From the dead letter office, Q+A with Gavin “Aphrodite” King, circa 2002. I met him at the Winter Music mess in Miami that March. Starlets popping out of sponsored swimsuits passed Mimosas and other brunch booze around on a sun-blazing rooftop in mid-day. We drank until we agreed to do the interview on spec, knowing well that Drum & Bass music and interviews don’t sell stateside. Sometimes when you’re wasted on other people’s money, it’s easy to let the lips flap and the bitterness fly.
Aphrodite | BROTHER FROM ANOTHER JUNGLE
JH: Your last album (Aftershock) featured cameos by Hip Hop stars Rah Digga, Big Daddy Kane, Schooly D. Yet Americans, specifically the Hip Hop community, seem quite resistant to Drum & Bass.
A: There are several things that come into play here. First reason is, it‘s a bit of “Ah, That‘s a European thing, it‘s not what we‘re about over here.” The other thing is color. If yoi‘re not of Black origin, then a lot of the Hip Hop artists are not going to give you that much credibility. Another reason: it can be too drastic, you‘ve got to ease into it, and no one‘s really taken a huge risk yet. There‘s not enough original material coming through from D&B. It keeps borrowing acapellas and re-serving them. There‘s not enough material for the R&B/Hip Hop scene to really take note.
J: Have you ever been approached by any American Hip Hop artists?
A: No it‘s always the other way. It‘s always me seeking them out. There‘s a few artists that break down barriers. One of [them] has to be Eminimen.
J: What about The Streets?
A: When you listen to [him], you‘re listening to his lyrics and kinda empathizing with him. The music could be any old back track to be honest, and it‘d still be captivating.
J: Who‘s been open to working with Jungle producers?
A: Missy Elliot did a D&B tune on her last album. The problem with it was (full credit to her because she took the bull by the horns) it introduced the sound but the tune itself wasn‘t strong enough for the D&B crowd.
J: How‘d the Mary J Blige “Dance with Me” remix come about?
A: Her London record company asked me to do it, on “spec.” They liked it, it got played on the radio here, but she didn‘t like it, so it got rejected.
J: I heard you were approached by Janet Jackson.
A: A couple years ago, but that never developed.
J: Flavor of the month curiosity?
A: Probably.
J: You try to please everybody and you end up not pleasing anybody.
A: A track comes out and you get all these different versions. I don‘t understand why if the Hip Hop thing is about having 6 mixes on your 12″, fuck it, why not have a D&B mix, a House mix, a garage mix? And, you have problems like the color issue as well. The Fugee remix was offered as an official remix, but because the camp wasn‘t a homeboy camp, it was refused. Same thing with “No Diggity” as well. We sent it over, they plainly rejected it, and then got Goldie to do one which was rubbish.
Everyone wanted ours. The record company should strike a deal and allow the people to buy it. If you look at it from my angle it‘s a big deal; if you look at it from their angle, they don‘t care because they‘re in the business of selling millions of records. That‘s the nature of the music biz.
If you look at Urban Junglist as an album, does it reflect my sets? Yeah, in a way, but there‘s more in my DJ sets that wasn‘t allowed to be on this album simply because they can‘t get legalized as tracksÅ either the artists in question wants too much money or a deal can‘t be struck.
J: What about mash-ups/bootlegs?
A: Bootlegs have always been around that are really good. But it‘s a shame that whenÅ someone wants to put [DJ culture] into album [format], it doesn‘t tell the whole story because of the legalities involved.
Take the Moby track. Moby wanted more money than anyone else. And, because I think it‘s a really good tune, I end up paying for it, and I don‘t really think that‘s right. I would‘ve thought Moby has enough money by now to not do such a hard business deal on such a small album tune.
J: When it ends up as a mp3 online, are you gonna freak out?
A: Nah, I‘m past it.
J: Was Urban Junglist a vinyl or studio mix?
A: Vinyl mix. I sat in my studio, rehearsed it and then I did it. There‘s a little bit of cheating in there, but it‘s not 100 % studio; there‘s a lot of vinyl noise in there.
J: One of the things I enjoyed about Junglist was there was no electro on it.
A: “Planet Patrol” is electro to me. Mantronix was the beginning of Hip Hop, early Rap to me.
J: Any plans to work with electro people?
A: No, no plans to work with electro people. Don‘t feel it. It‘s just not for me. I grew up on that and I‘m not going to listen to it now. There‘s nothing new about it now, it‘s the same 80‘s, same shit over and over. You might as well go the break beat route, it‘s more exciting.
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