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Swizz Beats- The Monster
One of the Greatest Producers of All-time Part 1
interview by Jerry "Mr Live-N-Direct" Bagley
In honor of Swizz Beats and all the positive work he has done recently with his efforts to raise money in Haiti for the survivors of the major earthquake that claimed the lives of over 100,000 people, Live-N-Direct wanted to take the time out to salute not only a philanthropist and pioneer of today's most popular music, but to also show that Swizz Beats is uncanny and unmatched when it comes to his business prowess that seperates him from many of his music contemporaries. I was invited to Unique Autosports in Long Island to do an interview with Swizz Beats aboard the Full Surface tour bus. As you can imagine, I was pretty hyped about doing the interview because I was currently working on a producer documentary/series and film that I wanted to negotiate and pitch to either VH1 or MTV. And when I got the call that Swizzy agreed to allow me to do the on-camera interview, I was gonna make sure to make the best of it. No gossip, no rumors, just real talk where I could pick the brain of one of the greatest musical producers of my time and my viewers can actually learn something. You are about to witness greatness. So please enjoy Business 101 from one of today's greats. I now give you Swizz Beats, The Monster Part 1.
Let's get right to it!
Jerry "Mr. Live-N-Direct" Bagley:
So let's talk about the different licensing and publishing deals in terms of what producers can negotiate these days.
Swizz Beats:
Owning the licensing and publishing rights to certain songs in your catalog can be very lucrative. You can actually make more money off of those same records 5, 10, or even 15 years later down the road after they were initially released. So after you exhaust all possible revenue that you can earn with radio and tours, there's actually a residual market where you can make even more money.
Sometimes more money than what you originally made when the record first came out. For example, I own 75% of the publishing for DMX's "Party Up In Here". So what I did was license the rights to that song to the NBA. So you have to think, every time you heard them play that song at an NBA game during time-outs they had to me. And the way the licensing fee goes with the NBA is they option it in quarterlies. That means they pay you every 3 months. And the actual licensing fee for that song was 500,000 dollars. And say after 3 months would pass, and they want to continue using it, then the NBA would have to re-up and pay another 500,000 to use it again.
I also own 100% of the publishing rights for Limp Bizkit's "Rolling". And what I did with those publishing rights was license it to the WWF. So everytime the WWF would play the song when the wrestlers came out they would have to pay me. This deal isn't finalized yet, but you see the song "Hotel" by Cassidy? I'm also in talks with major hotel chains across the country to have them play that song. So everytime you come into certain hotels you would hear "Hotel" by Cassidy playing. So in terms of licensing and your publishing rights, you just have to be smart about certain deals you do. But ownership is the key.
Jerry "Mr. Live-N-Direct" Bagley:
Now explain to everybody your relationship with Jay-Z. Because from what I understand you didn't work with him on the Black album. And some people were wondering was there some type of tension or falling out because you have a long history together. And one would think, an album that Jay-Z is saying is his final album, you would be a part of that album.
Swizz Beats:
That's understandable that people would assume me and Jay isn't getting along or whatever. That's just the nature of the business. People just want to assume the worst. But that's like the furthest thing from the truth and will never be the case. Jay is like my brother. We have a great friendship and a great bond. Come on, me and Jay made history together. We changed music. We created trends. We changed the game. And the main reason that I'm not on the Black album as a producer, is because I have too much respect for what me and Jay have accomplished together in our careers. I'm not going to just submit any old beat just to make the album. The record and the song has to be right. It has to be epic. It's never about money when I go into the studio with Jay-Z. When I'm going in the studio with him, I'm trying to create something magical and timeless. So that's the only reason I didn't make it on the Black album. The timing just wasn't right. And I didn't just want to rush and make something to be on the album. But me and Jay is all good. That's my brother. (Swizz's Cellphone rings)
Swizz Beats:
(Jokingly says) Hold up! That might be Jay calling me right now! He might have heard about this interview!
(Everybody on the Full Surface bus breaks into laughter)
Swizz Beats:
Nah, but seriously, it's all love with me and Jay.
Jerry "Mr. Live-N-Direct" Bagley:
Now I understand, you have a thing for luxury cars. That's why you're here today at Unique Auto Sports shooting this segment for MTV. Shout out to my boy Will for allowing us to come and shoot this with you as well. I have to admit, you got some really hot cars.
Swizz Beats:
Yeah, shoutout to Will. He's a good friend of mine. But absolutely. Everybody knows I have a penchant for buying and collecting exotic cars. But see even when it comes to business in that regard I smartened up. Cause I was spending wild money on luxury cars. 200,000 here, a half a million there. So what I did instead of spending all this money was, I went and got my dealers license. And then I invested in car dealerships across the country.
That way I could pay to drive the same luxury cars I was used to driving right off the lot, but at a fraction of the cost, then return the car before it depreciated in value and then get another one all over again. And now I have the number one luxury automobile dealership out in Phoenix, Arizona. So again, it's all about making smarter business decisions and continuing to build the brand.
Jerry "Mr. Live-N-Direct" Bagley:
That's pretty smart to make that investment. Out of all your cars, which one do you enjoy driving the most right now?
Swizz Beats: Well it depends. Since it's cold in New York right now, I would primarily drive the G5. Especially because when I'm going back and forth to conduct meetings in Manhattan, the G5 gives me that classy look, but at the same time the G5 has durabilty and handles the rough terrain of all the snow and potholes on the streets of New York. But when I just want to hit the open road and ride out, I'll have to say the Lambo.
Jerry "Mr. Live-N-Direct" Bagley:
Now let's talk about you scoring films. Cause alot of people don't know you actually scored the film "Any Given Sunday" with Oliver Stone.
Swizz Beats:
One of the Greatest Producers of All-time Part 1
interview by Jerry "Mr Live-N-Direct" Bagley
In honor of Swizz Beats and all the positive work he has done recently with his efforts to raise money in Haiti for the survivors of the major earthquake that claimed the lives of over 100,000 people, Live-N-Direct wanted to take the time out to salute not only a philanthropist and pioneer of today's most popular music, but to also show that Swizz Beats is uncanny and unmatched when it comes to his business prowess that seperates him from many of his music contemporaries. I was invited to Unique Autosports in Long Island to do an interview with Swizz Beats aboard the Full Surface tour bus. As you can imagine, I was pretty hyped about doing the interview because I was currently working on a producer documentary/series and film that I wanted to negotiate and pitch to either VH1 or MTV. And when I got the call that Swizzy agreed to allow me to do the on-camera interview, I was gonna make sure to make the best of it. No gossip, no rumors, just real talk where I could pick the brain of one of the greatest musical producers of my time and my viewers can actually learn something. You are about to witness greatness. So please enjoy Business 101 from one of today's greats. I now give you Swizz Beats, The Monster Part 1. Let's get right to it!
Jerry "Mr. Live-N-Direct" Bagley:
So let's talk about the different licensing and publishing deals in terms of what producers can negotiate these days.
Swizz Beats:
Owning the licensing and publishing rights to certain songs in your catalog can be very lucrative. You can actually make more money off of those same records 5, 10, or even 15 years later down the road after they were initially released. So after you exhaust all possible revenue that you can earn with radio and tours, there's actually a residual market where you can make even more money.
Sometimes more money than what you originally made when the record first came out. For example, I own 75% of the publishing for DMX's "Party Up In Here". So what I did was license the rights to that song to the NBA. So you have to think, every time you heard them play that song at an NBA game during time-outs they had to me. And the way the licensing fee goes with the NBA is they option it in quarterlies. That means they pay you every 3 months. And the actual licensing fee for that song was 500,000 dollars. And say after 3 months would pass, and they want to continue using it, then the NBA would have to re-up and pay another 500,000 to use it again.
I also own 100% of the publishing rights for Limp Bizkit's "Rolling". And what I did with those publishing rights was license it to the WWF. So everytime the WWF would play the song when the wrestlers came out they would have to pay me. This deal isn't finalized yet, but you see the song "Hotel" by Cassidy? I'm also in talks with major hotel chains across the country to have them play that song. So everytime you come into certain hotels you would hear "Hotel" by Cassidy playing. So in terms of licensing and your publishing rights, you just have to be smart about certain deals you do. But ownership is the key.
Jerry "Mr. Live-N-Direct" Bagley:
Now explain to everybody your relationship with Jay-Z. Because from what I understand you didn't work with him on the Black album. And some people were wondering was there some type of tension or falling out because you have a long history together. And one would think, an album that Jay-Z is saying is his final album, you would be a part of that album.
Swizz Beats:
That's understandable that people would assume me and Jay isn't getting along or whatever. That's just the nature of the business. People just want to assume the worst. But that's like the furthest thing from the truth and will never be the case. Jay is like my brother. We have a great friendship and a great bond. Come on, me and Jay made history together. We changed music. We created trends. We changed the game. And the main reason that I'm not on the Black album as a producer, is because I have too much respect for what me and Jay have accomplished together in our careers. I'm not going to just submit any old beat just to make the album. The record and the song has to be right. It has to be epic. It's never about money when I go into the studio with Jay-Z. When I'm going in the studio with him, I'm trying to create something magical and timeless. So that's the only reason I didn't make it on the Black album. The timing just wasn't right. And I didn't just want to rush and make something to be on the album. But me and Jay is all good. That's my brother. (Swizz's Cellphone rings)
Swizz Beats:
(Jokingly says) Hold up! That might be Jay calling me right now! He might have heard about this interview!
(Everybody on the Full Surface bus breaks into laughter)
Swizz Beats:
Nah, but seriously, it's all love with me and Jay.
Jerry "Mr. Live-N-Direct" Bagley:
Now I understand, you have a thing for luxury cars. That's why you're here today at Unique Auto Sports shooting this segment for MTV. Shout out to my boy Will for allowing us to come and shoot this with you as well. I have to admit, you got some really hot cars.
Swizz Beats:
Yeah, shoutout to Will. He's a good friend of mine. But absolutely. Everybody knows I have a penchant for buying and collecting exotic cars. But see even when it comes to business in that regard I smartened up. Cause I was spending wild money on luxury cars. 200,000 here, a half a million there. So what I did instead of spending all this money was, I went and got my dealers license. And then I invested in car dealerships across the country.
Jerry "Mr. Live-N-Direct" Bagley:
That's pretty smart to make that investment. Out of all your cars, which one do you enjoy driving the most right now?
Swizz Beats: Well it depends. Since it's cold in New York right now, I would primarily drive the G5. Especially because when I'm going back and forth to conduct meetings in Manhattan, the G5 gives me that classy look, but at the same time the G5 has durabilty and handles the rough terrain of all the snow and potholes on the streets of New York. But when I just want to hit the open road and ride out, I'll have to say the Lambo.
Jerry "Mr. Live-N-Direct" Bagley:
Now let's talk about you scoring films. Cause alot of people don't know you actually scored the film "Any Given Sunday" with Oliver Stone.
Swizz Beats:
Wow, that was like an incredible accomplishment for me to get the opportunity to score that film. I got to work with legends like Oliver Stone, Al Pacino and of course Cameron Diaz, Jamie Foxx and LL Cool J. So it was a tremendous experience for me. And I learned so much from it. See, in Hip-Hop, when you're just going to the studio to create music, alot of times there's not any pressure to be creative. Sometimes artists come in the studio and drink or smoke or whatever to get in their zone. But with scoring films, you can't work on what I call "nigga time". It ain't none of that when you working with these people on these big budget films. There ain't no slacking and coming into work whenever you want. I had to be on the set of the film everyday just like everybody else from like 6am in the morning to 10 or 11 o'clock that night. So working on the film definitely taught you discipline and having a good work ethic. Then you have to remember, I was scoring films way before it became the norm for a quote-un-quote "Hip-Hop producer" to score major blockbuster films. So I really had to represent because I was opening a lane up for other producers to get an opportunity to also score films on a major level. For example, I was approached to also do the Wesley Snipes "Blade Trinity" film. So because of the success of "Any Given Sunday", more major movie studios are taking chances with producers that originated from the Hip-Hop culture.
Jerry "Mr. Live-N-Direct" Bagley:
Now I want to talk about something really important. I want to discuss the deal you did with Clive Davis and J Records. How did you sign your Full Surface imprint with him?
Swizz Beats:
Well what was real interesting was at that particular time I was really hot as a producer. So I was getting alot of multi-million dollar deals put on the negotiating for me to sign with various labels. At one point I was offered 20 million dollars to sign. And looking at it on the surface, that's some good money. But what alot of artists fail to realize is, that 20 million dollars that the label is giving you is a fucking loan. You gotta pay that shit back! Lol! So I didn't want to put myself in a bad situation where I was owing people all this fucking money. So what I did was, instead of taking 20 million to sign to a label, I told Clive I'll take just 900,000 upfront to cover my basic overhead and expenses of the staff and actual set-up of the Full Surface company. Then I'll do the majority of the production for the artist on the label, which was Cassidy at the time, again cutting costs. Because at the end of the day, if your album comes out and doesn't sell all that great, guess who's going to be the first artist to be dropped? You are. Because you're costing the label 20 million dollars. But with me only taking 900,000, even if the record doesn't do well, the label won't look at you as the first expense that needs to be cut cause you're not losing them so much money. They'll give you another opportunity to put out another record. So be aware of all the big money or the millions they may offer you. It can be a major trap off.
Jerry "Mr. Live-N-Direct" Bagley:
Now I want to talk about something really important. I want to discuss the deal you did with Clive Davis and J Records. How did you sign your Full Surface imprint with him?
Swizz Beats:
Well what was real interesting was at that particular time I was really hot as a producer. So I was getting alot of multi-million dollar deals put on the negotiating for me to sign with various labels. At one point I was offered 20 million dollars to sign. And looking at it on the surface, that's some good money. But what alot of artists fail to realize is, that 20 million dollars that the label is giving you is a fucking loan. You gotta pay that shit back! Lol! So I didn't want to put myself in a bad situation where I was owing people all this fucking money. So what I did was, instead of taking 20 million to sign to a label, I told Clive I'll take just 900,000 upfront to cover my basic overhead and expenses of the staff and actual set-up of the Full Surface company. Then I'll do the majority of the production for the artist on the label, which was Cassidy at the time, again cutting costs. Because at the end of the day, if your album comes out and doesn't sell all that great, guess who's going to be the first artist to be dropped? You are. Because you're costing the label 20 million dollars. But with me only taking 900,000, even if the record doesn't do well, the label won't look at you as the first expense that needs to be cut cause you're not losing them so much money. They'll give you another opportunity to put out another record. So be aware of all the big money or the millions they may offer you. It can be a major trap off.
Swizz Beatz The Monster Part 2
One of the Greatest Producers Of Alltime!
written by Jerry "Mr. Live-N-Direct" Bagley
After receiving so much positive feedback from the over 700 people that read the first part of the Swizz Beatz interview, we are happy to bring you the second installment of the interview where the Great Swizzy discusses his love of art, working with Marilyn Manson, DMX and his other producer contemporaries. So again, please read and enjoy.
Jerry "Mr. Live-N-Direct" Bagley:
There has always been talk throughout the music industry about who's the best producer. This guy or that guy. What is your stance on it?
Swizz Beatz:
Well I think every producer has his or her own lane. Naturally there's a competitiveness within yourself to achieve greatness. Who wouldn't want to be the best at what they do? If you're not trying to be the best at whatever you do, then you seriously need to re-think why you're in this business. There's a huge difference between being competitive and having beef. So as far as the other producers, I have great relationships and respect for all of them. For example, Pharrell is my man. We talk all the time. I might hear a Clipse record and then hit Pharrell and be like "yo that's a hot record". Or Pharrell will hit me and say "hey that Cassidy joint is crazy". So it's all love. Same thing with Kanye and Just Blaze. Personally, I feel I'm a trailblazer. Alot of people don't remember, but I was the first producer to ever do a Sprite commercial with the Five Deadly Women of Hip-Hop at the time, Roxanne Shante, Angie Martinez, Mia X, Amil and Eve. Which later on opened the doors for Kanye to do his Pepsi commercials. And then later on Kanye's success opens a lane for the next guy. So it's really about creating your own niche and opening lanes for the ones coming up behind you in order to keep the artform moving in the right direction. So it's never about any particular producer cause we all have our own distinctive sounds that seperates us from the next guy.
One of the Greatest Producers Of Alltime!
written by Jerry "Mr. Live-N-Direct" Bagley
After receiving so much positive feedback from the over 700 people that read the first part of the Swizz Beatz interview, we are happy to bring you the second installment of the interview where the Great Swizzy discusses his love of art, working with Marilyn Manson, DMX and his other producer contemporaries. So again, please read and enjoy.Jerry "Mr. Live-N-Direct" Bagley:
There has always been talk throughout the music industry about who's the best producer. This guy or that guy. What is your stance on it?
Swizz Beatz:
Well I think every producer has his or her own lane. Naturally there's a competitiveness within yourself to achieve greatness. Who wouldn't want to be the best at what they do? If you're not trying to be the best at whatever you do, then you seriously need to re-think why you're in this business. There's a huge difference between being competitive and having beef. So as far as the other producers, I have great relationships and respect for all of them. For example, Pharrell is my man. We talk all the time. I might hear a Clipse record and then hit Pharrell and be like "yo that's a hot record". Or Pharrell will hit me and say "hey that Cassidy joint is crazy". So it's all love. Same thing with Kanye and Just Blaze. Personally, I feel I'm a trailblazer. Alot of people don't remember, but I was the first producer to ever do a Sprite commercial with the Five Deadly Women of Hip-Hop at the time, Roxanne Shante, Angie Martinez, Mia X, Amil and Eve. Which later on opened the doors for Kanye to do his Pepsi commercials. And then later on Kanye's success opens a lane for the next guy. So it's really about creating your own niche and opening lanes for the ones coming up behind you in order to keep the artform moving in the right direction. So it's never about any particular producer cause we all have our own distinctive sounds that seperates us from the next guy.
Jerry "Mr. Live-N-Direct" Bagley:
Out of the MPC 3000 and the SP1200, which is your favorite to use?
Swizz Beatz:
I would have to say the SP1200. I like going into the studio and banging that shit like crazy! ( demonstrates with his hands as if he's hitting the drum pads)
Swizz Beatz:
The SP1200 was the standard at one time. Alot of people are not using it now with all this new technology and shit. But my SP is classic. I got artwork and graffiti all over mine. I'm a take it and throw it up in the vault cause one day it's gonna be a collectors item.
Jerry "Mr. Live-N-Direct" Bagley:
Now I understand that you are heavily into art. Let's talk about your artwork. The passion you put into it creatively and where you're trying to go with it.
Swizz Beatz:
I love art. I love all kinds of paintings. I got into drawing and creating my own paintings years ago. The beautiful thing about art is, no one can ever be right or wrong. It's all in the eye of the beholder. It's your own interpretation of the art you are looking at which makes it great or timeless. The Da Vinci's, the Van Golh's, these are artistic greats and they have some of the most beautiful paintings in the world. I'm an art collector. So I can genuinely appreciate what they have created. My business partner, Peter Max and I formed a company together called "Kitchen Art". For those that don't know, Peter Max is the world renowned artist that does all the paintings you see in the White House. Him and I formed this company together and you're actually going to see some of our artwork in galleries and museums in the future. So keep an eye out for that. One of my first really big paintings I did years ago, was the one I dedicated to Clive Davis. We actually did that piece and I presented it to Clive during Grammy weekend at his annual gala.
Jerry "Mr. Live-N-Direct" Bagley:
Now I understand it that you actually produced some music for gothic rock and roller Marilyn Manson. How was it working with him? That experience had to be different.
Swizz Beatz:
(smiles and points at me) Ahhh, you did your homework. I like this interview. Its not your typical "Hip-Hop" interview tha's same ol same old. Alot of times when I do interviews people never bring that up. That's dope. Well, working with Marilyn Manson was incredible. The guy is a genius. He's on a whole nother level. Alot of people probably don't know this, but I produced the biggest record of Marilyn Manson's career called "Drugs". I like to consider myself as a person that thinks outside the box. I like producing records other than just Hip-Hop. I also got an opportunity to work with Metallica and Limp Bizkit as well. I'm a tell you man, that Rock and Roll money is crazy. (Everybody on the Full Surface bus laughs at that comment)
Swizz Beatz:
Nah, that's real talk. Let me give you an example. I can get paid 100,000 to do a track for a prominent Hip-Hop artist as opposed to getting 250,000 to do a track with a Rock and Roll artist. So you do the math. It's far more money to be made in the Pop mainstream and Rock and Roll market than in Hip-Hop. The record labels are giving them much bigger budgets to work with when it's time to record their albums.
Out of the MPC 3000 and the SP1200, which is your favorite to use?
Swizz Beatz:
I would have to say the SP1200. I like going into the studio and banging that shit like crazy! ( demonstrates with his hands as if he's hitting the drum pads)
Swizz Beatz:
The SP1200 was the standard at one time. Alot of people are not using it now with all this new technology and shit. But my SP is classic. I got artwork and graffiti all over mine. I'm a take it and throw it up in the vault cause one day it's gonna be a collectors item.
Jerry "Mr. Live-N-Direct" Bagley:
Now I understand that you are heavily into art. Let's talk about your artwork. The passion you put into it creatively and where you're trying to go with it.
Swizz Beatz:
I love art. I love all kinds of paintings. I got into drawing and creating my own paintings years ago. The beautiful thing about art is, no one can ever be right or wrong. It's all in the eye of the beholder. It's your own interpretation of the art you are looking at which makes it great or timeless. The Da Vinci's, the Van Golh's, these are artistic greats and they have some of the most beautiful paintings in the world. I'm an art collector. So I can genuinely appreciate what they have created. My business partner, Peter Max and I formed a company together called "Kitchen Art". For those that don't know, Peter Max is the world renowned artist that does all the paintings you see in the White House. Him and I formed this company together and you're actually going to see some of our artwork in galleries and museums in the future. So keep an eye out for that. One of my first really big paintings I did years ago, was the one I dedicated to Clive Davis. We actually did that piece and I presented it to Clive during Grammy weekend at his annual gala.
Jerry "Mr. Live-N-Direct" Bagley:
Now I understand it that you actually produced some music for gothic rock and roller Marilyn Manson. How was it working with him? That experience had to be different.
Swizz Beatz:
(smiles and points at me) Ahhh, you did your homework. I like this interview. Its not your typical "Hip-Hop" interview tha's same ol same old. Alot of times when I do interviews people never bring that up. That's dope. Well, working with Marilyn Manson was incredible. The guy is a genius. He's on a whole nother level. Alot of people probably don't know this, but I produced the biggest record of Marilyn Manson's career called "Drugs". I like to consider myself as a person that thinks outside the box. I like producing records other than just Hip-Hop. I also got an opportunity to work with Metallica and Limp Bizkit as well. I'm a tell you man, that Rock and Roll money is crazy. (Everybody on the Full Surface bus laughs at that comment)
Swizz Beatz:
Nah, that's real talk. Let me give you an example. I can get paid 100,000 to do a track for a prominent Hip-Hop artist as opposed to getting 250,000 to do a track with a Rock and Roll artist. So you do the math. It's far more money to be made in the Pop mainstream and Rock and Roll market than in Hip-Hop. The record labels are giving them much bigger budgets to work with when it's time to record their albums.
Jerry "Mr Live-N-Direct" Bagley:
Now this is has been a hot button topic of discussion for many years. What is your relationship like with producer Dame Grease, if there is any relationship at all? Cause I got a chance to go up and talk to Dame Grease at his Vacant Lot studios and you know for years there has always been this talk of you guys having some sort of beef. Because it has been said he actually did the majority of DMX's "Its Dark and Hell is Hot" album, but you did only a couple of joints on there and have received more of the accolades. Any comment on that?
Now this is has been a hot button topic of discussion for many years. What is your relationship like with producer Dame Grease, if there is any relationship at all? Cause I got a chance to go up and talk to Dame Grease at his Vacant Lot studios and you know for years there has always been this talk of you guys having some sort of beef. Because it has been said he actually did the majority of DMX's "Its Dark and Hell is Hot" album, but you did only a couple of joints on there and have received more of the accolades. Any comment on that?
Swizz Beatz:
Well to be honest, there's nothing to really comment on. I don't have beefs with anybody. The sole purpose I'm here is to make music. I can't control the public's perception of anything. Once you get caught up in what the he said, she said part of the industry is and all the gossip, that's when you start to lose sight on what's important. Me and Dame were part of Hip-Hop history with the whole Ruff Ryder movement. To tell you the truth it was bigger than both of us. I'm never gonna diminish what either one of us contributed to DMX's project, or any other Ruff Ryder artist's project. He did his thing, and I did mine. On how people on the outside might view that, well that's totally on them. They see it how they see fit. And I'm fine with that.
Well to be honest, there's nothing to really comment on. I don't have beefs with anybody. The sole purpose I'm here is to make music. I can't control the public's perception of anything. Once you get caught up in what the he said, she said part of the industry is and all the gossip, that's when you start to lose sight on what's important. Me and Dame were part of Hip-Hop history with the whole Ruff Ryder movement. To tell you the truth it was bigger than both of us. I'm never gonna diminish what either one of us contributed to DMX's project, or any other Ruff Ryder artist's project. He did his thing, and I did mine. On how people on the outside might view that, well that's totally on them. They see it how they see fit. And I'm fine with that.
Jerry "Mr. Live-N-Direct" Bagley:
This was a huge record when it came out. It was possibly the biggest song that helped your career as a producer take off. The "Ruff Ryder Anthem" joint. When you look back, what do you remember and how do you see it?
This was a huge record when it came out. It was possibly the biggest song that helped your career as a producer take off. The "Ruff Ryder Anthem" joint. When you look back, what do you remember and how do you see it?
Swizz Beatz:
It definitely was a huge turning point in my career. But it was also a huge turning point in Hip-Hop music too. You have to remember, when DMX came out it was during a time when Hip-Hop was on some smooth shit. More party records and club joints. Then when X comes out his album turned Hip-Hop upside down. He brought that rugged, underground, gritty, street shit to the masses. People hadn't seen that type of artist that X was since a nigga like Tupac, where the streets could really identify with his story and feel his pain. There was so many similarities between the two. So when "Stop Drop" came out it became an anthem for the streets that everybody could feel. We were trying to keep that East Coast movement alive. And that one record changed everything.
It definitely was a huge turning point in my career. But it was also a huge turning point in Hip-Hop music too. You have to remember, when DMX came out it was during a time when Hip-Hop was on some smooth shit. More party records and club joints. Then when X comes out his album turned Hip-Hop upside down. He brought that rugged, underground, gritty, street shit to the masses. People hadn't seen that type of artist that X was since a nigga like Tupac, where the streets could really identify with his story and feel his pain. There was so many similarities between the two. So when "Stop Drop" came out it became an anthem for the streets that everybody could feel. We were trying to keep that East Coast movement alive. And that one record changed everything.