Frank 151’s Oodles of Excerpts

G.R.G.O.A.T. – Greatest Rap Group Of All Time.

Twenty years is a long time to be a rapper. Pardon me, twenty years is a long time to be a working rapper. The legend of De La Soul is compiled in chapter 37 of the latest issue of Frank 151. With each issue focusing on a specific theme, Frank’s editorial team put De La Soul at the helm to curate this series of narratives by the likes of former record label execs at Tommy Boy, producer/engineer, Bob Power, to the Plugs themselves. Read an excerpt from De La’s A&R Dante Ross below.

The fellas received a serious, serious ovation that epic night, and the cool industry people all hovered around the De Las post show. I had always half-remembered that we almost talked the boys into going back on and performing again around 2:30 AM. Recently, Pos related this gem to me: “D.M.C. told me we should go on again,” and when Pos replied, “We don’t have any other songs,” D.M.C. told him he should go back on and do the same set. I think this was the root of that memory of trying to get them to perform again that fated night. Most of all, I had always remembered how hard they rocked it and how proud I was of them. I also remembered that Stetsasonic did a total no-show. I distinctly remember around two o’clock—a whole hour after De La rocked the sound man and the stage —staff started sweating me about the next performance, AKA Stetsasonic. I knew the dudes weren’t coming back, but Monica wanted to stall some more, causing me to catch heat. I remember throughout the night spending about five bucks in change calling Daddy-O on his SkyPager. It was the first time I ever got stood up like that by a rapper, something you get used to as an A&R person, especially if you ever worked with Grand Puba or Rakim. Me and my surly ass had the pleasure of working with them both. I’ll save those tales for my book.

Do The Knowledge: According to Tom Silverman, founder of Tommy Boy Records, “We did a record that had two grooves on one side. We ran the grooves wide, so the second groove ran in between the others, and also went to the center, inside the other groove. So, depending where you put the needle down, it would be a different song. Now, DJs complained about this, because when their records skipped, it wasn’t just skipping forward a beat, it would go into a different song altogether. But it was the first three-groove phonograph record, ever.”

Via Nah Right

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