Hip Hop Legend Big Daddy Kane + Las Supper = Soul Sensation

Alysia Stern

Grammy Award winner Big Daddy Kane is an inventive New York “Hip Hop” legend who emerged in the mid-1980s along with a raw subculture that cannot be replaced.

 

Big Daddy Kane was the catalyst behind Jay Z’s career. He is known to have gotten his start as Kane's hypeman. As an actor, he debuted in Mario Van Peebles' Posse.

 

 Kane’s song "Ain't No Half Steppin' was named #25 on the list of the 50 Greatest Hip-Hop Songs of All Time by Rolling Stone Magazine, which also called Kane "a master wordsmith of rap's late golden age and a huge influence on a generation of MCs."

With more than 20 years vested in the music industry, on top of numerous awards, television and movie appearances along with historic accolades, Big Daddy Kane is efficaciously at it again, this time with a new band called Las Supper.

 

“Imagine we turn back the hands of time to the heyday of soul music when Motown and Stax Records were leading a musical revolution. Now, let’s bring Hip Hop, our generation’s musical revolution, into the picture. A young powerhouse of NYC musicians called Lifted Crew created the dynamic sounds of yesteryear in a modern fashion with live instrumentation. This movement is led by the powerful and soulful voice of Show Tyme, one of R&B’s best-kept secrets. Las Supper recruited Hip-Hop Legend Big Daddy Kane to add the element of Hip Hop to this soul sensation. Big Daddy Kane recently spoke with Highbrow Magazine.

 

 

Highbrow Magazine: Your new song is so jazzy, raw and soulful. We love it. Can you tell us about it?

 

Big Daddy Kane: That is that whole Motown type of feel. Everything on the project has that Motown or Stax Records type of feel. We really tried to capture that vintage sound but we did it in a different way, as if we imagined that Hip Hop existed in the 60’s and 70’s.

 

HM: You infused several different genres of music here.

 

BDK: If you think about it, back in the early stages of Hip Hop, from the late 70s to the early 90s, sampling was really the thing when you made a Hip Hop song. The songs that were sampled were old soul songs. It is so easy and common for a rapper to rhyme off an old beat because that is what we did in the origin of Hip Hop. The trick was to make it sound like it was a group effort as opposed to the singer sings two verses, the beat breaks down and the rapper does a verse.

 

HM: How did you guys meet?

 

BDK: We met by doing a show together at B. B. Kings. I thought they were a great group of young dudes. I enjoyed working with them and we enjoyed doing a project together.

 

HM: How long have you been in this new band? When was the band created?

 

BDK: About three years ago. These guys have backed me on a lot of Big Daddy Kane shows that I have done. They played live instruments. I thought it was a unique chemistry. We got the opportunity to revisit the soulful sounds of the past and the 80s, and combine the two together with a “now” feel.

 

HM: You have a very loyal fan base. How are they taking to this complete turnaround?

 

BDK: With this project, it has not been directed right to a “Kane” audience. It is pretty much been marketed towards an adult contemporary audience and a young college audience. A lot of the Big Daddy Kane fans are not even aware of this project on the DNL, but those who are have written some great reviews and given it a lot of props. Some were even at the album release party at Blue Note who were saying, “ I came to hear a couple of Kane songs but after hearing this... this is something new!”

 

 

HM: Is the way you marketed this the way you wanted? You didn't want it to be about Big Daddy Kane, but about the artists themselves?

 

BDK: It’s not about Kane. If you see the whole project, I am not the main element here. We come together collectively and equally.

 

HM: Tell us about the main singer, Show Tyme.

 

BDK: He is a brother who sings with Pharell March. He does the back ground and vocals. He is a soulful, raised in the church type of voices. But since we were going vintage, we had to work him and bring the Bobby Womack out of him. And with the band, these guys are so used to playing old school Hip Hop samples from the 60s and 70s that artists have used through out the years... having them look at the whole record... we pretty much captured that in this project.

 

HM: Tell us about your Grammy win.

BDK: With Quincy Jones back around 1989 or 1990. Somewhere back then. To be honest it was two different feelings of mixed emotions. I was so honored to work with Quincy Jones and thanks to working with him, I was able to achieve a Grammy. That was monumental. What Quincy put into that project, I thought that it was well worth it. He got into it deep. But on the other side, it was a Grammy for best Hip Hop group. This was the same year that Digital Underground had “ Humpty’s Dance” and Public Enemy had “Fight The Power” and I knew we weren't better than that. We were people put together by Quincy. I felt they deserved it better as a Hip Hop group. But don’t get it twisted.... my Grammy is on the wall.

 

HM: Where can people find out about upcoming shows, projects, etc.?

To find out any [show] dates, go to Bigdaddykane.com and Official BDK on Facebook or @Bigdaddykane on Twitter. As far as the Las Supper dates, go to Lassupper.com. The project is We Are The Las Supper and the it is called Back to the Future. It is available now on I tunes.

 

You can find Big Daddy Kane at the following links:

http://www.officialbigdaddykane.com

https://www.facebook.com/OfficialBigDaddyKane

https://itunes.apple.com/us/album/back-to-the-future/id614095658

 

https://twitter.com/LasSupper

http://www.youtube.com/watch?v=qV2sjiU-qi0

 

For the full interview, listen in to this Sound Cloud Clipped segment:

https://soundcloud.com/cmelendez06/the-rendezvous-show-with-13

 

Author Bio:
Alysia Stern, a radio host,  is a contributing writer at Highbrow Magazine. 

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