Ahead of his and fellow luminary DJ Premier’s Australian tour – the first in the Collusion concert series revolving around collaborative artist performances – Rock is in evergreen form, rattling off current projects at breakneck speed.
In addition to the forthcoming third installment in his acclaimed Soul Survivor album series, there’s an EP with Brooklyn rappers Skyzoo and Torae in the works, ongoing collaboration with De La Soul on their new album, work with emerging Harlem rapper Smoke DZA, a “couple of movie things” as well as a “big surprise” on the horizon.
“I just feel like people like myself have to keep ourselves connected to what’s going on out there,” he says of his many ongoing projects. “I’m very passionate. I love music, I love making music. I love hip hop, I love making hip hop. I keep my ear to the ground.”
It’s that ear that has seen Rock rise, and remain, at the top of the global hip hop heap for over 20 years. After getting his break supporting Marley Marl in the mix on WBLS as a fresh-faced 16-year-old, Rock went onto pioneer the injection of jazz, funk and soul into hip hop.
Linking with fellow New York rapper CL Smooth in the early ‘90s, Rock released two timeless albums featuring singles like They Reminisce Over You (T.R.O.Y.) while garnering a reputation as one of, if not the most talented producer in the game.
Want proof? How about 11 albums – including last year’s 80 Blocks From Tiffany’s Part II – from which Rock has generated sales approaching 30 million units. In the studio, meanwhile, he’s produced for and remixed everyone from The Notorious B.I.G. and TLC to Mick Jagger, Madonna and Lady Gaga. In 2011, he picked up a Grammy for his contribution to Kanye West’s masterpiece album My Beautiful Dark Twisted Fantasy, and followed it up by producing tracks for West and Jay-Z’s Watch The Throne LP.
While the way youngsters are making, marketing and playing music differs greatly to how it was done ‘back in the day’, Rock, an active social media user, is forthright when asked how he’s affected by rapid changes in technology.
“I’m not,” he says, laughing. “I’ve basically joined the clan of all new digital equipment. I still collect vinyl and I still use vinyl, but when I’m DJing parties and performing shows, it’s Serato. Now it’s just my laptop that I carry around the world with me to DJ [which] cuts out…the hassle of carrying records everywhere; I actually can’t believe I used to do that.”
While the style and methods may have changed, Rock acknowledges individuality is the key, whatever gear is being used. “Everyone has a different feel on how they approach using equipment and making music,” he says.
“Me for instance, I was always used to the natural way – using equipment in the ‘90s that was available, like the Akai 950 sampler, or the SP1200 or the TR808 drum machine. But today has so many different sounds and different equipment that I actually love. I actually go to South by Southwest to see what’s really out there, to go to a Yamaha Panel, or…somewhere where they’re talking about something new that’s gonna hit the market, you know?
“Everyone has a different feel for one another. With that said, I stay tuned to what’s going on around me, and I just add my Pete Rock to whatever I’m doing.” Long may it continue.
BY TIM MCNAMARA
