I worked on 3 feet high and rising as a sound engineer. They were a total riot, I had absolutely no clue they would go on to such renown.
All the records they sampled had their labels blacked out with marker. I freaked them out a bit by recognizing Hall and Oates and Steely Dan samples.
I don't know anything about the clearance problems, but it's true that this was one of the first records that used samples so extensively as the core basis of the tracks.
A bit later I worked on Queen Latifah's "All hail the Queen", which also used samples liberally. I never heard of any problems with that record but perhaps Tommy Boy were more careful with the clearance legalities by then.
Wow! Have you written about this experience in the past? I'm sure a lot of people would be fascinated to hear what engineering that project was like. I'll start:
1. Was it SP1200s or S900s that were used?
2. How did a typical composition come to be?
3. How did all the horseplay come into being an integral part of the album? Did the quiz show thing just happen, or was it planned from the start?
First I should caution this was obviously a long time ago, and my memory could be suspect. I did maybe 4 sessions, lasting several (6-10) hours each, starting late and extending to morning. These were among maybe 500 sessions I did with various artists during the years 1987-1990 at that studio and others.
I recall they had their own (rather beat-up looking) AKAI S900 sampler (http://www.vintagesynth.com/akai/s900.php), and a box of 3.5" floppies with samples and S900 programs on them. We also did create some new samples, usually layered over existing tracks. I don't think I was present for any fresh tracks that weren't already in production.
Mase (as he was always called) did have a turntable set up, and he would play along DJ style with the tracks, but when it came time to lay down a track with the new sample, they would record him on the S900, then fiddle with the program to get it to sync just right with the existing rhythms. I don't recall them using any sort of sequencer or drum machine, so I suspect someone (it could have been me, someone in the group, or Prince Paul) must have manually pressed the play button on the S900, or alternatively we may have set it up to trigger off a MIDI keyboard.
As for the horseplay, there was a lot of it whether the mics were hot or not. Their work style was to say the least very informal and spontaneous. I think we did some vocals where they were all in the booth around a single mic, with one member (I mostly remember recording Pos) nominally doing his vocal track, but with "inspiration" from the others, which often seemed intended to make the vocalist trip up, after which hilarity would ensue. I vaguely recall Pos eventually getting irate, making comments such as "damn this shit costs money" and "shit I gotta finish this take for real" etc.
One strong recollection I have is a woman who worked for the label (Tommy Boy Records) during at least one session calling repeatedly to ask "Are they in the fucking bathroom again?" or to say "Tell Pos this is the last session we're paying for before the mix!" and then demanding I get Pos or Paul on the phone.
As stated before, I was not expecting this particular group or these sessions to end up having such a legacy. As an engineer, you see so many artists come and go that you start to get a bit hardened, learning not to get too emotionally invested in any one act, as the odds of lasting success are so low.
Thanks for sharing that. Really interesting. You're right, I'm sure for every De La Soul there were a thousand Lisa Lisa and the Cult Jam imitators that made you hardened.
I remember watching this a few years back and loving it, and I'd say you'll get a good hit off it given the personal connection: https://www.youtube.com/watch?v=Mh2_GOPGKBs
OMG that is AMAZING. What. You worked on both 3 feet high and rising and All Hail the Queen. WOW. Sorry about the not very informational post, don't fully follow the HN recommendations. BUT I AM LOOSING IT. WOW.
Maybe you can shed some light on who plays (or what sample is) the sax "solo" in "ring ring ring".. nothing on the web, nothing on the booklet; not the same album, but maybe you heard things ...
Not the sax solo. It's listed somewhere but it's not right. Some people hinted at some JB's live but I couldn't recognize after many hearings. Someone told me it might be a cat from their neighborhood or some already famous player that got called for a one shot take.
All the records they sampled had their labels blacked out with marker. I freaked them out a bit by recognizing Hall and Oates and Steely Dan samples.
I don't know anything about the clearance problems, but it's true that this was one of the first records that used samples so extensively as the core basis of the tracks.
A bit later I worked on Queen Latifah's "All hail the Queen", which also used samples liberally. I never heard of any problems with that record but perhaps Tommy Boy were more careful with the clearance legalities by then.