Here's the latest Eminem interview, aired on the New Years eve @ Shade45 radio - “Behind The Boards.” It's the first of many interviews with hip hop legends going through the tracks that defined their career and the series starts with Eminem himself.Download MP3
@ Rapidshare.com - 82 MB (2 hours long
Apart from the annoying fart sounds and overuse of samples, it's a cool 2 hours (!) long Eminem interview, you just can't ignore! It takes you from the pre Slim Shady EP days right up to the Encore, so it's definitely worth checking out.
Just a few short excerpts from the interview:
“My first alias was Billy the Kid, and it was on some gunslinging type shit. Proof became Dirty Harry. That was his alias… it was on some Wild West shit.”
Then he talks about how he ditched that name for his now famous moniker:
“I was literally taking a shit when the name Slim Shady hit me. Proof had said, ‘Come up with a name that when you rhyme you’re going to be this person as opposed to Eminem. You’re going to be this alias. In this alias you can say whatever the fuck you want to say.’ ”
And totally unrelated, on his VMA loss for Akon’s “Smack That:
“I know that it had the highest billboard leap. It was from like 79 to 7 in a week. It jumped up all them slots. As much airplay as it got, at the VMAs, I really thought we was gonna win that.”
And a few more production related excerpts…
On producing Nas’ “Carry The Cross”:
"I believe I sent him a beat CD. And he picked that beat and then we only had 1 day. I remember there being 1 day to like add music to it, basically produce it…. He was real close to his release date. If I could go back, I know I would have probably wanted to put more music in the track, but time was limited. I just sent him pretty much whatever I had at the time. That’s usually what I do for anybody I produce a record for."
On producing 50 Cent’s “Patiently Waiting”:
"I had sent 50 just the basic …. I don’t think Fif understood exactly how I produced the beats. And this was from just watching Dre. Dre would have the jist of the beat and then he would add most of the shit after somebody laid the verse. And that’s kind of how I worked. I was trying to explain to him it was a skeleton beat."
On producing “Runnin” (Dying To Live) for Biggie and Pac:
"I got the acapellas. We used an Edgar Winter sample. I wanted that song to have an impact… just the music alone. For rap music, for music to claim a life, or lives, that’s when it gets ridiculous to me. And I wanted to make the power of that song like it was a beef they had that should not have been taken that far. I believe the tempos were a little different so we had to match each line with the tempo. Me being such a fan of both of them, I kind of knew where the down beat was."
On producing Jay-Z’s “Moment of Clarity”:
"I actually met with him in New York and I played him basically what I had, what I had been working on. He picked that one. We ended up going back to Detroit, he sent it to me. I wasn’t there while he recorded it but he sent it to me pretty much that same week. I don’t know if I was really feeling that beat until he put words to it. Then all of a sudden it became this… Jay-Z has that ability to take things that, you don’t think the beat is good if you just hear the beat. But once he puts words to it it becomes this whole other… It made me feel exactly what he was saying. There was a couple lines that I even went in the booth and did ad libs on because I felt like the lines were so powerful."
...to hear the rest, listen to the interview!