DX: Itâ€™s common knowledge that thereâ€™s no 401K in Hip Hop. With that being said, do you ever see yourself stepping away from the music industry to pursue a more stable way to make a living?
PR: I will always do something in music. Anything that I am able to do professionally in music I will pursue it. One of the things I really want to get into scoring movies. I dibbled and dabbled in it but I really would like to get into it in a serious way especially since I seen how RZA capitalized on the scoring thing with Kill Bill and Blade and all that. I would like to deal with action movies, superhero movies, and gangster movies. Gangster shit and superhero shit in particular. Iâ€™m real into the superhero thing big time. I been into them since I was a kid, so I would love to be part of one of them. I like a lot of the movies theyâ€™ve been making and theyâ€™ve been coming out with a lot of them lately so Iâ€™m really gung ho about getting into it now.
RZA is going to get some competition in Cali. Let’s see how this will all work out. Read the full interview at HHDX: Unsung Hero
Yesterday I also came across some other old post. It offered some food for thought. Stating that Deck should have collaborated with Pete Rock for his entire solo LP.
FW: Hereâ€™s how it should have played out ten years ago: coming off the success of Wu-Tang Forever (1997) â€“ on which he contributed the finest verses of his career, reigning supreme on every track he blessed â€“ the Rebel INS grows impatient with RZAâ€™s new keyboard-based approach to beatmaking and Bobby Digital (1998) distractions. Dissatisfied with the scattershot RZA tracks and the fruits of the Wu-satellite producers that would comprise Uncontrolled Substance (1999), Deck offers Pete Rock the opportunity to produce the record in the same template as â€˜Trouble Manâ€™, his lone contribution to the album. While Wu diehards are sent into an uproar over the absence of the Wu abbot, the resulting full-length is nonetheless a smashing success, as Deckâ€™s signature metaphors and endless alliteration are a perfect match for Rockâ€™s rhythmic soundscapes. On â€˜Trouble Manâ€™, note how the Soul Brother offers a fresh perspective on Isaac Hayesâ€™ â€˜Joyâ€™ riff, slicing it up into syncopated microfragments, then layering the chalky piano from Curtis Mayfieldâ€™s â€˜Give Me Your Loveâ€™ atop for the chorus, which also appropriates Sadeâ€™s â€˜Paradiseâ€™.
My point: Pete Rock – Tru Master ft. INspectah Deck & Kurupt