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 DJ
Supreme (Hijack) Interview
interview 0067 added
02.06.01 words Karnage
You owe Hijack everything and I mean everything. If it wasn't for them then you'd now be wearing a bad (meaning awful) shell suit with a baseball
cap on backwards reading an article about Derek B or MC Einstein. Certainly
a shuddering thought. Of course there were other credible groups to fight
the good fight before Hijack: Demon Boyz, London Posse, even Overlord
X had his moments but Hijack were something else. They weren't as good
as the Americans… They were better. It is easy to forget how big they
were and importantly, how big they nearly became.
Their story mirrors the story of UK hip hop, quality releases creating
an insatiable appetite amongst underground followers, occasional forays
into the enemy territory of the top 40 and mainstream television, a shot
at the big time only to be let down by record company politics, a split
and for some, a dubious career change into whichever dance genre is selling
records at the time.
Who better to tell the story than DJ Supreme? As one third of the core
of the Hijack crew he forged the hardcore sound and has refused to compromise
it ever since despite others showing a more lucrative career plan. Supreme
set up Backbone Records to continue where Hijack left off, with classic
releases already under the belt and with new projects on the way, his
story is far from over but let's bring you up to date…
I've read that you initially
got into the hip hop scene when hearing Buffalo Gals by Malcolm McLaren.
Can you describe the scene in South London at around that time?
The London scene was very much like it is today, dominated by UK pop
and American soul music. I remember artists like Davie Bowie, Jackson
5, Police, Marvin Gaye, Bonie M, Kool and the Gang, BeeGees, Blondie,
Abba, and Chic making some of the better records. At the time I was listening
to a lot of Reggae Music. I was particularly into the 'toasting' style
of reggae done by artists like Eeek-a-mouse, Yellow Man, and Billy Boyo.
But it all changed for me when Malcom Mclaren released buffalo gals out
of blue. When the video first aired on TV, it totally freaked me out,
the images of breakers, popers, djs and grafitti art had a profound effect
on me to the point I was totally consumed by it. I discovered the next
day at school that I was not the only person wanting to be a part of the
new HIP HOP phenomenon.
Virtually everyone, whether artists or fans, mention
Hijack as an inspiration, as pioneers and originators of hardcore UK rap,
the first UK band which could compete with the U.S on an equal footing.
How do you feel about this level of respect that you have?
I feel a sense of achievement when people acknowledge what we done and
give credit. Earning respect was our primary objective.
When recording Style Wars and then hearing the final
cut, was it obvious that it was something different to all the other UK
releases at the time? Something special?
To be honest, I wasn't totally happy with the music on Style Wars, it
was too similar to PE's "Public Enemy Number 1", but those are the compromises
I had to make as a co-producer. Nevertheless, I wasn't bothered because
I was utterly convinced that the Rapping and Scratching were what made
that track a winner.
Hold No Hostage was your first solo production and
led to a whole wave of similar recordings, was it your definite intention
to increase the BPM and create a track of this pace?
Yes, I used speed as the main ingredients for creating an intense hardcore
atmosphere in my music. I think about music the same way that a composer
writes movie scores to capture moods. I did not increase the BPMs intentionally
instead I tried to capture my feelings at that moment i.e. dissatisfaction
with commercial rap, my old school battle mentality and a hunger for street
credibility. It just so happens that 120BPM seemed to capture all that
perfectly. Haha, It sounds corny and immature now but we just wanted to
serve everyone and I tried to represent this in the music. I think everyone
got the picture!
I remember at the time that all my mates thought
it were wicked where you scratched up the high-pitched sample of the word
Hijack.
Haha, that's funny, it was all discovered by mistake! What's even funnier
is amidst the other more complex scratches that were done it's the simplest
and least challenging ones that people remember.
Ice T then got to hear the track when he was guesting
on a radio show, when did you first hear that he was interested in signing
you to Rhyme Syndicate? Had you met him before?
The night that radio show aired, I got a phone call from a friend to
tell me Ice T was going crazy about Hijack and the Hold No Hostage single.
The following evening I was sitting in the WAG club having a drink with
him. He was all about business and wasted no time in propositioning us
with a contract on his Rhyme Syndicate Records. I had not met Ice before
but I later grew to know him during the several shows we did on the road.
I find him to be a real genuine character, I still have much respect for
him.
Did you have any doubts at all about signing up
with Rhyme Syndicate?
No doubts what so ever. I mean, the label was being managed by Ice T,
a Hip Hop veteran whom by then was a leading force in rap music industry,
he had power. Rhyme Syndicate were not the problem, it was their collapse
and our subsequent move to Warner Brothers that I had doubts about.
Who came up with the 'Terrorist Group' imagery?
The terrorist group image spontaneously grew out of the name Hijack,
coined by DJ Undercover. We simply incorporated the imagery associated
with rebel forces, airplane hijackers and terrorist as seen in the newspaper
and movies.
What did Agent Clueso and Fritz actually do?
They were recruited to participate only in our live stage performances.
Although I never caught Hijack live, I remember
when you were performing Syndicate Outta Jail on Dance Energy and there
was a bit of theatrics going on, was this a regular occurrence with a
Hijack concert?
Yes, this was a regular feature of our show. We had learnt very early
on that some carefully thought out acting and action sequences would leave
a lasting impression with the audience. What wasn't shown in that particular
TV show was the use of firearms, this wasn't allowed for obvious reasons.
We normally used blank guns to act out on stage shootouts with blood capsules
and everything. These days I think a lot of artists/groups lack a good
entertaining show, they would have a lot more success if they thought
about this more seriously. Another thing about that TV show was that my
brother stood in for me on the turntables that day as I had an urgent
engagement elsewhere. I think he did a pretty good job faking it though
- haha.
The next single was the Badman is Robbin which got
into a UK chart placing didn't it?
Yes, It entered the top 40. When I was told about this I remember thinking
that "we've crossed over". The best thing about going top 40 is that we
made a tune that was 100% Hijack, no compromising, and people liked it.
I find that flattering.
The Style Warriors Revenge remix was released, how
come this appeared?
We decided to do a remix of Style Wars as a stopgap while Warner Brothers
were figuring out what to do with the Horns of Jerico album. We wanted
to let people know that we were still around and haven't gone anywhere.
If Warner's released our album when they were suppose to we never would
have done that remix for Music of Life.
Which of your U.K contemporaries did you really
rate?
Haha! I would have never entertained such a question back in the day
but since I've buried my battle axes long ago I can confess that I rated
the Demon Boyz, London Posse and Hardnoise. These crews were as innovative
as Hijack and if not for the silent competition that raged between us,
I doubt that UK hip-hop would have reached the heights that it did. For
these crews I still carry much admiration and respect.
When The Horns of Jericho finally arrived, I remember
clearly thinking at the time that you would now crack America, was this
your anticipation also? How realistic was this view?
I think we would have made a few ripples on the US scene if Rhyme Syndicate
Records had not been dissolved and we got the proper backing but that
never happened. We knew Warner Brothers gave no release date for the album
in the US well in advance so we weren't under any illusions as to what
was going to happen, realistically.
Once Rhyme Syndicate dissolved, didn't Ice T carry
anymore weight with Warner Brothers in pushing for a U.S release?
I'm sure he did have influence with Warners, but not enough for them
to invest thousands of dollars on something that the US where not ready
for. You got to remember that there was nothing out there that sounded
remotely like us, it was totally alien to them, they couldn't pigeon hole
it, they just didn't know how to sell it.
Did you get any reaction from America in relation
to either your live performing or your tracks?
Yes. Through the Internet I've received many emails from people in the
US who know of Hijack. I found out that our material got around on the
underground hip hop scene in a big way. It's weird because I had always
heard about this back in the day but never paid it any mind, as far as
I was concerned it was a rumor. All that changed the day I received a
telephone call at home from Q Bert of the Sckarcth Piklz. He told me he
was a great fan of Hijack, that the scratching was way ahead of its time
and how it had a major influence on him. Further to my surprise he invited
me to address an audience at the Scratchcon 2000 seminar in San Francisco
in the company of Cash Money, Dj Aladin, Craze, The Xecutioners, Beat
Junkies and Scratch Perverts. Haha, after almost 18 years of perfecting
the cut, there I was invited to share the stage with the worlds best DJs!
This was one of my proudest moments. I've been told I appear in the Scratchcon
video too.
What went wrong in this period, why didn't the
album get released over there?
I guess someone on-high decided to push the album in Europe where there
was already a market for us and not invest any capital in promoting us
in the US. The usual major label bullshit!
On 'Back to Brixton', Chuck D is mentioned as giving
advice to yourselves and I got the impression at the time that Public
Enemy were very enthusiastic about the U.K scene, did U.S groups like
this do enough to help you and other UK groups to gain more success, particularly
in America?
No, US groups did not do enough, but then why should they? Hip Hop is
not a charity business. I believe you will always find your way through
once you can prove you can stand on your own two feet as an artists. Right
now UK hip hop hasn't got a leg to stand on and no ones going to hand
out wheel chairs to support it. Until the right group/artist comes along
with the winning sound, image and show and hits it big, no ones going
to pay the UK any attention.
Had most of the Horns of Jericho LP been recorded
before you met Ice T?
Not exactly, I had approximately 70% the music done in pre-production.
For example 'Daddy Rich', 'The Contract', 'I had to Serve You', 'Brother
v Brother', and 'Shoguns Assassin' were all made well before we released
'Hold No Hostage'. With the album release being delayed I later produced
'Terrorist Group, 'I had to Serve You (remix)', 'Phantom of the Opera'
and 'Murder in the first degree' (Murder was the last track I produced
with Hijack.).
Did he have any influence over your musical output
once you'd signed?
None what so ever, we were in total control. In fact he loved the music
and even wanted that I produce for him, we just never got round to it.
You then left Hijack after disagreements over your
future. You've said that Kamanchi Sly and Undercover wanted to conform
to what the U.S market dictated, can you clarify this further?
Yes, I had said earlier that Warner Brother's did not release our album
in the US for economic reasons. When this happened it was pretty clear
to us that Warner's believed our unique brand of hip hop would not sell
in the US. The realisation of this affected everyone in different ways.
My feeling was we got this far being unique it's just a matter of time
before the US caught on and if not, who needs them. K Sly and Undercover
were of the opinion that we needed the US market and if our music was
a problem then we should adapt. In other words 'jump on the US band wagon'.
They were adamant that this was the only way forward for Hijack but compromising
was something I was not willing to do - this basically brought about the
end.
Looking back, what would you have done differently
with Hijack?
I would make sure I got my full production credits.
What is your favourite Hijack tune and which is
your least favourite?
My favorite track is 'Hold No hostage'. 'Back to Brixton' would be my
least favorite.
Really? I always thought Back to Brixton was one
of the best cuts on the album. Why don't you like it? 'Don't Go with Strangers'
is probably the one I'm not keen on.
It's not the best rock loop that was used, there was much harder stuff
but they just didn't make the final album track list.
In between leaving Hijack and forming Backbone
Records, what did you get upto? There is a house DJ called Supreme who
has released stuff, are you one and the same?
I did not make this DJ Supreme house track. I found out that DJ Undercover
and K Sly are responsible for this record. Apparently, when I left the
group they replaced me with someone else with the same name and made their
move into dance music.
It's a bit low replacing you with someone of the
same name, I take it that the split with Hijack was not totally amicable?
I guess those guys were generally not pleased because they probably
knew when I left the Hijack sound would come with me. And I wasn't happy
because I realised I had nothing in common with them anymore.
I know that the record was released without your
permission leading to solicitors getting involved, what happened there?
Not wanting to get into all the details, my lawyers got involved and
the record label responsible for releasing the single agreed to stop pressing
that record.
What do you make of the Pied Piper and the Unknown
MC? A lot of b-boys are up in arms at Kamanchi Sly going from one of the
hip hop scenes most respected MC's to dropping very basic cliched lyrics
on a very poppy tune, what is your take on that?
I can't comment much because I don't know their material. I've been
living outside England for some time now so I've evaded that whole garage
scene (thank god!). My thoughts on K Sly moving from b-boy to garage-dude-whatamacallit,
I'm not surprised, he was always looking for a new direction. I can understand
how the b-boys feel with the blatant hypocrisy of the MC that wrote "money
ain't the matter it's the principal that makes us invincible". But hey,
who are we to judge - every man is at liberty to choose how he makes his
bread and butter no matter how stink it may look to the rest of us.
I think the tune has just hit number one in the
charts and they've been performing on all sorts of prime time television.
I'm not bothered that he's gone into Garage but the lyrics are truly awful.
Rodney P has been talking about doing some Garage but with better lyrics,
it's a shame that Sly couldn't do the same.
Since UK hip hop is such a lost cause at the moment, sadly, Garage seems
to be the only avenue for UK rappers to get paid. Who knows, maybe Garage
will be a springboard for UK hip hop.
You then decided to launch Backbone records after
a period where we didn't hear much from you, what provided the impetus
to start the label?
These days if you're a UK hip hop artist, based in the UK and you want
to bring out a record, you have no choice but to start your own label.
Labels like BackBone Records are a necessity and without them there would
be no UK hip hop out there. Until the industry takes notice of UK talent,
underground labels like BackBone will continue to be an important part
of the scene.
What releases on Backbone would you refer people
to if they haven't checked for them already?
Phenomenal Criminal, by the Icepick feat. Grizzly 1998
Dungeon Funk b/w 5 Paper Style, by the Icepick 1999
You can listen to them here.
How come Icepick ended up on the Ruf label?
That isn't exactly correct, Icepick is not signed to the Ruf label.
We had a pressing and distributions deal with the Ruf, this is why the
BackBone Logo appears on the Ruf label art - a very small logo, but its
there!
What is the future for DJ Supreme and the label?
The label is currently in a dormant phase while artists complete albums.
In the meantime there are a few projects of my own in the works. Firstly,
I'm prepping my solo album entitled "Dawn of the Dread" - it will feature
several European artists. Secondly, I'm putting together a Scratch Tools
album with Aliosity of San Francisco entitled "W.R.I.S.T" (Wrath Released
In Superior Techniques). Thirdly, I'm soon to launch my own personal web
site, www.djsupreme.com. It will
have a gang of stuff on it including news, tour pictures, sound bites
of my new album and of course scratching. Lastly, I'm organising a seminar
named rapology to take place in Europe in 2002.
If you could produce for one emcee, UK or US, who
would it be?
Hmm, tricky question, I'm still hoping I'll get the opportunity to work
with Rodney P, Roots Manuva and Mud Family someday. But if I were to
choose one, US or UK, it would have to be Canibus. I believe the production
for him thus far has let him down miserably. I think, it would make an
interesting challenge.
I think most people would agree with that, have
you ever thought of approaching him? He's done a track with a U.K artist
called Malarchi so he might be up for a collaboration. DJ Supreme and
Canibus would be something else.
Hmmmm! :)
How is the hip hop scene different now to what it
was when you first started making records?
I try to stay up to date with what's going on back home and from what
I know the situation still remains pretty grim. This is the complete reversal
of the scene as it was between 1987 and 1994. During this period UK dominated
European hip hop, we set the trends, raised the standards, called the
shots and even made a little money. Our sudden explosion onto the scene
was due to a series of crucial events that have yet to be repeated. They
were the huge mainstream success of rapper Derek B followed by the relative
success of the Cookie Crew, Monie Love and Wee Papa Girl Rappers. Remember
that Derek B released two top 10 singles and a top 20 album, still unmatched
by any UK rapper. With this the doors of the mainstream industry were
flung open and soon every major label wanted a UK hip hop act. The climate
was perfect - the best talent came to the forefront, the scene flourished,
and the music developed. This climate is definitely missing from the UK
scene today.
What the current scene needs is a new 'Derek B' character, someone to
break big on the mainstream - most likely with a commercial sounding track,
than real hip hop. Why? Because, sadly, the UK is only about 'popular
music' and since underground UK hip hop is too small to support itself,
it can only survive if pitched at the mainstream audience. Without making
a couple of dents in the mainstream armor I have little hope that things
will get any better for the UK scene. We must learn from the examples
of Jungle and now Garage music - initially totally underground until a
few top 10 singles appeared in the national chart.
There is also a major difference in the sound between the two eras.
There was the fast hardcore sound of the early 90s and the New York, Premier
type sound we have from 95 to now. I'm not sure why the early 90s sound
was abandoned but I feel we were on the right track there. I'm not saying
that the beats today are not good, no, they can match most of the US stuff
out there. I just think we need to be more innovative and work on putting
out a top class product - well mixed beats, stylish lyrics and first rate
djs.
Hope isn't all lost for UK hip hop. There is another approach - get
signed by a German or French label where 'real' hip hop has a large share
of the commercial market. If you're good enough they'll take you in. You
might see this as jumping ship, but I'd say your damn right!
I appreciate all your time, are there any shout
outs you wish to make?
Hey no problem, man. Thank you for offering me the opportunity to share
some of my background and opinions with your readers. Respect, luck and
perseverance goes out to all hip hop artists/groups trying to break out
in the UK, keep your head high.
Many thanks to DJ Supreme for help, time
and patience and for the highpitched scratches on 'Hold No Hostage' and
'Doomsday of Rap'!
 
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