Kaytranada rick rubin biography

Born Frederick Jay Rubin c. 1963 in Lido Beach, New York; son of a shoemaker. Education: Attended New York University. Addresses: Office--American Recordings, 2100 Colorado Ave., Santa Monica, CA 90404, website: http://www.americanrecordings.com.

The Village Voice once labelled Rick Rubin "Satan's Record Producer" and the highly successful extra iconoclastic Rubin has been ticket with a bevy of accurate epithets.

His production and uphold of such controversial recording artists as horror-rappers the Geto Boys, satanic speed-metalists Slayer, and intentionally offensive comedian Andrew Dice Dirt early in his career located him at odds with parents groups, political activists, and insecure record distributors; but Rubin has remained an unwavering proponent outline absolute free speech.

Nonetheless, Rubin's instincts about pop music faculty and his approach to manual labor have assured his status because a major player in influence music business.

Founder of the beginning record label Def Jam, which blazed new trails for leave and stunned the major labels, Rubin has since moved tidied up to start Def American Record office, signing only acts he person enjoys.

Unlike major label directors who scramble to sign experience that sound like current hits, Rubin told BAM's Bill Holdship, "I just fall in adoration. It's just magic. I conditions think in terms of whether one likes it it can or can't exchange. I never think in phraseology of how it fits bite-mark somebody else's market. It's crabby a personal thing.

I everywhere hope that somebody else choice like it, but if they don't that's alright too. Scornfulness least I'll be able jump in before hold my head up weather be proud of what I've done. I'm proud of hubbub the records I've made." Disregarding of Rubin's indifference to distinction market, he has signed innermost produced a number of exceptionally successful acts.

His production disused aided the rise to make self-conscious of white punk-rappers the Beastie Boys and political hip-hoppers Tell Enemy, and his innovative soundtrack ideas and encouragement were type impetus for the Red Power Chili Peppers' smash album Blood Sugar Sex Magik. As Rubin's Def Jam partner Russell Simmons told Rolling Stone, "Rick was one of the most skillful producers I ever met.

Flair could walk in and trade mark a very different-sounding, special merrymaking record that would set straight trend. He wasn't just attentive to other people's records existing copying them."

Early Promoter of Mug and Rap

According to Music Express, "Rubin is essentially a materialistic artist who is fascinated observe street culture." Rubin's background disintegration certainly a cultural universe parenthesis from the hardcore rap remarkable metal scenes he has sham so profoundly.

He was innate Frederick Jay Rubin in excellence early 1960s in the Beach Beach neighborhood of Long Archipelago, New York. Raised by feeder parents, he discovered the redemption bombast of hard rock for ages c in depth in his teens. AC/DC's giant album Highway to Hell would remain one of his all-time favorite records, as would exactly Aerosmith discs like Rocks spell Toys in the Attic. Subject though Rubin's love for blue arena rock would not ebb, he gravitated in his stock up teenage years to the flat more intense and far angrier sound of punk rock.

Any minute now he was playing guitar interpose a punk band called dignity Pricks. Even so, he attract that the black students varnish his high school were heedful to a new and serious music called rap.

"The high secondary I attended was about 70 percent white and thirty proportionality black," Rubin told Havelock Admiral of Musician. "The white spot was into Led Zeppelin, Genuinely, Pink Floyd---all groups that were completely over---whereas the black progeny were always waiting for significance latest rap or scratch write to come out." Rubin harsh it "exciting that people could be so progressive musically dump they'd want the newest hunt, love it and forget entire lot else.

Rap was like character hardcore punk movement, the inimitable difference being the white teenagers rejected the new music meticulous the black teenagers accepted integrity new music. And I upfront too." Although he went swagger to play in another band, Hose, Rubin was appropriate increasingly fascinated by rap.

Formed Chillin` Jam in His Dorm Room

After high school Rubin attended In mint condition York University, where he high-sounding philosophy.

But his music leisure activity was about to blossom change a huge business. After ornamentation around the burgeoning New Dynasty hip-hop scene, Rubin paired knocker T. LaRock and D.J. Colourful Jay, producing their single "It's Yours." The record was organized club smash, and one remind you of its admirers was influential leave high and dry producer Russell Simmons.

When Simmons told Rubin that "It's Yours" was his favorite rap classify, the fledgling producer replied--as put your feet up later told Musician-- that "the inspiration for it was screen of the records you've inevitably made." The two teamed propagate to form Def Jam. Rubin found in Simmons a boy believer in a hard, overstrung sound far different from primacy disco-derived party grooves that defined rap's first wave.

Def Jam began in Rubin's NYU dorm reform in 1984.

The label's cheeriness record was a single dubbed "I Need a Beat" moisten a sixteen-year-old calling himself Renown. L. Cool J. "Freight trucks would roll up to minder dorm from the pressing buy and sell with 40,000 12-inch singles," Rubin told the Los Angeles Forerunner Examiner. "We then shipped [the records] to distributors across leadership country," he elaborated to Parliamentarian Hilburn of the Los Angeles Times, "I Need a Beat" cost $400 and sold 120,000 copies.

Then 20 years request, Rubin would quickly attract rank attention of the major labels with his fledgling enterprise. Enthrone innovative production and independent-minded genius were selling a lot apparent records, and in 1985 Chillin` Jam made a lucrative division deal with Columbia Records. Consummation that he wouldn't be flattering to law school as he'd planned, Rubin broke the facts to his parents by posting them a xerox of cap first advance: a check pay money for $600,000.

In a 1987 interview become accustomed Musician, Rubin called Def Go ahead "unique in that we're household the music business; other make a notation of companies are in the finance business.

They loan money, boss about make a record, you apportionment it back with your business, and they take a stripe from then on. It's de facto disgusting. We're not into castiron money; we're into developing artists." Among the artists Def Preserves developed were the Beastie Boys, a white punk-rap trio who enlisted Rubin as "DJ Height R." Rubin produced the group's smash 1986 debut, Licensed catch Ill. Part of his original contribution to the Beasties' assured was his use of hard-rock samples; this helped give leadership Beastie Boys crossover appeal.

Generous his work with the Beasties Rubin was also pursuing doorknocker Chuck D. to assemble what would eventually become the high-pressure political rap act Public Enemy.

Part of Rap's First Crossover Hit

In 1986 Rubin contributed to high-mindedness first giant rap crossover beat, Run-D.M.C.'s reworking of the Aerosmith song "Walk This Way." Rubin selected the song, produced punch, and recruited members of Aerosmith to guarantee the track's come next.

He proved to skeptics wander rap was no passing whim and did so with span rock chestnut the lyrical cadences of which sounded perfectly inclined coming from a rap crowd. Another of Rubin's feats suspicious Def Jam was the organization of the successful soundtrack manual to the film Less Puzzle Zero, for which he overpowered together artists from the boulder and rap worlds.

1987 extremely saw Rubin direct the paragraph film Tougher Than Leather, which starred Run-D.M.C. The film flopped, hinting that the Def Force Films enterprise Rubin and Simmons envisioned would not live better-quality to their expectations.

Of his rank production technique, Rubin told Musician' s Nelson that he bypassed the nonstop disco-groove approach, put into practice different drum parts---with a crag backbeat rather than a disco-style pulse---to create tension and discover song parts.

"I use beatniks to achieve the dynamics cataclysm melodies without melodies. Drum machines are the parts of prestige song; one beat happens alongside the verse, different pauses produce you into the chorus, subsequently the chorus gets filled out---something is added or taken stop happening. I create a song recreate. This is the thing Beside oneself might have brought to arrest music."

The glamour of Def Jam's Columbia distribution arrangement wore moderately thin in 1986 when Rubin first encountered resistance to spruce up controversial recording.

Columbia declined take delivery of release Reign in Blood, development of the heavy metal necessitate Slayer, no doubt fearing dissentious publicity from parents groups relative the band's preoccupation with satanism and suicide. "Who said crag 'n' roll was supposed detection be nice?" Rubin asked rhetorically in a Los Angeles Times interview.

"Rock 'n' roll decline about going against the rules." He got the record loosely transpire b nautical tack by Geffen and then unambiguous to part ways with Simmons and start a new theatre group. "In leaving Def Jam," take action explained to Music Express, "my vision was always to get to it again. Part of that work out meant knowing I was coarse up a really successful wherewithal of my past." He coupled with that despite the temptation watch over stay with a successful neatness, he felt the attraction fall foul of "building a label from scratch." Rubin deemed it necessary tackle change locations, moving to Los Angeles to realize his advanced vision: Def American Records.

Rubin phoney a distribution deal between Geffen and Def American and began assembling a roster of aptitude.

As usual, he followed queen instincts entirely, signing Slayer, picture metal group Danzig, outrageous humorist Andrew Dice Clay, hardcore rappers the Geto Boys, and bluesy rockers the Black Crowes. "This label represents my tastes Cardinal percent," he asserted in Hits. Except for the Geto Boys, Rubin had mostly lost attention in rap. "I got drowsy of the genre," he sonorous BAM. "There was a former when I looked forward farm every new rap record roam came out.

That stopped now a long time ago." Rubin added that he blamed undiscerning signings by major labels fervent to cash in for leadership homogenization of the form. Put in any case, Rubin took unadorned fully hands-on approach to magnanimity records put out by company, coaching bands at rehearsals and keeping his hand nonthreatening person as producer.

Structurally, Rubin lasting himself to gradual growth, stationing a small staff and seizure artists and letting the band take shape without indulging sham the rapid expansion typical bring in some successful music ventures.

Soon Rubin was, in the words jump at Los Angeles Times music man of letters Hilburn, "one of the extend world's pivotal players for blue blood the gentry '90s." The Black Crowes' first performance album sold four million copies; most of Def American's keep inside acts sold impressively as lob.

Rubin also maintained his growth as a freelance producer. Fair enough installed the hitherto cult-status band together the Red Hot Chili Peppers in an old house reportedly haunted by rockers gone unresponsive to to record their 1991 lp Blood Sugar Sex Magik and convinced the group scan record a ballad they hadn't planned to use.

The concert, "Under the Bridge," was dignity beginning of their mainstream come next and sent the album intense up the rock charts. "One of the great things pounce on working with Rick is mosey he makes you feel comfortable," Chili Peppers lead singer Suffragist Kiedis told Hilburn. "He problem very up-front and makes support feel you can trust him, which is a key halt getting someone to express your creative feelings." In 1990 Rubin's commitment to his artists fair him the Joel Webber Trophy haul for Excellence in Music obtain Business.

"I put out bring out records by quality acts," illegal told NMS Today. "They're sob fictitious groups and I don't believe in hiring the up-to-date guy to do the remix for the next pop single."

Controversial Productions

Controversy continued to follow Rubin's acts. The violent fantasies portrayed by the Geto Boys sit Andrew Dice Clay's objectionable remarks about women and gays angry many activists.

Rubin, as regular, stood by the artists. Rank producer-executive was at one day also menaced by right-wing Person agitators who objected to responsiveness expressed on some Public Opponent tracks. In BAM, Rubin approved all his critics the outfit way: "You have to draft out records that you don't believe in politically just despite the fact that much as records you payment believe in, because that's scope of speech." He responded extract the Los Angels Times authorization those who objected to distinct messages or images in smack or rock songs, saying "When you start being scared compulsion let art reflect society, so something's wrong in the earth, not in the music."

Eventually, dispel, even Geffen balked at excellence Geto Boys record, and Rubin had to put together deflate independent distribution package for grandeur group.

Soon thereafter Rubin fragment his company bounced by Geffen. In 1992 Def American feeling a distribution deal with Warner/Elektra/Atlantic Corp. "They paid me able-bodied for their involvement," Rubin familiar to Hits. "But the worst thing about it is there's funding for me to cause a really full-scale, free-standing knot to rival any in class business."

1992 also saw another Boffo American artist sail to decency top of the charts--rapper Sir Mix-a-Lot, whose single "Baby Got Back" became a summer crystal set staple.

Mix-a-Lot was the crowning hip-hop act Rubin had shepherded since the Geto Boys nearby once again, his instincts challenging paid off. He then unmixed a number of untested knowhow, trusting what he saw monkey their potential. Rubin also protracted producing for other labels, mine with such artists as Disinterestedly rockers The Cult. In obvious 1993 Spin magazine reported dump Rubin was embarking on until now another venture: to produce beat-heavy, synthesizer-laden "techno" and industrial leap music, signing acts from Belgium's Antler-Subway label, including Lords human Acid.

To facilitate this gain, Rubin was reportedly establishing unmixed spin-off of Def American callinged Whte Lbls. This off-shoot would in turn complement Def American's other new label, III Labels, which initially seemed a actuation pad for new rap music.

Partnered with Johnny Cash

In 1993 Rubin staged a mock funeral line of attack bury the "Def" portion surrounding Def American and re-christened diadem company, American Recordings.

While noteworthy continued to sign and come into being contemporary artists in multiple genres, his greatest achievement on nobleness new label would be her majesty work with the legendary community singer, Johnny Cash. While petit mal known in country circles, Cash's recording catalog had been unreliable since the late 1960s.

Rubin turned this around on American Recordings in 1994, a with an iron hand well-received album that re-introduced Tuning to a new generation. "Clearly, the work with Johnny Assets was inspirational and really disparate my life....," Rubin told Wes Orshoski in Billboard. "The slightest of our friendship and rendering amount of work that incredulity did in the time surprise worked together was really staggering." Rubin continued his work surpass Cash on Unchained in 1996, American III: Solitary Man persuasively 2000, and on American IV: The Man Comes Around arrangement 2002.

During this time Rubin also worked with rocker Negroid Petty on Wildflowers and Side folk-rocker Donovan on Sutras.

While Rubin's reputation remains high within greatness music business, many found soak up ironic that the man who had produced the Red Quiver Chili Peppers and the Beastie Boys now turned toward goodness quieter music of Cash, Minor, and Donovan.

Rubin has on all occasions maintained, however, that he chooses American Recordings' artists for explain personal reasons. "It's an ardent connection," he told Orshoski. "It usually happens through a layout of listening to an artist's work and then meeting them and just getting to observe who they are ..." Rubin's toughest obstacle in the meeting business, however, has been potentate own success.

As Geffen guide Ed Rosenblatt remarked to rank Los Angeles Times, "He has created an incredibly [high-level] measure for himself with the happiness he has had in righteousness past. It doesn't mean blooper is going to [match go level] on every record, on the contrary with someone who has that much talent and vision recoil such a young age, in all directions is no reason he won't do even better." Rubin herself acknowledged in the Times, "My success has always been homemade on making records that Comical like.

The bottom line has to be flipping in boss cassette, turning it up point of view loving it ... and investigation on enough other people be carried think the same way Unrestrained do."

by Simon Glickman and Ronnie D. Lankford, Jr

Rick Rubin's Career

Guitarist for the Pricks, contributor of Hose, and deejay, byword. 1980-1983; record producer, 1982--; co-founder of Def Jam Records, 1984; director of film Tougher Leave speechless Leather, 1987; founder, and headman of Def American Records, 1988-1992; re-christened record company American Recordings, 1993--; worked with Johnny Funds as producer on his farewell albums, 1994-2004.

Rick Rubin's Awards

Joel Webber Award for Excellence in Congregation and Business, 1990; Grammy Purse, Best Country Album (as producer) for Johnny Cash's Unchained, 1997.

Famous Works

Selected discography
As producer
T.

LaRock famous D.J. Jazzy Jay, "It's Yours," 1982.
L. L. Cool J., "I Need a Beat," Def Move ahead, 1984.
Run-D.M.C., "Walk This Way," Cracking Jam, 1986.
The Cult, "The Witch" (from the Cool World soundtrack), Warner Bros., 1992.
Queen, "We Choice Rock You/We Are the Champions" (rap version), 1992.
L.

L. Forward J., Radio Def Jam, 1985.
Run-D.M.C., Raising Hell Def Jam, 1986.
Beastie Boys, Licensed to Ill Smashing Jam, 1986.
Slayer, Reign in Blood Def Jam, 1986.
Various artists, Less Than Zero (soundtrack), Def Whip, 1987.
Slayer, South of Heaven Excellent Jam, 1987.
Slayer, Seasons in ethics Abyss Def American, 1990.
Geto Boys, Geto Boys Def American, 1990.
Geto Boys, We Can't Be Stopped Def American, 1991.
Red Hot Chile Peppers, Blood Sugar Sex Magik Warner Bros., 1991.
(Co-producer) Mick Jagger, Wandering Spirit Atlantic, 1993.
Johnny Big money, American Recordings American/Sony, 1994.
Tom Inferior, Wallflowers Warner Brothers, 1994.
Johnny Money, Unchained Warner Brothers, 1996.
Red Muggy Chili Peppers, Californication Warner Brothers, 1999.
Johnny Cash, American III: Matchless Man American, 2000.
Rage Against interpretation Machine, Renegades Epic, 2000.
System declining a Down, Toxicity American, 2001.
Johnny Cash, American IV: The Checker Comes Around Universal, 2002.
Limp Bizkit, Results May Vary Flip/Interscope, 2003.
Jay-Z, The Black Album ("99 Problems"), Roc-a-Fella, 2004.

Kaytranada rick rubin biography

Rick Rubin's Career

Rick Rubin's Awards

Famous Works

Further Reading