Many artists in the independent hip-hop world like to brag about how much they’re hustling or grinding. MC/Producer The Audible Doctor is far too busy to speak of such things because he’s actually doing it. The past two weeks have seen him release projects with both his group the Brown Bag All Stars and his own solo I Think That…EP as well as announce his forthcoming instrumental album Doctorin, which will be executive produced by famed hip-hop producer/MC Large Professor. We spoke to the Audible Doctor this week to get the diagnosis on what makes him such a prolific force in indie-rap.
How do you balance the time between all of these projects?
It’s a lot of very sporadic working. I get inspired very randomly, and when I work, I work in bulk. I’ll sit down and knock out four tracks at once, and then record three of them in one day. Same thing when I make beats, I’ll make ten beats in a day and 40 beats in a week, and that’s the batch I use for the next few projects. It’s a sporadic, impulsive way.
Do you plan out these stretches, or is it just when inspiration hits you?
I try to plan it out, but it never works that way. I’ll plan to work all day, and nothing will happen. When inspiration hits me, I just run with it.
Is there a lot of carry over between these stretches?
I do that all the time. I have two batches of beats, one that’s for sale and one of beats that speak to me more than others do. All my projects sort of evolve and change. I’m consistently moving things around, and my beats will wind up somewhere.
When working on a beat, do you know while working on it if it’s going to be an instrumental or one you plan to have rapping over?
Well me, as an artist, I feel I can rap over anything. A lot of rappers can’t rap over my production. I have too many vocal samples and my beats are a little too cluttered, unless you’re Ghostface. But, with me, I’ve never had that problem. From listening to Ghostface, I’ve had the mentality that I can rap over anything and it will sound good. So, when making beats, I never think of who’s going to be on it, I make it out of how I want to hear it as an instrumental and gauge, once it’s finished, whether I want to rap on it or not.
Of the beats you’ve produced for other artists, do you have one you particularly enjoy that you wish more people knew about?
One I go back to that I really, really enjoy was Has-Lo’s “Reincarnate.” It encompasses my style, but it’s a little different from what I usually do. It’s a beat I created that sounded more in tune with my usual work, but I ended up remixing the song for him and changing the beat to fit his track, and I love the way it turned out.
How did you link up with Large Professor?
I met him at Fatbeats at the Killa Sha in-store. I gave him a copy of my instrumental Brownies project, not thinking he would listen to it. A few weeks later, [producer] Marco Polo came into the store and said “Large Professor just shouted you out on Hot 97 on Rosenberg’s show.” I was like “Are you sure? That’s crazy.” Sometime later, Michael Rappaport came to the store for the [A Tribe Called Quest] documentary and he said that he interviewed Large Pro for the documentary and he shouted me out. He had no reason to do so. He supported it because he liked it. I reached out, and that’s how the relationship began.
What is your “Andy Kaufman Theory?”
Even before I made it into a song, I called it my theory on the way the industry is. At a certain point, there were artists in hip-hop who were getting a lot of money and respect who I thought were horrifically bad. It went from me wondering how they were getting so much attention, to thinking that they are so bad that they have to be playing a joke on the world, like a social experiment that they’re conducting with the labels. That’s how that song was born. They’re so bad that they have to literally be a joke they’re playing on the world.
This article from the Village Voice Archive was posted on October 15, 2012