Dj hi tek who is

Hi-Tek started his hip hop music career with the group Mood , producing numerous songs on the group's debut album Doom. The album also featured, amongst others, Brooklyn rapper Talib Kweli. As a signee to Rawkus Records , Hi-Tek produced a number of the label's projects, including the popular Soundbombing series; a three-record compilation of mostly Rawkus-based artists. In , he released his debut solo album, Hi-Teknology.

However, Hi-Tek was not pleased with the promotion of the album after it only sold , copies, and left Rawkus soon after the albums release. He was like two, and he was probably three or four on my album. He was always a part of the beginning of my career as far as being in the studio, so I would get him in the booth every once in a while and let him do his thing.

Common would always do singles deals with independents and Rawkus was one of them. So Common was willing to split the difference with it being an underground single for him and a single for my album so it was a joint-venture. I just remember making that beat and I knew the beat was dope. I let him hear it and he really loved it and then we got in the lab. When it came to the mix, we were on crunchtime.

I know we were trying to meet the distribution deadline, so I remember being in the studio 40 hours mixing the record. And the way Tip used her, I think we all were trying to emulate that and get that voice out of Vinia. She was like the go-to hip-hop female voice. And she can sing. Well, we met through a mutual friend in Cincinnati when I was working on something.

This was probably around She came through and sure enough, that verse worked for that beat. So I wrote a melody for the hook. And then one of the homies came through and helped us finish writing the song and the rest is history. How did Meth come into the mix? Well, Meth was a Def Jam move and Meth was like the hottest in the game at the time. When I had left Rawkus, I had signed Jonell. It was pretty much his idea to put Meth on it.

That was the first time I realized if you got a hot record, people gonna call you. It just felt better. It looked better. A lot of times when artists get big, they get busy. Anyway, Cole knocked it out with no problem, probably a couple weeks after Jay Electronica dropped his verse. I had to bum rush him at the studio. It was about three, four in the morning and I stayed up with Mos to make sure he got it done [laughs].

What am I supposed to do with this? He came with some crazy shit on that song. We were bumping heads a lot; it was like a relationship gone bad. The label was gonna put it out, it was all fucked up. There was a lot of bickering at that time. In between time, I was open to [reuniting], but it was hard to sit us down because Kweli lives on the road.

He was doing like shows a year. We never really sat down in the studio, put all the other shit aside and just worked. At the end of the day, we got the album done. That beat—well, the bassline—I recorded that idea during the second Reflection Eternal album. I kept going back to it every so often, but I could never find the right drum pattern for it. One day, in , I finally figured it out. I was chopping these drums up and it just clicked in my head, so I went back to that bassline.

I wanna see what you got. I was really honored that he had reached out to me. I knew he was about to blow. I got it already! He hit me right back asking for a couple more.

I had my man Cameron Brown—great guitarist, a young cat from Cincinnati—he played those guitar parts. As a producer, you need the artist to feel it the same way.

I salute Anderson, man. He gave me a chance to reinvent that Hi-Tek sound. The only thing better than S1's beats are the stories behind them. We talked to the beatsmith behind J.

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