Album: Sex and Violence

Label: Jive

Prince Paul: “I’ve known KRS-One and Scott La Rock from being in Stetsasonic. I didn’t know KRS-One as well as I knew Scott. I guess me being cool with Scott La Rock, it obviously made me cool with all of Boogie Down Productions. So I went to meet up with them.

“As time went on I knew KRS-One was a big De La fan. Kenny Parker, his brother, was also a big De La fan. Kenny was like, ‘Yo, we’re working on this next record. Do you have some beats?’ And I gave him some ideas and some music. He picked some beats and I remember we just went in.

“What’s impressive about Kris is he had a book of rhymes. Like a lot of MCs write to the tracks, but he had literally a book of rhymes that matched the beats. He’ll say, ‘Let’s try this one.’ And he’ll flip through the pages, and go, ‘Oh, how about this one?’ It was super impressive.

 

The only bad thing about making that record and working with Boogie Down Productions, was that I never got a chance to finish the song. We recorded the track, Kris put his vocals on, and I never heard from him until the album came out. That really bothered me.

 

“The only bad thing about making that record, and working with Boogie Down Productions was that I never got a chance to finish the song. We recorded the track, Kris put his vocals on, and I never heard from him until the album came out. That really bothered me because those records on that album were just incomplete. They’re not how I would’ve made them.

“To Kris’ credit, years later, I saw him in California and he came to me and said, ‘Yo, I apologize.’ Out of nowhere. He gave me that look, and goes, ‘You know what I’m talking about.’ And I take it that it was for that. At least I’m hoping it was.

“That bothered me because it’s a record in my eyes that could’ve been way better. I was excited because I got to work with a guy who I really admire. But I couldn’t give him the proper justice.

“All the records in that album are incomplete records in my eyes because I didn’t get to finish them. So imagine you lay a beat, and they go, ‘Okay, next week. Let’s finish this.’ And you don’t hear anything. I got paid, which was nice, but I never got a chance to mix them, I never got a chance to add stuff, and break stuff down.

“I’m an okay beatmaker, but I think I’m nice as a producer. I can take an artist, I can take a sound, and I can manipulate it, arrange stuff, and make it better. But I didn’t get a chance to do that.”