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Liner Notes
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INTERVIEW WITH RED K
RECORDS CEO CLAYTON SAVAGE
by James Auburn
Virginia-based label CEO Clayton Savage has been in the music industry at
all levels: musician, songwriter, producer, and independent record
executive. Once signed to Manhattan Records, his history includes extensive
work with Sugarhill Records, Kool Moe Dee, Grandmaster Melle Mel, Sequence,
and many others.
Clayton spoke with me in a three-hour interview from his Virginia offices. A
mentor at heart, he is as generous with his insight as he is with his time.
CS: Well see interestingly enough we were all over the future. Mel
and the guys were into what I was doing (not Cowboy really.) We were
integrating the Rock and Roll. We had a live band when we performed.
[Reverend] Run... at an Hawaii performance chastised us to the crowd saying
we were not doing real hip hop for having a band and that they were keeping
it real for only using turntables when their biggest hits involved Rock and
Roll. What a crock of "ish" that was!
JA: Hm... yeah, that's odd.
CS: Yeah but it happened. Ticked us all off and look at the state of
Hip-Hop now. What's really needed are live bands behind these acts to pull
it all together again. That's part of the Red K [Records] methodology. I'm
bound and determined to take it back to that as far as live is concerned
JA: Mine and Darcie's band (Velvet Stylus) is kinda making a name for
ourselves doing that -- backing up MCs.
CS: Much as the Roots and ?uestlove have, it's the future.
JA: Something like that.
CS: It's missing. Showing up screaming over a record... and now they
don't even remove the lead vocal…Well that's not entertainment now is it?
People pay for a performance. Something they can't get from the record.
JA: I know... At best, you get rapping over a DAT.
CS: During the introduction phase... or building process, it's cool
and it's cost effective. Some places can't have a band.
JA: The DJ ain't even doing anything in back...
CS: Nope not anymore. I learned from working with the furious the DJ is the
band and we worked em' live. They had a job - not just hit the button but
follow us and improvise with us. So I learned to respect that DJ and the art
of turntableism. Actually calling them DJ's is wrong. Turntablist is
better…mix masters… cut creators… that's more to the point. A DJ plays
records. They call Tom Joyner and Steve Harvey DJ's now… they aren't
anymore.
JA: Well that was the *original* usage of the term... It has
definitely evolved... And guys like Roc Raida, or Rob Swift, etc etc...
they're proud of that label "DJ". They would never disown it.
CS: They have a right to be and I don't mean any disrespect to the
term/name… There's a difference between a rapper, MC and lyricist. To me
there needs to be identifiers for the turntablist too. If only for those who
aspire and need a target to focus on. But... the DJ is the heart of music
industry. I wish we could give them back their power. They used to break us
in... introduce us to the world. The Mr. Magics of the world are gone.
JA: Absolutely. Ever read a book called Last Night A DJ Saved My
Life by Frank Brewster & Bill Broughton?
CS: They discuss the origins of the DJ in that book and so many DJ’s
that made it was it was like Jellybean Benitez.
JA: Oh yes. It's not a perfect book by any means, but very
informative...
CS: Yeah. Heck where is Dick Clark when ya need him? Soul Train used
to break acts. BET used to break acts. In Living Color used to as well.
Arsenio...
JA: Most Definitely mad respect for Arsenio, whose show I miss
dearly...
CS: Yeah he was cool as heck and took everyone by surprise. In a way
the Terrance Howard of his day. No one saw him coming. Broke Paula Abdul too
he did.
JA: Back to the old days: Did you ever go to those legendary early
Hip-Hop shows in New York? See any legends (70's-early-80s)?
CS: Nay. I'm from Virginia. That stuff is legend to me and New York
is a dangerous place ... if ya know what I mean.
JA: How did you get along with [Grandmaster] Flash?
CS: I've met him… we have no relationship… no history. It was an ugly
time when I came along. He and Mel were splitting and it was you're on one
side or the other. I had more of a business head than the normal musician so
I recognized what was going down and stayed out of it. They were right to
leave Sylvia but should have done it all together. But I would not have had
the opportunity to work with Mel that I think that I did if that happened.
JA: You don't have to answer this one: Do the Robinsons deserve their
reputation?
CS: More than most people will ever realize.
JA: Care to talk about how you broke off from them?
Part 2
For more information about Clayton Savage please visit
his site.
To find Clayton’s albums please visit:
http://www.cdbaby.com/claytonsavage
http://www.cdbaby.com/claytonsavage2
http://www.cdbaby.com/claytonsavage3
James Auburn is a
keyboardist, musical director, arranger, educator, and all-around
audiophile. He's also the co-founder of the Boston Hip Hop Alliance.
Part 1
Page 1
Page 2
Page 3
Part 2
Page 4
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