Wax Taylor interviewed by Raymond Pollalis (WVUR Music Director)
Raymond: Where did you begin?
Wax Tailor: Music?
R: Yes. Like what was your inspiration?
WT: Well, it definitely was…was really about the hip hop culture like I was uh in the middle of the 80s that’s when I discovered the music…not the music but the hip hop culture and I was just part of it that’s it so I just came to the music this way and um I don’t know I mean after that the 90s were a lot about studying, learning, trying, and finally choosing to do my own stuff this way.
R: I see you work with bigger…not necessarily bigger artists, but like Ghostface Killah from Wu Tang Clan and a new, really young artist in uh…..what’s his name…..i had it…
WT: Token? A-F-R-O?
R: Token, yes. To…Well, A-F-R-O as well, but Token. How do you feel about working with such fresh and new, cuz he’s 17 years old, 18 years old
WT: Absolutely, that’s what you say it’s interesting to have like both worlds like uh someone like Ghostface who’s a fucking legend and in the same time Token who’s a kid coming fresh, different, and it’s two kind of vibe and uh its interesting and its also something for the people who say like “hip hop is dead”, whatever and you feel like no it’s just about uh
R: It’s not. It’s not dead
WT: Absolutely not.
R: And, yeah, after listening to your album I…I definitely got like a vibe from different…different areas of music too like you, I there was one that had like almost a hip hop like…beatboxing flute in it, and there’s other songs from different genres of music. What made you bring these genres all into one?
WT: I think people just forget about what hip hop is supposed to be, that’s it. Hip hop is not supposed to be like an expander(?) in something like trap music or this or that or the last fashion of the moment, flavor of the month, whatever. It is just about mixing culture and uh sampling music is about discovering, opening doors and doors and more and more. I think, uh, there is no limit, you can like sample like uh ancient(?) music like uh Mattic was doing or, you know, whatever and it’s just about that so…
–slight pause, someone walked in the room—
R: What do you think about today’s modern rap music of America?
WT: Well, again, I think it’s it’s too…too lazy to say “oh it was so better before blah blah blah”. In the same time, I think there was a…when we talk about golden years, it’s not for nothing, yeah, because that was a, a peak for the culture, for this culture, but in the same time, like you said like we still got some people coming, fresh that’s different, that’s interesting uhh it is just different. And uhh t he music itself is very different because it is so mainstream on one side so that uhh, it will never be the same, that’s it. You got to accept that so, I just feel like you got to be more, uh, courageous to dig and find the right ones. That’s it
R: Right. Last question cause I know you, you’re in a time crunch. If you could pull from one and only one place, what would that be?
WT: One place?
R: Yes, one place, like whether that’s an artist or an album, or…whatever. Just the one thing that got you into music. I know you said you started in…in 80s
WT: It’s not, uh, it’s not easy, uhh. I would probably try to go to uh New York in uh mid-70s. Something like that just to go back to the backbone of this culture and uh because I remember the first time I went to new York and it was like uh just trying to capture this like a fantasy of something from the past, but it was dead, I mean and it was not like like you got some periods(?) for some towns and all that or maybe even like even like the late 80s when uh the hip hop was so big, and uh. Yeah, probably something like that.