DJ Tat Money  The Love Don't Die Pt.2

In Part One of this interview, Tat Money talked about coming up in the fiercely competitive and highly inventive Philadelphia DJ scene of the late '80s. But while Tat is best known for his turntable skills, he's no stranger to the world of drum machines and samplers either. In the concluding part of the interview, Tat lifts the lid on his unsung beatmaking skills, breaks down life after Steady B (who - along with childhood friend Cool C - is currently in prison for armed robbery), and talks about his plans for the future.

After Pop Art you moved to Jive Records, a label that many Hip Hop artists have had bad experiences with. How did you find being on Jive?

It was a bit better. Jive is larger of course. But we had bad management and they knew it, so they were reluctant to really give us a push. They knew the situation and just rode with it.

You kept the same manager from before?

Yeah, he made the deal with Jive so he was the go through. We had no power. We made the records and that was it - he made all the decisions. Jive knew what was going on and they were like "Damn that's a shame". They wished we were signed directly to them.

I was really tight with the people at the label and I got a publishing deal - gave me big cash. Stead didn't know what publishing was but I used to rap to this chick up at Zomba [Jive's publishing company] and she pulled my coat on all that. I wanted to break out so I needed that money. You see I was the first to figure out the nonsense. I told Three Times Dope and they left the crew and really started to make money. Then I bounced. Unfortunately Stead and Cool stayed and got burned out.

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After making the break from Steady you started DJing for Kwame. How did you end up working together?

I met Kwam on a show that Stead and I did in Virginia. ES [from Tat's protégés Three Times Dope] was cool with Kwam and when I left, he told him I was out. Kwam was in search of a DJ so he was like "Bring him up!" and we hung out at a Salt N Pepa party. Shortly after that he was calling me to do some gigs with him.

Man I've done some ill gigs with him, seen States that I've never been to. It was too much fun. I had never been to Cali so we went and did the whole West Coast. It was incredible. We did Soul Train and Arsenio Hall. Off the hook - one of the best moves in my life. And I almost told him no.

Why?

I didn't want to spin for another group at the time - wanted to concentrate on producing.

What have you done on the Production tip?

Basically Stead and I did all of the LPs that you heard. He and I did all of the tracks but I never got credit. Lawrence [Tat's manager] put his name on instead of mine.

I wanted to ask you about that – whether Lawrence Goodman really produced all of those tracks he was credited with.

Hell fucking no - excuse my French. I got so ganked on production credits. It was Stead and I in the basement the whole day making shit. He would come through with a drink in hand and say "That sounds nice, I'll be right back".