305djs: How long have you been a producer?
Streetrunner: “Well. I’ve been making beats since like
’98. But I would say [I’ve been] producing since like 2002. I really don’t count
being in the game until my first release. That was 2004.”
305djs: What song was that?
Streetrunner: “That was Terror Squad’s ‘Take Me Home’.”
305djs: What influences have you had as a producer?
Who influenced you?
Streetrunner: “I would say the biggest influence of all
was [the movie] ‘Juice.’ That got me into DJing on the turntables and all that.
I was already into hip-hop before that. But that got me into the more technical
side of [things like] getting equipment, getting on the turntables, DJing, getting
records, and digging in the crates. Then that just put me on to taking it to
the next level [by] getting a drum machine and continuing from there.”
305djs: What artist have you worked with so far?
Streetrunner: “So far it’s been pretty good. Since 2004,
I’ve worked with Fat Joe, Terror Squad, Juelz Santana, Killa Cam, Smitty, J
Shin, Remy Ma, Peedi Crakk, Stimuli, a couple artist over there at Roc-A-Fella.”
305djs: What songs in particular, just to name
a few.
Streetrunner: “My release record isn’t too crazy. Like
I don’t have a whole slew of releases. For the amount of releases that I got,
what they’ve done has been good. My first release was ‘Take Me Home.’ That was
a billboard chart single for Terror Squad. My second release was the ‘Intro’
to Fat Joe’s album. It’s just called ‘Intro’ on the album. Then I got ‘Baby
Mama Drama’ which is another single for an artist named J Shin. He’s signed
to South Beat. Then I got this song ‘In The Ghetto’ which is a street release
for Kay Slay’s album, ‘Game of Death,’ which is featuring Fat Joe, Jim Jones,
Shaq Diesel, Cassidy, and Sheek Louch, all on one joint. It’s crazy. It’s definitely
crazy.”
305djs: If you could work with any artist, who
would it be?
Streetrunner: “Jay-Z. That’s just the obvious. I saw
the ‘Fade to Black’ movie and watching him in the studio and watching him work
is incredible. He allows you to produce with him. He’s not gonna shut you out
of the session. He’s not gonna take any of your feedback and just say it doesn’t
matter, it doesn’t count. From what it looks like, he appreciates all that and
he takes it and builds. That’s why he’s as good as he is.”
305djs: What kind of equipment do you like to
use?
Streetrunner: “Basically I’m real simple. I got the MPC2000
Excel, a shit load of records, SL1200 turntable, and when I want to get bass
going, I got a Motif keyboard and then I have my own bass player, who does his
thing, his name is Keybo.”
305djs: Do you sample a lot of records?
Streetrunner: “That’s like my main thing. Sampling. Ever
since I got my first drum machine I’ve been sampling. Like my first beat, I
probably sampled, cause I didn’t know better, six to seven records to make that
one beat. I was just grabbing sounds. Whatever was a hot sounds, grab it and
took it to the beat.”
305djs: How long have you been in Miami?
Streetrunner: “I was born and raised here. I’m just trying
to get it poppin’. Not too many people know about me yet. I actually got a little
more fame in New York than out here, as far as my name, as far as what my tracks
have done. I had a song in New York that was playing on the radio called ‘New
York State of Mind’ from the Terror Squad album but it didn’t make the album
because of sample clearance. It definitely burned up the streets and mixtapes.
It did some damage out there. I really don’t get to feel it out here. Like in
the ghetto, it gets played out there on the radio, Kay Slay’s mix shows and
all that, but I haven’t been able to reap the benefits. So I’m hoping that ‘Baby
Mama Drama’ which is an artist from out here [Miami], I’m hoping that I can
reap some of the benefits of having a record on the radio. Hopefully Miami will
embrace it. Not that Miami is really embracing much, but I hope they embrace
this joint. But it’s funny. I talk to people all the time and I don’t know what
it is. I go to New York and spots that you wouldn’t even think of being able
to get into, as far as for me, I can get into the Def Jam building, politic
meetings there, deal with people, play beats there, whatever I got to do there.
I can get into Baseline [Studios] whenever I want no matter who is recording
there. I can get in there. This is New York City. I got to travel 2,000 miles
to do that. But like when I’m out here in Miami, and we got artist coming out
here to these studios, Circle House, Hit Factory, whatever, and they’re recording
in these studios, I can’t even get in there and pass them a beat CD. I may not
be the most poppin producer on the planet but I got heat and my beats speak
for themselves. Plus I got a little resume now. The love is really not there.
Like I can walk into a Hov session. Jay-Z could be in the booth at Baseline
and I could walk in there and it would be cool. But when it’s out here, dude’s
act so sideways about it. It’s kind of funny. There’s only so much of us out
here. There’s nobody really poppin’. The biggest claim to fame for Miami is
Trick Daddy. Like why can’t there be more than that? Why can’t there be more
beat makers than just Cool N Dre? Like what is the meaning of that? What are
people trying to prove? Like you got New York City, they got like 10 to 20 top
notch producers in the game out there. Then there’s always somebody next. The
competition is crazy. Like out here, dudes don’t want no competition. They try
to shut them down. It’s so sad to say, they ain’t gonna shut me down. That’s
what it is. I’m here to stay. I’m going to be doing this shit forever. Where
I’m from, how I am, what I’m about, this is it. I didn’t go to college. As far
as education, it stops at a high school diploma. It’s make this music thing
happen or nothing. Same thing with my man Jay. He is my personal manager. His
name is Jermaine Robertson. His management company is called High Capacity.
He’s got nothing else but this. With two dudes that are like that, with the
same attitude, man we can’t be stopped. We’re going to continue to try to get
in the doors of these studios we can’t get into. Play beats around producers
that don’t want us to play beats. I mean, it’s just what we do. We’re just gonna
do it.”
305djs: Anything you want to promote?
Streetrunner: “As far as promotions, www.streetrunnerbeats.com
always. That’s my website. It always gets updated with a new joint as I have
a new joint. Keep listening out for ‘In The Ghetto’ featuring Fat Joe, Jim Jones,
Shaq Diesel, Cassidy, and Sheek Louch. ‘Take Me Home’ was produced by Streetrunner.
Don’t ever get it twisted. You could look at the credits, look on billboard
charts, produced by Streetrunner. The ‘Intro’ to Fat Joe’s album. Please go
buy that album. We need support. That album. Let it live a little bit. Plus
track 1 on there is fire. I got on the Peedi Peedi album. Peedi Crakk/Roc-A-Fella
Records. ‘Angel of Mine’ and maybe a couple of other joints. It’s in the works.
Stimuli over at Def Jam. I got ‘Run With Trouble’ and ‘Acting.’ Juelz Santana’s
album coming soon. Track is called ‘Gone.’ It’s crazy. I got a track with Smitty
on the And1 Mixtape Tour video game. I did the soundtrack to the video game.
It’s featuring Smitty. We hold it down for Miami. The only act from Miami on
there. The only beatmaker from Miami on there. And that’s what it is. I’m doing
it real big. Streetrunnerbeats.com. High Capacity Management.”
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