Daddy O’s Been at the Center of Rap’s Biggest Moments Ever Since He Came on the Scene. Thirty Years Later, He’s Still a Factor.
In every generation, you have the originators, innovators, and executors. Daddy O, emcee and frontman for rap group Stetsasonic has worn all three hats in time. As one of the lead members of hip hop’s first live music band, Daddy O and his band fought for rap respect in an era where critics took aim at their use of sampling and street-oriented messages. He also played a pivotal role in shaping the sound of rap’s changing climate, producing classic records like “Top Billin” as well as crossover records for groups like Boyz II Men and the Red Hot Chili Peppers.
A professor and spokesmen for the culture, Daddy O’s recent interview sheds light on his thoughts on hip-hop forty-nine years after its official birthday took place this month. Stetsasonic, the first live instrumentation rap band, began in 1981 as a partnership between Daddy O and MC Delite. From there, the duo grew into a full-fledged band that would spawn generations of other rap greats from Gravediggaz to De La Soul. Over time, Daddy O emerged as the marquee artist from the group, launching a successful solo career along with producing, lecturing and teaching.
Thirty years after the group’s last release, Daddy O is back with a new single, “Here We Go Again” alongside his group. Never shy to share his thoughts on the culture, Daddy-O’s recent interview with Solomon Hillfleet tackles some of the culture’s most pressing issues from the origin of rap to rap’s current state of mind.
“I think Hip Hop is still really young. We are a young latch-key kid. Dad left and mom has to give us a key to come home. In the meantime, we learned a lot of shit a two-parented home wouldn’t be doing.”
Daddy O also touches on the creative space of sampling offering his thoughts on Patrice Rushen’s interview on how sampling should be done. His group’s iconic song, “Talking All That Jazz” was the shot heard around the world arguing for the creative utility of samples as well as checking respected musicians like James Mtume who disliked the practice.
“Rap records are two turntables and mics. From the beginning we rapped over records, says Daddy O.
For more on Daddy O, listen to the interview below.
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