Is this where you’re most comfortable recording?
I was born and raised three exits from here. Some of the best niggas came from Brentwood, which is where I’m at. Two towns over was Rakim, the next town was Babylon from De La Soul, Hempstead is where Busta Rhymes and Leaders of the New School are from, and Uniondale was Public Enemy. That’s how it is, it’s like suburbs out here. It’s like if you go to California and go to Watts or Compton, it’s like a suburb too. It ain’t where you’re from; it’s where you’re at.
It’s so peaceful and calm out here, it just doesn’t seem like the typical hip-hop recording studio.
Well, this just happens to be my house. We have buildings in Manhattan that we work out of too. I just use my crib for personal, intimate sessions, whether it’s Macy Gray or LL Cool J.
How often do you record here at home?
I did my whole album here. But everyone who comes through wants to come to the house. Da Brat came through, 50 Cent used to come to my house when he was younger, before he signed with Aftermath.
Having been in the game for such a long time, what do you think is the key to longevity?
I been doing this for 16 years. I think the key to longevity is not being oversaturated. I’m behind the scenes more often than in front of the camera. I’m not the type that you’re going to see in all these videos. I’m not going to be flossin’ on TV about what I’ve got and all that. You’re not gonna get tired of hearing about Erick or seeing Erick.
What do you enjoy more: production, or being an artist yourself?
I like production. But before I came into the game, I didn’t know that the people I heard records from didn’t do their own music. I was already a producer and I didn’t even know it at the time. When I became a producer, that’s when I was able to sign some groups. Once I signed Redman, that’s when I got advanced into other things because of his character.
Are there any artists in particular that people would be surprised to know you’ve worked with?
I been a producer since I started in the game. I produce for half of the rap world, and some R&B music also. You’d never know this, because I’m not the type to have a publicist get the information out. This is the first time I’ve done interviews. People are shocked at what I’ve done because they don’t read or see much about me. A lot of people don’t know that I’ve worked with Jay-Z, Redman was my artist, Keith Murray was my artist, I put Red and Meth together. When I made “How High,” they just happened to be in the studio smoking so we decided to make a smoking record.
You’re on Universal now. Why did you end up leaving J Records?
Because they didn’t understand how to promote and market rap music. I think that’s why Busta left also and signed with Aftermath. It’s different when you’re doing hip-hop. It’s not all about radio play. That’s all Clive was doing, “radio songs.” We were on the radio, but just because you’ve got spins on the radio that doesn’t guarantee you’re going to sell. You must let people know that you’re on the radio and that you have an album in stores.
What appealed to you about Universal?
I was already signed to Interscope in 1995. It didn’t work out because of the switch with them and Warner Bros. I sat down with Tommy Mottola, he didn’t get it. I sat down with Sylvia [Rhone], she was going through some stuff because now there’s no Elektra. I sat down with Russell [Simmons] and Kevin [Liles], they were going through what they were going through. So I sat down with Kedar [Massenburg] and he was like, yeah. He got it, and I was like, let’s roll.
Why do you think Universal will do a better job of marketing and promoting you than J Records?
Because Universal is a bigger system, and you can talk to them because they’re younger and trying to reach the urban audience. Clive [Davis at J Records] had people that worked for him, but he never gave the opportunity for people to blossom, to show them how to make things work.
Besides “radio songs,” what do you think is most important in breaking records?
Mixtapes, commercials, radio, BET.
How’d you get the idea to do a track like “React?” A lot of people were kinda surprised by the vibe.
Red and Meth had the beat, Jermaine and them had it, but no one could really do anything with it. As you could tell by my chorus, I was trying to make a fun record, a play record.
There have been a lot of rumors about you lately. Where do you think they’re coming from?
Guys are the real bitches. They hate the most. They hate when you’re successful and got girls. That’s why I said in my rhymes, “It don’t be the broads, it’s niggas / Mad ‘cause I be baggin’ chicks that look as bad as Jigga’s.” I didn’t have to say Beyonce Knowles, you know that’s her. Niggas don’t want to see you shining. Plus, I been in the game this long. I don’t stop. That’s why I called my song “Relentless.” I’m never gonna stop, because it’s bigger than you and me. I am blessed to do this. That means every day when I wake up, I get out here and do this and make something happen. “Relentless” wasn’t a record that was supposed to pop, it just came from the heart. Next thing you know, everyone’s like, “Did you hear the new Erick Sermon record?” I got celebrities on my phone like, “Yo, E, just heard the new song. Call me back.”
There was a rumor that you jumped out of a window and tried to commit suicide or something. Do you want to discuss that?
I never talked about it, because I never thought it was going to go that far. I’m not saying that I’m really famous, but if you watch the news, they’ve always got the average Joe Schmoe story on the news. There was nothing to go along with the story. If a famous person jumped out of a window, why is there no ambulance, no blood, no camera crew, no pictures, no nothing? I have no idea where that story came from. I never thought it would get that big. Some girl was talking about it, I guess she was mad or angry about something. People saw me out in the streets and were like, “Wow, what are you doing walking?” I didn’t know it had gotten that far. It supposedly happened on September 25th, and in October, I’m walking around and people are like, “You’re not supposed to be walking. Your leg is broken and your jaw is wired shut.” I’m like, “Are you serious?” But what you hear on the radio, you believe. I had hype. I was doing well until R Kelly’s story came out. His story killed mine by a long shot. I was like, man, everybody was talking about me until his fucking tape came out (laughing).
Are you the owner of this rim shop also?
Yeah, I always had rim shops. I had a rim shop in Atlanta in 1992. I have another one in Long Island across from Nassau Coliseum. It ain’t a big deal to me to promote the fact that I own a rim shop.
Do you have any other projects you’re working on?
I got a lot of new stuff coming out. A new Redman album, new movies. And there’s always something going on with production. I’m always gonna do production.
What made you decide that this would be your last album?
I’ve had a long career – sixteen years – and I’m tired now. This is gonna be like, my last hurrah. You just know. You know when it’s your time. Why do I have to prove I can rap?
What do you feel is going on with the industry right now, with the chaotic state that it’s in and everyone getting laid-off?
That’s why I wrote “Relentless,” because it was bound to happen. People made money from 1997 til 2000. They made a gang of money and now people understand what’s real. People won’t allow the wool to be pulled over their head anymore. We’re gonna buy from people who are real. Kanye West is real. His content, subject matter, his songs, they are hip-hop music. He’s bringing the samples back and everything. Common Sense, Talib Kweli, Erick Sermon, we’re all coming with shit that’s real. White backpack kids are the only fans we got right now. And when I go oversees and see the fans we’ve got, my fans overseas are incredible. They still get it.
How do you feel about Benzino’s theory that white people are stealing hip-hop?
Naw. The Beastie Boys were here before we were. Eminem just happens to be really laced. You can’t stop talent. Fuck what color he is, he’s still nice on the mic.
I heard you say something at your concert that sounded like a Kanye West diss.
I said something like, “Regardless of what people say about Kanye, I still like his music.” People say he’s arrogant, but I say fuck that. Listen to his message.
Where do you see hip-hop ten years from now?
I have no idea. I’m a producer so I’ll still be in the game, but doing way more than that. I do R&B just as well. Music is never going to go anywhere. Music is gonna be music, and I want to be right there with it. Once it makes a change, I’ll be right there with the era. I’m gonna be there to be an innovator, because I love it. I can change with it and be creative.
- Photos and interview by Julia Beverly, jb@ozonemag.com
