European Tour – Diamond D V’s The 45 King

European Tour - Diamond D V's The 45 King

Would you like to see two of the premier 45 DJ’s in your city? Diamond D and The 45 King are ready to hit the road.

Diamond V’s The 45 King. Serious Inquiries only hit Peter Fredsted Jacobsen



If you’re a hip-hop head and missed Diamond D’s listening party for his new album, The Diam Piece, you may have to wait until April or May to hear the acclaimed producer’s latest addition to his unmistakable raw-with-finesse style.
But for those who made it to the Basement on Friday courtesy of the Boom Bap, it was a reminder of good hip-hop music’s relevance and reach. 
“Y’all are the first to hear the album I’ve been working on for the last two years,” Diamond said. And true to the Diggin’ in the Crates crew sound, all the tracks kept heads nodding hard.
A few highlights:
  • A track featuring Pharoahe Monch kicks things off with a bang — the rumble of bass over a touch of smooth that Diamond is known for.
  • Next up: The unmistakable voice of Pete Rock, putting up verses between a crazy guitar lick and D’s ever-present knock.
  • Fat Joe and Chi Ali team up on a track Diamond said was “that fighting music right there.” Understandably so. I could see how this track would get you live for the night.
  • On the dopest track yet, Hi-Tek and Diamond himself rip over a stealthy sick beat, grimy in all the right ways. The horn break is ill.
  • Ladies love a production worthy of their skills. That’s why Rapsody, and Atlanta’s own Boog Brown and Stacy Epps shine on this next one. Pump your brakes, indeed!
  • J-Live’s flow is his best friend, and they reward each other well on this next track. Good stuff.
  • That Diamond had to remind folks that Sadat X is from Brand Nubian makes me SMH. The Kill Bill “Bang Bang” sample is doing just that.
  • Ras Kass is still doing his thing. This track has a West Coast funk feel to it, which makes sense.
  • “Where’s The Love?” with Talib Kweli is the perfect combination of this self-proclaimed geek’s high pitch and guitar soul. The details — particularly an “I ’oun know” answer to the track’s title — make this song.
DJ Gee Supreme held down the decks for most of the night, while special guests Big Rec and J-Live kicked off the show, which was hosted by the ever-present, always amped Fort Knox.
If it’s mostly the voice that gets you up, then Big Rec had people jumping. Three tracks in, he rounded out his set with an a cappella rhyme worthy of everyone’s attention.
But J-Live felt the need to check the crowd like the school teacher he used to be after his first rhyme. ”If you don’t shut the fuck up right now, I’m gonna start singing. And I’m a rapper, so y’all don’t want me singing.”
It worked. As he launched into his next track, the crowd made sure to “Start Listening.”
J-Live commanded the mic much like he did the crowd, the true definition of an MC — master of ceremonies — as he explained at the opening of his set.
That said, I wonder if demanding attention is better than getting it freely. The crowd was obviously there in a show of support.

There’s truly nothing like good hip-hop music, and I’m encouraged to see legends like Diamond continue to make moves and bring comparatively new artists along for the ride.

BY Chante LeGon


Diam Piece Listening Party

Diam Piece Listening Party

Come Join me at THE BASEMENT in Atlanta for an exclusive listening party for my new and upcoming album ‘THE DIAM PIECE’.  Hosted by FORT KNOX.  Joined by special guests J-LIVE and BIG REC. 

There will be a few gems in there that may or may not make it too the album.  If your in town come join us for a night of simply good music with yours truly spinning those classic Hip Hop and Breaks.   Look out for the new single by DYMOND MINE recording artist BIG REC titled Bullseye.

Interview with Rob from


Growing up in Forest Projects in the South Bronx, DJ Diamond D embarked on a career as a local DJ before teaming-up with childhood friend Master Rob to form the Ultimate Force crew and release the “I’m Not Playing” single on Strong City. Following on from yesterdays detailed breakdown of his first solo album, we discussed his formative years as a music fan, his loyalty to those he grew-up with and some of his lesser known musical contributions beyond his work with the D.I.T.C. crew.

Robbie: How old were you when you first deejayed publicly?

Diamond D: First time I deejayed in public I was around 13, 14 in my projects at the jams outside. There were two DJ’s in my neighborhood – DJ Supreme and DJ Hutch. They would come outside and basically provide the soundtrack to our lives, through hip-hop. At some point, from me pestering them, they let me get on their set. To me that was the biggest deal, to be able to get on the turntables in your projects and feel the love of the people that were in the projects, basically.

Were you already Diamond D back then?

Yeah. I got my name Diamond D cos there was an MC named Diamond D – my man David. Back in the day you could have the same name as someone else, as long as y’all did different things. It could be DJ Blahzay Blah and MC Blazay Blah, but one’s a DJ and one’s an MC and it was never no beef. So I became DJ Diamond D.

How did you first begin to work with Master Rob?

Me and Master Rob lived in the same building, in the projects in the South Bronx. We were childhood friends, and growing up were heavily into hip-hop, it was constantly around us.

Why didn’t the Ultimate Force album get released after the “I’m Not Playin’” single on Strong City?

For two reasons. Number one – Strong City Records lost it’s distribution deal with MCA by the time our album came around – and number two, the owner of the label, Rocky Bucano, didn’t like it. It’s more of the first reason. Jazzy Jay loved the album, because Jay is the one who signed us. The Ultimate Force was more or less Jay’s group; Rocky was in charge of Ice Cream Tee and Nu-Sounds and Don Baron and all of that.

So you tried to take the album to another label?

That’s correct, I was shopping Ultimate Force’s project. Capitol Records was interested, but I asked for one or two stipulations and they wouldn’t do it, so a couple of months later I wind up going to Chemistry Records. I had recorded “Best Kept Secret” as a pet project, to see what happens. When Chemistry heard “Best Kept Secret” and two other demos they offered me a deal.

Can you break down the roles of the Psychotic Neurotics?

Psychotic Neurotics was DJ KX and my two dancers, Whiz-One and Sha-Eaze. In the early 90′s – Big Daddy Kane, Kool G Rap – everybody had dancers. That was in-vogue back then, so I had dancers!

Am I correct in assuming you’re a huge James Brown fan?

Indeed! My uncle Gary used to play James Brown. I’m a little kid and he used to babysit me. He wouldn’t let me come into his bedroom all the time, but when he did? Man! I must’ve been about nine years old, but when he let me in his room where he had all his equipment at and his records, I used to just sit there and listen and listen. He was a big James Brown fan and that’s where my first love for that man came from.

It sounds like you went through a lot in your life by the time you recorded your second album.

When I made my first album I was in a different space. By the time I made my second album, the climate of the music changed, and I had changed also. A lotta people like that album, but I know most people like my first album more – and I’m cool with that. But people change, everybody has different life experiences. My first album, you’ve got motherfuckers cracking jokes on the skits – my second album didn’t really have no skits. By ‘98, skits were passe. The landscape had changed somewhat. My second album was definitely more serious and not so much joking, but I still had some songs on there where I still had some fun, like “Gather Round.”

What can you tell me about putting Fat Joe’s debut together?

We’re all from the same projects, so Joe lived across the street. The first time anyone ever heard of Joe was on “Pass Dat Shit,” so I was already working with him. When he got his deal, Chris Lighty – my former manager, rest in peace – he’s the one who offered Joe a deal. It took us about six months to make that album. I’m proud of Joe, he’s still doing his thing at a level where’s he’s still relevant, which is no easy feat twenty years in the game.

You were also the first person to do a new flip on “Apache” way before Salaam Remi did “Made You Look”…

Thanks for that observation.

You got a lot of shine for your work with the Fu-Gees.

I don’t want to talk about the Fu-Gees project. I won a Grammy for it, but other than that it’s just a bad memory. It’s water under the bridge, we did what we did. Shouts out to Lauren Hill.

What can you tell me about John Dough from your later albums?

John Dough, another dude from my projects, he had just came home from doing some time and I liked his flow so I started working with him. He was one of Fat Joe’s hypemen first, people don’t know that. He makes beats now – Gwop Sullivan. Blake Carrington is one of my boys. originally from Ohio, he moved to New York early 90′s and we got a project that we’re doing right now called The Blake Moses Project. We got some real nice hip-hop/soul stuff coming.

What about Big Red?

Big Red was from The Bronx, up by White Plains road. White dude.

With red hair?

That’s right! And would knock dudes out! You know how some white people grow up around black people and they think they’re black? And you view them as such because they’ve been around you much? He was one of those white people. There wasn’t no frontin’ about it.

You had a period where you were doing a lot of cameos all over the place.

They were riding the Diamond wave. When you’re hot, everybody wanna fuck with you! [laughs]

What are Show and those guys up to right now?

I do know that Show is doing a Diggin’ In The Crates remix project where he’s remixing the album with different producers – Apollo Brown, OGee, Large Professor, I did one – that’s dropping this year.

What was your best memory of Big L?

When Big L came out to my house and just hung out, cracked jokes. He did a graffiti tag on the wall in my basement, and about a month later he was dead.

What was the story behind that “I Can’t Take No More” song on the Class A Felony CD?

We recorded that right after he was killed. Back then, conscious hip-hop was more acceptable than it is now. You do it now, people say, “Turn that shit off!” It’s sad, but it is what it is.

Another favorite of mine was “I Got Planz” with Scientifik.

Scientifik – rest in peace. I met Scientifik through Ed OG & Da BULLDOGS, they were all from the Boston area. I did “Love Comes And Goes” for Ed OG.

What do you have planned for your next release?

The new album is called The Diam Piece. The first single is “Rap Life” by Pharoahe Monch. A lotta features – Pharoahe Monch, Talib Kweli, Elzhi from Slum Village, Black Rob. It took me about two years to make this album, I’m looking for an April release.