It seems the more things change for the Boot Camp Clik, the more they stay the same. With Duck Down Records turning into an independent product powerhouse, and Da Beatminerz currently as in-demand by labels and artists as they’ve ever been, it would make sense if Evil Dee’s ego had grown since “Who Got Da Props?” first hit the airwaves back in ‘92. But alas, the heavyweight DJ with the high-pitch voice is still humble enough to kick it with fans in record stores and personally respond to MySpace messages.

What he will boldly proclaim is that now, more than ever he’s disenchanted with the direction of mainstream Hip Hop in North America. While it may have more to do with ethics than ego, you get the impression that Evil Dee is like the Don Corleone of Hip Hop production. His methods are old school, he’s meticulous about the details, and if he’s not feeling your product or your game plan, chances are you’re not doing business. Evil Dee’s seen and done it all before, so whether you love him or hate him, you’ve got to respect him. 
 

AllHipHop.com: It’s almost like you’ve never stopped performing live, whether it’s at home rocking Sputnik or abroad somewhere. 

DJ Evil Dee: I tell cats about the whole live show thing, you’ve gotta do what you do. Me, I love deejaying and a lot of people hire me to do parties. So I’m always running around doing parties everywhere, and at the same I go around with my crew Boot Camp. Like this weekend that passed I was out in LA with them at the Paid Dues Tour, so we’re just having fun. 

AllHipHop.com: Not long ago you were over in Japan doing shows. What’s the response like for DJ Evil Dee over there right now? 

DJ Evil Dee: Let me tell you a little bit about Japan. A lot of people still don’t know about Japan. It’s crazy over there, Hip Hop is back to like ’88. It’s not about “You the hottest thing.” If your joints make sense, if you’ve got that sound, if you’re talented, they’ll mess with you. With me, I go over there and DJ every year and we’re selling out parties over there. And a lot of cats from Japan listen to my podcast. So over there is just fantastic man. 
 

AllHipHop.com: You ever get a chance to do any of the cultural or tourist things while you’re there? 

DJ Evil Dee: When I’m over there I’m record shopping. Like I still haven’t seen Japan Japan yet. But I’ve seen all the record stores. I’ve seen all the Hip Hop stuff. Plus they’ve got some groups over there that’s killin' it, just really representin'. I know it sounds crazy, but they got this group called The Teriyaki Boys, and they are tearin' it down over there. And it’s a lot of other cats over there that’s doing stuff too. 

AllHipHop.com: What would be your favorite thing about doing a show in Tokyo as opposed to a show in Brooklyn? 

DJ Evil Dee: Oh that’s real simple. Anywhere outside the United States I can play whatever’s dope. I don’t have to play the hits, all I have to do is play dope records. I could be in Japan and I could throw on A Tribe Called Quest “Once Again,” and they’ll yell for it as if someone threw on Jay-Z’s “PSA.” It’s like all cats outside the United States just want to hear the dope stuff. No disrespect to the South, but a lot of cats outside the States don’t understand it. They don’t understand a Soulja Boy or a Young Berg and the rest of them dudes, you know? They just like Hip-Hop, they like beats and flows. If you don’t have a good flow and your beat and head-boppin', they don’t mess with it. 

AllHipHop.com: So you could throw on some Black Moon and… 

DJ Evil Dee: Black Moon is classic over there. Gang Starr is classic, Wu-Tang is classic over there. Mos Def and Talib Kweli, EPMD. I could name records and cats that if you throw on their stuff, it’s automatic classic. 

AllHipHop.com: Is there a particular record you would make sure was in your crate if you were going to a certain country? 

DJ Evil Dee: Hmmm. A lot of people who hire me do so because they know I’m gonna come with my flavor. And most of the parties that I do, if I throw on a Beatminerz joint, cats know it. If I’m doing a party in Japan and I throw on “I Got Cha Opin” album version or “Heads Ain’t Ready,” they’ll lose it. What it is over here, music is segregated. It’s broken down into “This is the south, this is the west, this is New York,” and I’m just like “Let music be music.” I hear a lot of down south stuff I like, I hear a lot of west coast music I like. I’m a big DJ Quik fan. I like Lil Scrappy, Rick Ross is dope. Music is music, you have good music and you have bad music. 

AllHipHop.com: Speaking of good music, Duck Down has a real strong movement going right now. Can you describe the feeling of having dudes like KRS-One and Ed O.G. coming on or having the History Channel reaching out for music? 

DJ Evil Dee: It’s funny because I was just talking to Buckshot about that while we were on the plane going out west last week. It’s a good feeling to know that cats are in the game and things are going their way. It shows that we’re not just here, we’re here and we’re making people realize what’s going on. Those are some real big moves, cause these are cats that we watched coming into the game. And it’s not about a hit record, it’s about putting out quality records. KRS-One is making an impact, but KRS-One also makes good records. It’s all about good music. Ed O.G. and them, good music. It’s like Stones Throw [Records], they don’t have no million-dollar sellers but they have real, good music. Madlib is a genius, and he’s producing real good records. 

AllHipHop.com: It’s nice to be in a position where you don’t have to worry about the hits, and just put out what you feel is good music and have the fan base to support it. 

DJ Evil Dee: Exactly. Black Moon, we’re not selling platinum. But if we do SOB’s, we’ll sell it out faster than some of the big acts. I went to a showcase at SOB’s where the number one radio station was doing something and it wasn’t even crowded. But I’ll be in there deejaying or something and it’ll be sold out. So that tells you something. Right now the people are really taking notice of what’s going on. Even if you look at the number game, the big cats ain’t selling like they used to. People are tired. People want better, they want a change. 

AllHipHop.com: Who’s gonna bring it? 

DJ Evil Dee: Well hopefully us, and some of the new cats that are coming out. There’s a new MC coming out every five minutes, and hopefully one of them will bring it. We’re putting together a new Black Moon album right now, I’m putting together 5ft’s solo joint. We’re putting together some Beatminerz stuff and a whole bunch of other projects, so hopefully all of those projects will make a difference. One thing I will say is every time I put something out, we don’t sell millions but we always put a dent in. We always realize that people are listening. I know a lot of producers listen to see what I’m doing, and I’m happy about that. That shows me I’m still effective. I tell people “Your favorite producer knows who I am,” and it’s not because I’m selling mad records. It’s because when I make something, they’re listening. 

AllHipHop.com: I don’t know if you caught Q-Tip’s recent interview where he said something along the lines of ‘Hip Hop’s current course driving it the same way as disco.’ Do you have some thoughts on that? 

DJ Evil Dee: I will say that the way Hip Hop is going, at the end of the day that’s what’s making more people look at us. Why do you think there’s a ‘90s resurgence going on right now? People are tired of what’s going on with current music. If you even listen to music, listen to a new Hip-Hop album, and [then] put on….off the top of my head…Eric B and Rakim’s Paid In Full. I’ma tell you what’s missing from music, the depth. The his, the mids and the bass, that’s not there no more. Right now music sounds ‘tinny.’ And it’s not only cause of Pro Tools. Prince Paul said it best, we’re in the microwave era. Cats are dropping albums like it’s cool. Cats are recording albums within a week or two. Back in the days you took six months to do your album, and the quality was better. Now you recording your album in your house, your mans and them is mixing it for you, Bubba is mastering it and you’re throwing it on the internet. Yeah, my studio is in my crib, but I hire engineers to come in. My electricity is filtered so I don’t get those surges and I have a clean currency going through my house. Little things like that makes a difference in your sound. It’s sad that I make stuff in my house that’s cleaner than a pop star’s album, and they have a million dollar studio and I’m in my house. I’m more home-cooked music, I can’t record an album in a week and I’m not making your beat in 15 minutes. That’s not happening with me. When you leave here I want everything sounding right, a snare sounds like a snare, a kickdrum sounds like kickdrum, you feel the bass line. Music right now, people are taking notice. The pop stuff, it may go the way of disco, but the underground will live forever. It’s like Q-Tip is right. I won’t say Hip Hop will go that way, but rap might go that way. 

AllHipHop.com: You were saying you’re doing Da Beatminerz thing right now. Are you and Mr. Walt always in the studio together doing beats? 

DJ Evil Dee: Mr. Walt is always here. Other than the music, that’s my older brother, so if I’m in the studio he’s always there. It doesn’t help that I live on the first floor and he lives on the third floor (Laughs). But we always work together, whether I’m programming a beat or he is. We’ll keep working until music stops. It ain’t about a paycheck, it’s about the respect. 

AllHipHop.com: Aside from Duck Down projects, are you feeling a demand from other artists to provide beats for their albums? 

DJ Evil Dee: It’s funny cause I thought cats was going to really be on some BS, but the phone still rings and cats call us left and right. But a lot of the cats that are calling, we’re not feeling. The commercial cats are calling us and I’m like “Yo, I’m not gonna do a Soulja Boy record.” People from different camps call us for beats and I turn things down, because when I listen to the artist I don’t feel it. I’m an old school producer where if you call me for a beat, I gotta hear your stuff and be able to vibe with you. I don’t just make generic beats and put it out there. It’s like a home cooked meal, you go to the house and the meal is being cooked for you. We’re old school with it, and you get a better record when you do music like that. Right now that’s another reason why music sounds the way it sounds. Let’s say I’ma do a record with Jim Jones. I email him the track and he emails me his verse, I mix it and no one meets. That’s the worst! There’s no chemistry there. 

AllHipHop.com: You gotta have a couple arguments in the studio before it starts sounding good. 

DJ Evil Dee: It’s funny but that’s so true though. You gotta be able to sit down, and I gotta see where your mind is at. Heltah Skeltah is coming back out, and I sat down with Ruck and Rock and I was explaining that to them. Come to think of it, they probably gon’ be here tomorrow. But that’s how I work. You can call me up and say you want a beat, but we gotta listen to your stuff. And if at the end of the day we’re not feeling it, we’ll tell you “No.” You can’t just be a beat whore. I’m not gonna sit there and produce everybody because it’s a check. Money brings problems and too much money brings too much problems. You start living for the money and you get caught up in that. I’m hearing rumors now about a famous producer who’s broke, and I feel bad cause he’s a cool dude. But he started living for the money, and that’s sad.