Ski Beatz gets it. One doesn’t survive trends and fads, egos and fallouts by sheer accident. His talent is well-documented and only eclipsed by his striking humility. The same producer you see sharing his secrets (most of them, at least) and creative processes with the world does so in a selfless manner. He embodies the ethos as espoused by the Universal Zulu Nation: “Each one, teach one in order to reach one.” He has reached many with 20 years behind the boards and his current output is as prolific as ever. Witness a producer who cherishes the past while embracing the future, an artist who welcomes the advent of new technologies and understands its role in making better music, better art. Is Ski Beatz the same cat who produced Jay-Z’s “Dead Presidents?” Yes. However, to reduce him to this one beat or a handful of beats, for that matter, from the ‘90s would be insulting to a man with so much to offer today, and tomorrow as well. Prepare to enter his dojo.
Describe your sound now compared to back in the ‘90s.
The sound hasn’t changed that much. I’ve stopped using the samples and started using a live band to replay elements and make beats that way. Using the Wurlitzers and the live horns, branching off and using all the ill, live instruments is the direction I’m going with this music. However, I still approach the music the same as if I was sampling.
You built your career around sample-based Hip-Hop. What was the reason for moving away from sampling?
Besides not really seeing as much publishing as I should see, being an indie, we don’t have the budget. Dame (Dash) was like, “Find a way to do these songs without the samples.” I’m taking what I’ve learned about the music that created the samples and applying to a live setting.
How do you like the live music atmosphere versus the sample-based one?
You got to realize, when you sample a record, it’s a live band anyway. I do the same thing with my band and now I have control over that individual piece. Now, I don’t have to be trapped by the sound of the sample and confined to the mixing and sonic feel of that record. I only sample to chop it up and have my band replay parts of it. We’ll change the chord structure and melody and rework the entire song, creating something that’s musically different. Interestingly enough, given the opportunity I’d choose to have a sample-free project instead of sample-based one even if the budget was large enough to cover sample clearances.
Your output is prolific, to say the least. Why so many projects so quickly?
Many producers and artists sit on music, A LOT of music. Dame would say, “Why sit on all of this music?” What’s the point? I want people to hear this music. Put that material out and let the people judge it. I’m creating new music everyday for the world to hear and I’m going to let them hear it.
How are you able to work with such a diverse line-up of artists?
I love to hear rappers rap; it’s really no magic trick. I’ve been blessed to work with a lot of talented artists who come through and record. First and foremost, I do this for the love and that takes care of everything. The bills get paid and I’m not trying to chase a check. This comes through in my music. For example, Tabi Bonney has a different base than Murs who has a different fanbase than Curren$y. It’s critical to get these projects out and not have too much overlap with artists who have the same fanbase, so to speak. You want to hit the different circles of artists that are out there now. The fans of Locksmith or Murs may not know each other or have interaction, but they know who Ski Beatz is because I’m the one doing the music. Feel me? Speaking of working with another artist with a different base like I was talking about, the Freddie Gibbs project is coming along and the joints are coming out crazy!
Are you tailor-making the beats to fit the artist or are they customizing the rhymes to fit your sound?
It’s a little bit of both. With Freddie, he’s a little rougher, a little edgier and the beats will reflect that. I’ll say, “Yo, listen to this; I made this joint for you.” We take it from there.
How did you connect with Curren$y?
Dame’s nephew was telling him that he needs to check for Curren$y. He flew up and went to Dame’s crib. Curren$y’s chilling there, relaxing in the beanbag chair and that’s when we first met. We put out the Pilot Talk albums and those did well. We’re still cool, although I’m not a part of the new moves he’s making. The bond or connection is still there.
As someone who has seen the changes in the industry over the years, how would you compare the industry now to that of ’96, ’97?
There are different opportunities now. It’s hard to get the money that you want for beats nowadays. So, you have to find new ways to generate revenue. Now, I go on the road with my band, The Sensei’s. I was on tour with them and we did a 54 city tour with Murs, Tabi Bonney, McKenzie Eddy and several other artists. I perform with the band and make the beat live with the band playing; it’s very live. Plus, we have the merch table there. Fans want to buy a shirt and rock it to school or the gig the next day. Before, there were fewer opportunities compared to today with more opportunities to make money via merch and the Internet. I have also teamed up with Ableton and Native Instruments for sponsorships in support of their software-based products. I’ve really embraced the new technology out there while not abandoning the older hardware that I came up on. The two worlds can exist side-by-side. Plus, I use Ableton and the Maschine (Native Instruments) together to make beats. It’s crazy! You can be creative now as you want to be; you’re not confined to just one area. Let me mention, too, that Dame and I have some clothing opportunities coming up and we’re working on putting some festivals together as well.
Marketing and branding these projects is crucial. How do you go about positioning these albums in the marketplace?
They way we market the music rests on content. Like McDonald’s, you see the Golden Arches at least once a day. You need to be in front of people constantly and we’re trying to make fans with this, shaking hands and kissing babies out there. At the end of the day, that’s where it’s at. I’m also building up my catalog. I’ve got a publishing deal with Universal and now I have a back catalog for them to choose from. All of these moves will eventually make sense to people out there. Let me explain: Pilot Talk 1&2 have combined sales of about 130,000 and that’s all independent, but one of the other albums may not do that much. However, it’s all about perception and building the image and the brand regardless of sales. Selling music is not the primary goal and it’s more of a launching pad than anything. Jay-Z, P. Diddy, Master P, and Cash Money set the standard for this model and showed you the foundation of how to do it. They understand it. Murs is someone who really understands the merch game and making money aside from record sales. He is probably making more money than most major-label artists from merch and touring. He’s a good dude and he’s taught me a lot about this aspect. His fans really love him.
Just touching on it briefly, what’s up with Dame?
He’s still involved with music; that’s his passion –music. He’s the master of creating any opportunity out of nothing. He thrives off the chase. Right now, he’s involved in Dash motor oil. Dame stays on it. Watching him do this firsthand you’re like, “Whoa!” He just called me the other day with one thousand zillion instructions and updates, but it’s all good. (laughs). He’s a passionate guy and it shows in all his businesses –music and otherwise.
You understand survival in this game. How do you persevere in the climate of the industry these days?
You have 7 billion people on this Earth and the Internet connects all of us. All they need is my address. Once they have that, it connects me to them. I love the old cats and their music, but I’ve really made an effort to connect with these younger artists out here. One of those artists, Curren$y, helped put me back out there. Additionally, one of the best things I ever did was when I was at the crib I put together the YouTube video (click here to view) of how I made “Dead Presidents.” I was kind of new to the Internet at the time and a lot of people really gravitated to that video. Back in the day, it took a long time for music to get momentum and get out there. Today music is made and tomorrow it’s available to the world.
What artists are really inspiring you right now –producers and MCs?
I listen to the music, but I don’t really follow the producers by name. It’s like when I was a kid, I didn’t get into the names but I felt the music and went, “Oh, I like this.” Rapper-wise, I’m always following MCs out there like Phil Ade, Danny Brown, Kendrick Lamar, a group called The Camp and others seem to be combining the ‘90s sound back with a newer feel while retaining the elements that made us love this music in the first place. There seems to be a renaissance of sorts going on right now.
Let’s leave the readers with your all time favorite beat you’ve ever done. Or, give me your Top 3 to make it easier.
Wow, I got so many, man. Alright, here is my Top 3 (links provided below):
1) “Address” - Curren$y and Stalley
2) “Heaven Is” C Plus
3) “Cream of the Planet” Mos Def
To listen to and purchase music by Ski Beatz, click here. Also, be sure to check the latest song by Tabi Bonney feat. Yasiin Bey (Mos Def) prod. by Ski Beatz entitled “Chop Chop.”
Thanks to Ski Beatz (@SkiBeatz & @24hrkarate) and Asia Minor for making this article possible. Many blessings to them and their respective endeavors. GOD BLESS
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