix-tape out The New General. We make it a thing to keep the streets fully flooded with product so people know that we got this. Not being too cocky you know what I'm saying, but between me and Mobb Deep, the way we work together, our movement is respected. Shout out to everybody who does their thing, but we put so much out there that it's hard for them to compete. I'm not trying to say that everything is better than everybody else's, but I don't feel like people can fuck with us. I respect everybody's music, but when we get down and do our thing man, we hit em with so much shit and it's all quality. We bang em over the head man you know. P's always telling me "man fuck that, yo we gotta let these people know!" I like to stay humble but the music speaks for itself. So we just keep it like that and we keep smashing them with the product. But you know, the Mobb Deep album of course is in the stores right now too, so whoever don't have that already, make sure you all cop Amerikaz Nightmare. We about to do the third single for a joint I did off the album called "Win Or Lose." Other than that, I'm already starting on the next album, the next Alchemist album, I did a one-off deal thru Koch so I'm free. So I'm definitely gonna be hollering, I got a lot of other joints that didn't make the album, the thing is, I could put it out next month if I wanted to. So just get ready for an explosion of Alchemist material, Mobb Deep family, you know Mobb got a 50/50 venture, a lot of product is gonna be pumped out. We might just ride out the fourth quarter with the products we have, ride it out trill next year then we gonna start getting these other projects ready. Be on the lookout for Big Noyd's album, Infamous Mobb, Chinky's working on her shit right now, so you know. I got so many beats I spread em out too. Me and Tony Yayo did like three joints for his album, Evidence and Planet Asia are working on an album right now, I'm doing some stuff for them. The whole spectrum man, Styles P, I even did a joint on Nelly's album, believe it or not. On the Sweat man, I can't do the Suit. (laughs) It's a joint I did with Nelly and Mobb Deep, it's some gutter shit, you should check it out.
B: Any last words?
ALC: The website man, I always forget, it's www.alchemistbeats.com If you wanna see what the lab looks like, you go to the site it's like going to the lab. We shot the video for "Hold You Down" there, so it turned out really dope, it may get you to restore that feeling of hip-hop cuz a lot of people miss it. So everybody check for that video, call, request it. BET is gonna start airing it next week so everybody should check that. I'm slowly attaching my visuals to my music you know what I'm saying? It'll be cool for people to see, it's like a day in the life and its dope.