What came first? The beat or the MC? Many people will have their own speculations as to what rightfully deserves the number one spot, but when it comes to drawing conclusions, the production will always be circulating towards the front of the pile, instead of lagging behind. Beats can make or break an MC’s career and no one is more aware of this then Seattle producer Jacob “Jake One” Dutton.

Graduating from his Casino Keyboard as a youngster to more sophisticated equipment, the former student of the University of Washington has played a hand in crafting tunes for the likes of De La Soul, Planet Asia, MF DOOM, Freeway, E-40, M.O.P., and his most satisfied customers, G-Unit.

His soulful blends and healthy obsession with Hip-Hop’s vintage “boom-bap” sound has kept him in very high demand as of late—and his attendance culminated in him releasing his first compilation album back in October of this year titled White Van Music. More than just a “backpacker’s producer,” the West Coast native has proved his worth by being able to adapt to anyone’s style whether they’re in the national spotlight, or in the depths of the underground. So as you sit and ponder about the question mentioned earlier, it should come to no surprise that this beat smith is “One” of the main reasons why your favorite rapper is still relevant.

SixShot.com: You came out with your fi rst album, White Van Music not too long ago, how was the creative process like when you were putting it together? Were you and the artists you worked with all on the same page?

Jake One: Yeah, for the most part… I gave every artist at least five beats that I wanted them to rap to. But a lot of times, the ones I wanted them to do, they didn’t do it. Most of the time, the ones that the artists did pick turned out to be better than what I wanted them to do. So sometimes the artist does have a better feel of what to do.
 
SixShot.com: What made you put the project together? Was it something that was always on your mind?

Jake One: At the time I started doing this, I was really busy getting wrapped up in all the G-Unit stuff, and all the different kinds of headaches that comes with that. It was just kind of something to do where I wasn’t worried about samples, and it was basically about me having control, and not having people telling me what they’re going to use, and what they’re not going to use. I had the final say on the album, so I kind of just wanted to make it happen. 
 
SixShot.com: Were there any artists that you reached out to, but weren’t able to get?

Jake One: There were only a couple of people that I wanted to do a record with that I wasn’t able to get. Like I wanted De La [Soul] to do a full song, but I couldn’t get Dave to do his part. I was thinking about doing something with Ghostface [Killah], but it seems like everybody likes to throw him on their album, so I wanted to do something that was a little more original I guess. Then I would send people beats and they would want to use it for their albums instead, and they didn’t want to give me a song for my album… [Laughing] That’s a good problem to have, but that was also an issue.

SixShot.com: Did you put every song you made on the album, or did you have a few leftovers?

Jake One: There were songs I did that I didn’t use, after awhile I kind of knew whether I wanted to use that particular song or not. But there is a bonus track that you can buy on iTunes though. There are about 6-7 songs that I didn’t use…

SixShot.com: So now what happens to those songs? Are they going to be locked in the vault forever? [Laughs]

Jake One: Probably… [Laughing] Who knows? A lot of times people will want to use the songs for their albums, and stuff like that. It really kind of depends, because some of the beats already got sold to other people. That happened a couple of times, when I had to go back in and do another record because somebody bought the beat.  

SixShot.com: I’ve heard plenty of people say there’s a difference between beat making and producing. So what’s the difference in your opinion?

Jake One: I think producers really have more of a tangible effect on projects, and they know when to stop and when to do more. It’s definitely two different kinds of talents, and I think I’m more of a beat maker and that’s why I enjoy doing my work. I enjoy getting a record, and then finishing it. I don’t want to be in the studio telling somebody what to do; I would rather come in with a clean perspective, and not be irritated.

It’s definitely two different worlds, and if you were never a good beat maker, then it’s going to be hard for you to be a producer because you won’t have that respect level. I think as people get older and more into the business side of things, they get more into the producing role, and the creative direction side.   

SixShot.com: With new technology out now that pretty much allows anyone to make beats, do you think that influx lowers the quality of the music?

Jake One: I think it’s not the ability to make it, it’s the ability to get it out there… [Laughing] Right now, it’s so easy to expose people to what you’re doing, and with the technology you can upload your own music and do so many different things with it. I’m not opposed to the technology at all, and people getting a chance to put their stuff out there.  

SixShot.com: As you touched on earlier, a lot of your material has been featured on G-Unit projects. Do you remember the first track you did for them?

Jake One: The first record I did for G-Unit was on their Beg For Mercy album, and it was a song called ‘Betta Ask Somebody.’ That was actually something that was done through another producer, so my name was on it, but I shared production credit with somebody that didn’t actually do anything on the record; but he definitely hooked it up and got the ball rolling. So from there, I was on the radar on some level, but it really took me meeting Sha Money [XL] in person and developing a relationship with him, and that’s when things kind of went crazy.

I know for [Young] Buck’s Buck The World album, we recorded at least ten of my songs, and I ended up with two on the record. A lot of the times, they’ll just pick a bunch of records. I’m really happy to be a part of it, but I never been the one to claim “G-Unit” [Laughing] you know? I’m definitely glad to be part of it, but it’s not like get a monthly salary from G-Unit, and they’re going to love you just as much as they love the next beat you give them. For whatever reason, I keep giving them stuff that they seem to gravitate towards.

SixShot.com: Doesn’t that get a little disheartening though? Like when you just said you gave [Young] Buck ten tracks, and they only picked two?

Jake One: Oh man, that’s the hardest part about doing those big records. You’ll be in a position where they’ll pick three of your joints, but then you might get cut at the last minute. Until that thing comes out, you really don’t know… [Laughing] Like when Curtis was coming out, I didn’t think they were going to use ‘Movin On Up’ and ‘All Of Me’ with Mary J. [Blige]. Those songs were done early; like a year before the album even came out. So that’s a long time for him to make something else that he might think is better.

Rappers change their minds, just like everyone changes their minds, and for me that’s the hardest part when it comes to doing those projects. Because until they come out, you’re really not sure, I can tell you that I worked with so-and-so but I can’t tell you what’s about to happen because it’s a crapshoot. I look at it like I hit the lottery ten times messing with them [G-Unit]. I don’t know any other producer except [Dr.] Dre that has worked with them that many times. 
       
SixShot.com: With so many producers making a name for themselves, do you feel like it’s a competition, or more of a brotherhood?

Jake One: With all the producers I meet, its always love. There are a lot of producers that I came up with that are doing big things now. Somebody like DJ Khalil, I’ve known him for like 7-8 years. Now we’ve been working on the same records, and damn near have the same career. It’s great to see him doing his thing, because I’ve known him from way back. If other producers are feeling what you do, then they will reach out.

I’ve had a lot of people reach out to me, and they were all guys that I looked up to. It’s not like rappers. Sha [Money XL] had this producer’s conference last year, and it was like a family reunion. Honestly I’d rather see 9th [Wonder] get on a record before somebody else that I don’t know, because I love his music and he’s a friend of mine.      

SixShot.com: What’s the one piece of equipment you can’t live without when you’re creating?

Jake One: Definitely the center of my whole operation is the ASR10. It’s an older machine, but I work with it in a special way. I try to keep it a major part of the equation.