DJ Revolution
By: R.M. Monk

One of the most respected hip hop DJs in the world, DJ Revolution, has been holding down the spot at the world renowned hip hop radio broadcast, The Wake Up Show, with Sway and King Tech for the past 8 years. On top of the radio show’s success, Revolution has produced for the likes of Dilated Peoples, Bootcamp Click, The Alkaholiks, and has established his technical skills on the 1’s and 2’s as some of the best you will ever hear within the industry.

7 years after his last record, DJ Revolution has returned with “King of the Decks”– a DJ’s return to hip hop culture that re-establishes the close knit relationship between DJ and MC that hip hop was known for when it first rocked the street corners. Philaflava had the chance to catch up with DJ Revolution to talk about the new record, the suspect new generation of DJs, new technological advances, the Wake Up Show, and much, much more! Hit it.

Philaflava: King of the Decks has recently hit the shelves-- What was your goal with this record and how does it compare to your past releases?

DJ Revolution: My goal for this record was to re-connect the DJ back with the MC, as well as to re-attach the DJ within hip hop culture. The DJ was always a huge part of the culture, but recently it has turned into a separate entity and it’s own little thing outside of hip hop. The hip hop DJ- scratching, mixing, and blending- was always only attached to hip hop, but since hip hop tossed aside the DJ a lot of us were forced to turn into something else. So, I’m trying to bring it back, man. DJ’ing is supposed to be apart of hip. Those are the people that started it all in the first place! And it still wouldn’t be shit without the DJ support. These new generation DJ’s do not understand that, or what a DJ is really supposed to do, what their roles are, why we do what we do-- when you see a DJ scratching, juggling, and mixing in a club-- what does it mean, where does it come from, what’s good, and what’s bad. So, I’m trying to give this culture a re-introduction on what it means to be a DJ.

Compared to my past projects this is different because I produced 99.9% of the record and worked with all my favorite artists. My skills are 7 years better than my last album, I’ve been around the world ten times, learned a lot of new shit, and put a lot of that into the album by using the latest technological advances. It’s like a re-invented myself.

Philaflava: What's your relationship with Duck Down Records and why did you choose Duck Down to be the label stamp on King of the Decks?

DJ Revolution: I’ve known the guys at Duck Down for ten years. I’ve been watching them grow and maintain as all these labels have folded. I watched maintain by releasing new music, setting up a dope website that got their own community really flourishing, and they have been growing over the past few years exponentially by signing hot new artists outside of the Boot Camp Clik. When I started working on this record they expressed interest immediately. I just shrugged it off because I wasn’t looking for a home at that moment, but they started pursuing it more as I started getting deeper into the record, and hit me up with a lot of proposals and plans that showed me a lot of commitment. They came up with ways for me to really get this record off.

It was only right because I have known these guys for such a long time, I have seen their work ethic, they are tied with a lot of people in the industry, and it just seemed like a good fit. I could’ve gone somewhere else and gotten more money, but I wouldn’t be on Duck Down with the people that I have known for ten years making this important record.

Philaflava: From Sean Price, Royce 59, and Edo G to Xzibit, Planet Asia, and Bishop Lamont-- How did you compile your guest features for this record and why did you want to work with the artists that you did?

DJ Revolution: I wanted to work with these certain artists because each one of them completed a certain vision for each song. Every artist was hand picked and chosen for a reason. I love ‘em and have been a big fan for a long time, or they completed a vision I had for a track. It was hard getting them all together, chasing them down, and getting everyone into the studio, but when it came to choosing who I wanted to work with it was easy-- half those people are in my backyard. The other half are people real close that I could just call up and get things going. That’s why this record is not a here’s a beat now spit a hot 16. I didn’t hit up these cats on Myspace and ask them to drop a verse, because they do a lot of that-- selling verses over the internet, etc-- but, this record is none of that. I got every single one of them up in the studio, told them what I wanted, and gave A+ performances. We didn’t make a Myspace record. We made real songs.

I’m real proud of that too, because a lot of these DJ’s do these compilation albums and might as well be glorified A+R’s. They don’t really do jack shit. They walk into the studio, pay the artists their money, and tell them to get on this track that this producer they ALSO hired. So, really, they are just executives and shit annoys me. So, I wanted to show what real producers do.

Philaflava: Were there any tracks that didn't make the final cut? (any chance for a release of those lost sessions?)

DJ Revolution: Yea, only because I didn’t have enough room on the god damn CD *laughs*. It’s 80 minutes long, so I couldn’t put anymore on it because it costs a lot of money to go over that mark. But anyways, there was a Pacific Division cut that didn’t make the final album, but I really loved it. It was definitely one of my favorites. There was another scratch track that didn’t make it. I had a track with Big Pooh from Little Brother and a bunch of cats from his camp. There’s a track on the album called “Rated R” that I have a remix for with Redman, but couldn’t get that on because Def Jam fucked all the business up and couldn’t clear it.

I definitely want to release the lost sessions. I got all these alternate versions with just scratches and no lyrics. Man, got another alternate version of “Rated R” with Roc Marciano on it, so I definitely want to do something, but I just got to let the album bubble for awhile.

Philaflava: Is there a standout cut from the album that you especially love more than the rest? (Or, what's one song you'd choose to play for someone that was thinking of buying it, but wasn't sure)?

DJ Revolution: It’s tough, you know. Because there is a lot of stuff on there for you average hip hop cat, but If I played say “The DJ” with Krs-One they might get the wrong impression of the rest of the record, because the album isn’t all about DJ’s. So, I dunno. I would play different songs for different people. If I had to define it I would have to say “The DJ” with KRS.

But, I also love the song with Special Teamz and that’s why I made the video for it. It’s a really strong song and they completed my vision for that song by showing what I think about the current state of hip hop and posing rappers trying to give off something they’re not.

Philaflava: On your track "Scratch Nerds" you touch on the awkward elitist DJ culture. What do you find that trips you out the most about these types of fans/DJs? And what do you think of hip hop "purists" in general?

DJ Revolution: Well, being a hip hop purist is great, but being a hater is not. They all have this super DJ ego and don’t attach themselves to hip hop. There’s a lot of people that love scratching and mixing, but really don’t give a shit about hip hop music and there is a lot of fans that don’t know about real DJ’s. They might only know someone like Green Lantern, and I’m not trying to knock him or nothing’, but they might know someone like that rather than a DJ Q-bert who is known for his technical skill. There is a huge difference between technical skill and all that other shit and I wanted to point that out with the song.

You used to have to be technically good to get fame and now you don’t. Someone that knows what technical skills are and knows the techniques are not going to like those other DJ’s. In my opinion, you should have to be skilled to be recognized. So, long story short that track was just the best way to poke fun at everybody. Poking fun of the famous guys that have no skill and poking fun at the DJ’s that got skill, but will never get anywhere because they are only about super hardcore scratching and don’t even like hip hop.

Philaflava: Other than yourself, who are some of the other DJ's records that you look out for and enjoy?

DJ Revolution: I’m always looking for DJ’s that I don’t know about, but other than I will look at DJ’s for different reasons. I will look at for Babu, DJ Premier, Jazzy Jeff, Q-bert (even though I haven’t heard from him in a long time), but I like to keep my eye on who’s coming up next. Who’s got the cuts, beats, and techniques in the club.

Philaflava: You have Jake One, DJ KO, DJ Idee, DJ Babu, and The Alchemist all dropping compilation records aroung the same time as yourself-- Do you have any thoughts on these artists? Or, excited to hear what they are going to drop?

DJ Revolution: Yeah, I mean Jake One’s album is incredible. I’ve listened to it about 4-5 times already. I got about 4-5 cuts off of Babu’s album and it’s a great hip hop album too. Also looking out for that Alchemist, because I’m a huge fan of Alchemist. But, my album, I don’t even have to say anything, because when you put my album up against all those other records you just mentioned it will stand out. It’s not just regular raps over beats. Every song has a point and a purpose, and not saying that songs on those other records won’t, but it’s not just some random rap compilation. My record is more a body of work.

Philaflava: In a recent interview you said "DJ's aren't making a lot of DJ's look good cause they aint the least bit cool in my opinion. Sometimes I'm almost embarrassed to be DJ and wouldn't be caught dead hanging around with some of these fools. Some of these cats are looking real suspect lately." What did you mean by that comment and who were you speaking about?

DJ Revolution: I’m talking about people like Steve Aoki. You know what I’m sayin’? And all his people underneath him. I’m talking about people that look like high school burn outs. Like, burn outs I used to beat up at my old High School or some shit. That ain’t cool. That ain’t hip hop. And I’m not saying you have to look a certain way, but even those that didn’t look stylish or have personality had an amazing set of skills. I’m not trying to stand next to real flamboyant ass people. I fuck with music people. People who have skill and appreciate great music. DJ’s are supposed to be cool. When I was a kid all the DJ’s were cool-- looked cool, know what they were doing, had respect, were fuckin’ shit up, and had this aura. Now, I think that aura is gone. I’ve never hung out with cats with two year old busted up Dunks and SUPER CRAZY TIGHT JEANS-- I’ve never fucked with people like that. You wanna know why? They weren’t in my squad, they weren’t hip hop, they didn’t roll with anyone affiliated with hip hop, because we didn’t let them in…they weren’t cool! Feel me?

Cats like that didn’t get booked for hip hop gigs like that, because they were not cool. Now I’m tripping on that. So, if you are looking like that you better have some SHIT to show me to compensate. It may seem superficial, but your look is what defines you…or at least it used to be. DJ’s are supposed to be looked at as the guys that know what’s hot, know what the new styles of dress are, the new music, new technology, and that’s your job. If you look like an old burn out bum-- what does that tell me? And then you get on the turntables and you aren’t doing shit? Playing weirdo music that has nothing to do with hip hop, but trying to run in these hip hop circles…just doesn’t make any sense.

Philaflava: "The Life of a DJ/ There's no comparin' it-- is a line that KRS one spits in your album. What makes that statement true?

DJ Revolution: Really, its simple! I wake up every single day and I do hip hop. I travel the world. I’ve had the most incredible experiences with the most incredible people anyone can hope to meet. I know all of my childhood hip hop idols and am pretty good friends with most of them. I’m world renowned for my technical skills and production. I make money doing what I love to do. There IS no comparing. I get a good feeling about what I do. I sleep well at night. I don’t perpetrate, trend hop, and keep it true to myself-- there is no comparing!

Philaflava: Since you first started out at a young age the craft has evolved right along with technology-- What do you think of the new tech. advances that go along with DJing now? Do you use Serato a lot?

DJ Revolution: I don’t use Serato. I haven’t used it in 3 years. I use another product from another company. I think technology is great and is a tool…not a crutch. Lets put it this way-- if you put a nail gun in the hands of someone who is completely inexperienced in construction and has only handled a normal hammer-- that motherfucker is a loose cannon. So, I compare that to DJ’ing. If you put a tool like Serato in the hands of someone that doesn’t know anything about DJ’ing, or the technical skill that goes into the music he is playing, or the culture that it represents-- that motherfucker is a loose cannon.

Running around downloading all this music that he has no attachment to, no emotional feeling for, playing it for people that probably don’t care either, and perpetuating a myth. Perpetuating this whole syndrome of a DJ’s not knowing shit anymore. Knowing about the music, style, and culture is what makes a DJ.

This digital software is a bless and curse at the same time. It only makes me look better though, because when I’m ripping shit in the club on the same shit that someone else failed on and fucked up the whole night using…then you know the deal. People should only improve from wax to digital. It’s like learning to drive a Honda and then getting into Ferrari-- you should be doing a whole lot better, driving smoothly down that highway, but some don’t. Even DJ’s I’ve known for years who were really good are fallen off with this digital software. Over the years they haven’t improved or gotten lazy. I mean, let me tell you something right now-- if you are trying to be a professional DJ and can’t even use this digital stuff right…you are way behind the game.

Philaflava: What is your greatest LIVE experience as a DJ?

DJ Revolution: Man, that’s a tough one. I got a lot of great experiences. I’ve DJ’ed for Rakim, Kanye, KRS, Bootcamp, and a lot of incredible artists. DJ’ed in front of 10,000 people, crowds over seas-- kind of tough to have one greatest live experience. To be honest with you, I don’t think I’ve experienced it yet.

Philaflava: Do you feel that European fans are a better crowd than in America?

DJ Revolution: I’ll tell you something…I was actually talking to Jazzy Jeff about this a week ago. European fans have a lot more appreciation for good music than American fans. But, here’s the thing-- if you get a good US crowd that knows hip hop there is no comparison. They came up in this, this is their culture, this is OUR culture. This came from America, so if you get into that crowd, and it doesn’t happen often that’s what me and Jeff were talking about, there is nothing better. You feel at home.

When you get over to Europe they just love good music and appreciate your technical skill-- and that happens ALL the time. Good crowds happen all the time out in Europe.

Philaflava: That’s what I keep hearing. I don’t know if they are more knowledgeable, or less spoiled…

DJ Revolution: They are more knowledgeable and more musically intelligent than the average US music fan. Why? They don’t let the media think for themselves. They make choices based on the quality of the music and not what the radio is playing. I’m amazed when I go over there. Whatever is good give it to them and they will eat it up. Over here, you go into a club and 9 gigs out of 10 are the same bullshit. You’ll get that 1 gig that’s great, but that’s it. Europe is usually a 10 for 10. They love it.

The main difference over there is the hip hop audience is not connected with the pop audience in any way, shape, or form. It’s still a underground culture.

Philaflava: A lot of fans know you best from your stint at the Wake Up Show. In your opinion, what made the Wake Up Show so special within hip hop's history and culture?

DJ Revolution: The entire time the show has been on the air we have NEVER compromised with what we represented. We always stood the test of time and played what we wanted to play. Striving to new things, pushing the envelope, while still giving hip hop fans what they want. A lot of these other cats just fell off. They got cushy jobs as program directors and now are the ones breathing down our necks to play Lil Wayne, but we don’t do that. We say NO. I’ll make it simple. WE. SAY. NO.

Philaflava: Do you have a favorite Wake Up Show moment (or freestyle) that you can tell us about?

DJ Revolution: My favorite moment was the first time I ever went up there. Hands down. When I went up there Tech told me I would be spinning a few records, nothing special, cutting scratching, juggling, etc. So, I went up there and fuckin’ Q-bert is there, Apollo, Rob Swift, Roc Raida, Mr. Sinister, Rhettmatic, Babu, Shortcut, and they all brought their battle routines and they are ALL going. All set up to go. And then to top it all off, Sway tells me to go first! On top of that, he gets on the air LIVE and says you are playing for 8 million worldwide…DON’T FUCK IT UP! So, there I am thrown into the mix, going first with no battle routine prepared, but I held it down. I mean, that’s how I got to be apart of the show from then on, because everyone was like who the fuck is this cat we never heard before fucking it up?! That was my intro to the whole LA DJ scene, the radio, and definitely one of the pinnacles of my career.

Philaflava: Who do you think was the most talented artist to ever take a seat at the Wake Up Show?

DJ Revolution: I mean, you’re dealing with people like Rakim, Nas, Jay-Z, Big Pun, Big L, Eminem, Common-- how can you choose? ‘Nuff said.

Philaflava: You have been credited with breaking out a few artists, such as Common and Eminem, how can a DJ help set a dope artist's career off nowadays?

DJ Revolution: Man, new generation DJ’s got no balls. They won’t. They are afraid of everybody, afraid of their crowd. Next time you go to the club study the DJ and look how he acts. They are afraid of the crowd, the crowd controls him. Look at radio DJ’s and how they act around their program directors, and how they act around club promoters when they get pressured to play certain tracks. Look at them when mad drunk bitches come up for requests. They got NO BALLS. They are too concerned with their own position. They could give a fuck less about hip hop or breaking new artists. They don’t want to turn an undiscovered artist into a star. They want their check by playing all the stars. That’s why it’s SO EASY to be a club DJ. You have no idea, bro. SO EASY.

I’ll give you a secret-- go on the internet, go to the top radio station in your area, and play their play lists. Go on the blogs, download those songs, spend about 2 hours organized and bpming them, and boom…go to the club and rock shit. They’re afraid of everybody. They don’t want to play a new artists that might send people off the dance floor. Afraid of losing their gig. Same thing on the radio-- they don’t want to take their chances. They break the same artists newer records. There is a different between breaking a new artists and an established artists NEW record. They don’t want to take any chances.

I hear the same thing in every club, every station, so to answer your question-- there is no way for DJ’s to break new records/new artists unless they grow a set of balls.

Philaflava: On the Wake Up Show you played a lot of Philidelphia artists-- do you have any special interest in the underground phili scene, or was that just a coincidence?

DJ Revolution: Nah, I absolutely have a big connection with the underground Philly scene. That’s where all the world’s most respected DJ’s come from. Jazzy Jeff, Hat Money, DJ Mizz, and the list goes on. Plus, a lot of great artists come out of Philly. I always tried to give Philly a good look because they were always overlooked. Philly has more than The Roots. I got mad friends out there too, so they were always feeding me the dope shit from Philly. I produced a lot of records for cats out there and just love the Philly vibe, love being out there, and love the music that comes out of there.

Philaflava: According to the dictionary Revolution means: A total or radical change; as, a revolution in one's circumstances or way of living. How have you made a radical change in the industry, hip hop, and in DJ culture?

DJ Revolution: First, my name describes me to a T in the sense that I completely re-invent and change myself all the time. I’m always trying to progress, change, and get better. It’s pretty obvious how I made a change within the industry with the Wake Up Show and the music I’ve put out. I changed the way people look at DJ’ing, changed the way MC’s look at DJ’ing, changed the way people go into the club and view DJ’s, changed how people scratch on records in the context of a hip hop song. I’m all about change and revolution. I have a drive for change, and to change.