IllmaticDelta
Veteran
his buzz in QB was because he got linked up with marley (qb super producer) and actually was on a studio recording(s) before nas (1989); I think nas around that same time was running around with rakim/eric b/large pro but he hadn't recorded yet
mega recorded in 89
DX: On the song “The Legacy,” you rap, “In ‘87 Hot Day mixtapes were bangin.” DJ Hot Day and Blaq Poet in particular helped you early in your career, because you were on Hot Day’s mixtapes. And this is way before the “One Love” shoutout. You were featured on “Going Straight Up” off of It’s My Turn…
Cormega: Yes, that was the first appearance as Cormega on an album. See that right there was symbolic. The real Hip Hop heads know about it, so the problem with that was, that right there. I could have had a career right there, but that was my fault because I was so entrenched in the streets. Like, when I went to do that verse, I probably had rocks in my pocket [laughs]. But that was my first appearance, I was happy to do that song and the feedback from that song was phenomenal.
Cormega Charts His Growth After Industry Blacklisting Following The Firm Split
at the same time Nas was running with eric b/rakim/large pro and could have recorded in the same time span
DX: While I’m asking about Nas, I gotta ask about your revelation during his recent Behind The Music episode that Nas and Rakim actually spoke back in ‘89/’90 when you snuck Nas in on Ra’s studio time, and that Ra actually gave Nas the thumbs up on what he was doing. I never knew that happened; I never knew they had even spoken. But I just wanted to know, truthfully, wasn’t Ra actually a little aggy about that whole situation, that these younger cats were taking his time to do their thing?
Large Professor: Nah, Rakim wasn’t aggravated at all. Rakim was on his own thought process, like his own thought track.
I mean, because we were divvying up a lot of time between [Rakim and Kool G Rap]. G Rap was working on his joint, [Wanted: Dead or Alive]. Eric B just had the studio booked. The studio was just booked. And, at that time, he was executive producing G. Rap’s album, he was executive producing his own album [with Rakim, Let The Rhythm Hit ‘Em]. And, sometimes G. Rap took like a big break in between [his recordings] and so [Eric] was like, “Yo Paul, do some beats or do whatever you want, but I need something to come out of every session.” And so I was like, “Yo, I got my man down the block in Queensbridge, he rhymes.” “Alright, Paul, get him in the studio, man. Let’s just make sure every session counts.”
And so when Rakim came in it was like, “Yo Ra, check this out.” And he really listened to it and was like, “Yeah, alright, no doubt baby pa.” You know, that kind of thing. And, the only thing with me is that I really wish brothers would have had they real mogul hat on, where it’s like, “Alright, yo, let me hear something else.” Or like, “Yo, who is that?” He kinda was just like, Yeah, yeah, yeah, that’s alright, now let me get to work.
I just wish he would have been a little bit more [trails off].
DX: Of a mentor kind of thing?
Large Professor: Yeah. Something like that, definitely.
DX: I always thought it wasn’t so much personal or anything but that the media kind of did that in when they started anointing Nas “the second coming.”
Large Professor: Right.
DX: I always just speculated that Ra took a little offense to that and that’s why he never really worked with Nas.
Large Professor: Right, right, right.
DX: You don’t have any extra insight into that, if that’s true or not?
Large Professor: Well, with Rakim and Nas, it wasn’t nurtured.
The dudes [in the Paid In Full Posse] who were co-signing Nas couldn’t really get to Rakim like that, like Supreme [Magnetic], [DJ] Hot Day, Ant Live – Ant Live was Eric B’s brother. Like, a lot of times when I’d be doing the sessions I’d be in there getting busy and I’d be doing Nas shyt and Supreme would come in and be like, “Yo, that shyt is hot!” Or Hot Day would be in there and be like, “Yo Paul, that shyt is hot right there, y’all doing good” kind of thing.
But Rakim was kinda in his own zone, where it was like, “Yo, be quiet.” Like, “When Ra is here, just let that man think.” We gonna chill and let him get his work done kind of shyt. So, you know, for it to be like that to begin with, you wouldn’t come and overlap and be like, Yo Ra, by the way, Nas man – It was just good that he came in on it and that he did have knowledge of [Nas]. I wasn’t even trying to push the issue. I wasn’t like, Yo, you should sign him! It was just like, nah, now Ra gotta get [in the studio] and do what Ra gotta do. ‘Cause that’s the God right there, so it’s like, “Alright, we gotta turn this shyt off, wrap this shyt up real quick and let Rakim do what he gotta do.”
I just wish Rakim was more – Rakim took precedence over everything in there. When Rakim rolled up it was like, “Yo, alright, get in your place, do what you do now. Like, straighten up and shyt.” That was the kind of [vibe]. I just wish Ra would have been like, “Yo, young blood, you should have did like this,” – you know, that kind of thing. But, he had to write an album, so I guess that’s where that [lack of attention towards Nas] came from. But I know if we would have had his blessings, it would have been just some stellar shyt. Like, these dudes have just got the hierarchy.
Large Professor On '90s Babies, Nas & Rakim's Relationship And Lupe Fiasco's Rights To "T.R.O.Y."
interestingly enough, Trag said he didn't even know Nas rapped at that time even though he personally knew him (In Time Is Illmatic Docu, Nas said he was shy/quiet that's why many people weren't aware back then that he could rap)
"This s**t was like Rome, and the park jam was like the Coliseum."
— Tragedy
At 16 Tragedy was convicted of robbery and sent to Elmira Correctional Facility. He became a Five Percenter up north, and upon his release his music took a mindful turn reflecting that conversion. He changed his name to Intelligent Hoodlum. By then a new wunderkind had surfaced. “They’re like, ‘This nikka Nas.’ When I saw him, I was like, ‘This dude?’ He was my sister’s boyfriend,” Tragedy says. “He would be around me, but I didn’t know he could rhyme because he never said a rhyme around me. He would be watching. He might be around my sister, I might be in my room with a beat tape writing. I never paid attention to them because I was in my own zone.”
The Bridge Is Over
Last edited: