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 Adam F Interview
interview 0358 added 13.12.05 words: Swaid
technical: Spoon
Adam F is a true jack of all trades, who started making waves in the music industry at the tender age of 17. With such critical acclaims such as a MOBO, an NME Top Producer award and several gold and platinum records under his belt – not to mention a successful record label and enviable careers as an artist, producer, DJ and film composer, Adam has recently made moves into the world of hip hop. Busy both night and day, Swaid caught up with the man himself after a hectic night of Drum and Bass at the legendary Swerve weekly to see who Adam F really is....
First things first - you produce hip hop, DJ, and produce drum and bass (among an assortment of other things) – how did you get your first “break” in the music business?
I guess my first big break was a track I did called “Circles” – it had a Bob James sample in it, a classic jazz funk groove. Everyone knows “Westchester Lady”. You’d certainly know the track if you heard it. He’s probably one of the most sampled people in hip hop – Bob James - or was at some point – by people like Run DMC… That was a drum and bass track I did that basically blew up over here in England and got me my first recording deal with a major label and got me played on MTV. It got me flown out to the MTV jazz festival in Brazil – and I went on stage after Jamiroquai to play a drum and bass set, but live - completely live. I remember going out there thinking that these people had never heard of drum and bass and they had – and my track had been made into a video. We actually did the video in New York on some mad rooftops in Brooklyn somewhere. That was my first sort of break I guess in the late 90’s.
What motivated you to start producing?
A lot of the music I do is live, even the drum and bass projects. I have some samples, but I’m a very strong believer in incorporating live and electronic music together. I grew up on playing music live and so I like to incorporate the two together. What started it off? I don’t know; it’s a desire, a passion, an uncontrollable thing in life. My calling is to be musical. I was in a band before I started doing some dance music and hip hop - I grew up on hip hop in school, amongst many other genres of music. I’m actually working on going back full-circle and doing a whole band project at the moment. It’s just always been a part of me really.
“...I’m not just another producer. It’s all about working and getting the best out of it…”
Who are your biggest influences in music production?
I’m influenced by so many people for different reasons. I’m just inspired by talent – whether it be through soul in the voice, or through film-making, or through someone’s immense dedication to scoring music and learning that whole skill – people like John Williams - and people like Redman. I’m inspired by people’s passion and motivation and dedication to the music. It’s something I always tell people – believing in yourself and being passionate. I’m inspired by so many people - not particular people.
 What are your favorite and least favorite parts about the music business?
Performing on stage is the most rewarding. People coming up to you and saying that they have your CD and that certain songs touched them, and that they still listen to something you did a long time ago. That’s the most rewarding thing. More than awards or reviews in magazines. Hearing that someone has a track of yours, in Israel or Japan – or somewhere may you not have spent much time, knowing that your music has reached out – that is the best part. I really do like performing, I’ve really tried to expand and experience what it’s like. I’ve got a record label in the UK, a music publishing company – and developing new artists is a pleasure in itself. Putting your experience and what you’ve learned into helping someone else is always really rewarding. Also, the challenge of something… I really like to work - I like the challenge. When I started, trying to reach people like MOP and Capone n' N.O.R.E. [CNN], people were like “You’re never going to reach those guys, how are you going to get working with them?” That in itself drives me to reach the things that may seem unreachable. It’s about having the passion to make it happen. That’s really what I like about music; you can make it happen if you have the passion and dedication.
How did you first start working with Redman?
Well, actually we started working because of the album [Kaos] – he is someone that I’ve respected for a long time – I was a big fan of his growing up. Basically, I headed off to LA to see him and Meth [Method Man] when they were on the Blackout Tour and caught them backstage at the end of the show. Basically just got a hookup through their manager and through someone who was A&R for Busta [Busta Rhymes] at the time and was looking for new producers anyway – for beats in LA and stuff for some artists they were representing. I basically managed to get a hookup, met the guys in the dressing room and played a track that I’d made – kind of an orchestral track “Smash Sumthin” and the choir was singing his name – I had sort of gone all out to try and make it a real presentation but still with a grimey hip hop edge with the beat. And we just literally, from that moment when he heard it in the back of the dressing room on one stereo with one speaker – we just got on and we clicked and the manager arranged a meeting and we got together in the studio and we started right up together on the track. Before you knew it we’d made a track that was meant for my album, and he liked it so much he wanted it for his album – and from that day forth we’ve been friends ever since. I’ve worked with him on his new album; I’ve worked with him when he’s been on tour, I’ve worked with him for videos – shows like – all types of things. That’s how the whole journey into Def Jam started with me as well, after people like LL [LL Cool J] heard that track that whole doorway opened and that was sort of the start of me working with those guys.
What was the recording experience like?
Blimey! Redman is something else. He’s quite hands-on – which is really nice - to work with an artist who is like that. Technically it was a great experience because he’s someone that likes to put his hands on the desk and get involved with the mix and be quite creative – so professionally and technically it was a really good experience. Working in England, so many people have gone digital – and back then when we recorded that album – even though actually his new album has been recorded a lot on Pro Tools and stuff – we were using 2 inch tape which is the old analog way of recording – we did everything in analog. I grew up with analog and it was nice to go back to that sound. So many people don’t use that, but use Pro Tools and stuff instead. He was really into getting the vocal sound and the beats warm and using 2 inch tape and putting it into valve compressors – so it wasn’t really as difficult as many might think, it was really still a cool professional standard. It was a challenge for Tom Uzzo – who has mixed a lot of his records – with all the orchestral sounds. Even though the main beat is quite simple then it drops with funk guitars and all live instruments and stuff. I remember meeting Eric Sam who was running the studio at the time, and he was wildin’ out about the sounds and the orchestra and the funk guitar stuff - and then I was playing him some of the drum and bass stuff and it was just a kind of warm and welcoming experience. Red’s really professional. He’s worked with other people like Roni Size who I’ve worked with in England before – so he’s really open for me to try new ideas and push the envelope. Separate to that, what was it like working with Red on a personal level? It was nuts, absolutely nuts. He’s just crazy – he’s out there! He’s a really cool guy – but he likes a little smoke is one way to put it.
 On a bit of a different subject, can you tell me a bit about the story behind “Rush the Security” on Redman’s latest album “Red’s Gone Wild”?
How did that happen? I’ve been working with Red on his Gillahouse mix tapes. He came over to Europe the beginning of the year, on tour with his crew – and I was doing stuff for those mix tapes. I’ve also been doing stuff with DJ Craze who is like 5 times DMC champion and who is working with me and doing cuts on a lot of different peoples tracks. We got that track together for Red, and it was just kind of another beat, another project, I spent a long time working on different tracks for him – he spends a lot of time working on tracks with different producers, and will just use a couple. He was working with Timbaland, etcetera, so I wasn’t even so sure it was going to be a single. I knew when we made it - the night when he actually laid the vocals down – he was calling Ellis, his manager and was like “I can run with this, as a single and do the video”. At the time the label felt it was not that commercial, though – that the hook isn’t a commercial kind of hook and Red said “Fuck commercial, I don’t want something commercial – I want something that is going to be played for the street”. I was thinking “Cool, we’ll just make it hip hop and grimey” and Craze was into that and it was nice vibe all around. Later on when he had done more and more tracks I got a phone call like “We’re gonna shoot a video in Brooklyn and Red’s jumping with it for the single and we’re gonna roll with it” – so I jumped in a plane and went over there for the video shoot. Nothing was really planned for it - it just was the way it turned out.
“...What started it off? I don’t know - It’s a desire, a passion, an uncontrollable thing in life…”
Now, I’ve seen the video – and you aren’t in it anywhere – are you camera shy?
It wasn’t about making a cameo appearance. The track was a take on him in a club – rushing the security. It wasn’t about going over there and standing in the back. I make the music – I need to go over to be there for the director, the music, and any late mixes. At that time we were doing a dancehall sort of mix, as well. As a producer I really like to be a part of it all the way through the project. I’m not a typical hip hop producer… I don’t make beat tapes and send beats here and there. I like to work with an artist all the way from the birth of the song to the video so I can give the respect the whole way and then they respect how I work as well. It’s always about working collectively and getting the best out of it – because it always might need a change when doing the video, you might need to edit or change something up.
Is there anyone in particular who you’d like to work with (in hip hop) in the future?
Wow… that’s a hard question to answer… there’s quite a few people, to be honest. There are a lot of people up and coming that I’d like to work with, it’s hard to name just a few.
Which of your hip hop tunes are you most proud of and why?
I guess we’ll wait to see how “Rush the Security” turns out; but so far…I guess working with MOP – they’re just something else – I mean they’re wild. I went on tour with them over here in England and we did a set, just 4 or 5 tracks, and I did the track “Stand Clear” with them – and I remember Flex actually phoned me up asking me about that – and that was just a proud moment. MOP is just pure energy and grime and real hip hop – it was nice to be able to work with them and make something that was street-beat and have Flex phone me up. That was definitely something that I’m proud of. Of course, “Smash Sumthin” – the track did become quite a meaningful track in hip hop and in his career as well. You look back on it and it’s one of Redman’s tracks – it stood out. It was really challenging as well, we were trying to do something that wasn’t easy – and hearing that being double dropped by different people like Flex in New York – those are probably my 2 favorite tracks.
Right – for all those people reading who want to make it – who want to do what you’ve done – what 3 (or fewer) pieces of advice do you have for them?
Don’t ever forget why you’re doing this. If you think about Redman, there’s no way he’s going to stay in the game without the love and the passion to see it through. It has to be in your bones – don’t let the struggle put you off. As long as you’re doing it for the right reason, then it’s worth doing. Always try to push yourself, don’t ever give up… You just have to believe in yourself. Believe in what you’re making, even if other people doubt you. I know it kind of sounds a bit cliché, but really just believe in what you do – and work hard.
You co-own a hugely successful UK record label and a massive dance music forum, produce hip hop, produce drum and bass, have won a MOBO, DJ the world over, publish music and score films… what’s next?
What’s next? It’s just trying to continuing to grow all those things. I mean I’ve been simultaneously building a band project – starting off with Redman and Craze but they’ve been so busy lately. It’s kind of a project to look out for next year called ‘Malpractice’ – some rock influences, as well as hip hop - Craze is cutting on that. We should be rady for the festivals next year. I’m producing and singing, playing guitar and writing and various things. That’s the current thing apart from developing artists – we’ve signed this group over here called Pendulum and released their album on our label, just shipped about 65,000 units - which is pretty good for an independent label in England. We’re on their 4th video now which has been playlisted, and I’m working on the first single for the Malpractice project. I’ve also been offered a small part in a British Indie film next year – an acting thing. I’m just carrying on making music, and just letting life unfold.
Any final words?
Thank you for the interview. Big up to all the UK hip hop massive, Redman, Gillahouse Crew, DJ Craze. Of course Westwood and the boys and everyone over here in England representing.
Adam F. will be performing in Bristol and London on New Years Eve, and we’ve included all the lovely links so you can find out more information on his stellar career. Don’t sleep....
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Swaid
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