Kick it!
Rick Rubin at the Rush/Def Jam offices on Elizabeth Street. New York 1986.
Photo Credit: Unknown; Source: defjamblr.com
Forty years ago, at the age of 20, Rick Rubin began his quest in earnest from his dorm room at NYU.
And, since that time back in ‘83-‘84, when he produced his first single, “It’s Yours” by T La Rock and Jazzy Jay, Rick Rubin’s efforts have impacted modern music, including much of the music I listen to. I deeply respect his appreciation and use of a broad aural palette; bringing together sounds and musicians from different genres and helping established artists discover more about themselves.
He helped popularize Hip-Hop by producing records for acts such as the Beastie Boys, Geto Boys, Run-DMC, Public Enemy, and LL Cool J. He has also produced hit records for acts from a variety of other genres, predominantly Heavy Metal (Danzig, Metallica and Slayer), Alternative Rock (the Cult, Red Hot Chili Peppers, the Strokes and Weezer), Hard Rock (Audioslave and Aerosmith), Nu-metal (Linkin Park, Rage Against the Machine, System of a Down), and Country (Johnny Cash and the Chicks).
Source: Wikipedia.org
Ultimately, Rick introduced (and continues to introduce) millions of people to new, cutting-edge artists and sounds, all while helping millions of others rediscover some really great music and riffs from days gone by. He understands that music, including its performance, has an innate power to bring people together.
Thank you, Rick Rubin!
“Art isn’t in the tools, material, equipment you use. It’s in the way you see the world... Creativity is not a rare ability. It is not difficult to access. Creativity is a fundamental aspect of being human. It's our birthright. And it's for all of us.” - Rick Rubin
“You just have to stop censoring the small creative voice that we all hear and experience, and then be yourself.” - Mike Stolberg, Toxic A$$ets
“To Rubin, art is the ultimate form of self-actualization, a noble calling that enriches the soul . . . So, how does an artist move from conception to creation? Rubin methodically lays out the process, offering a mixture of encouragement, inspiration and tips . . . Rubin has written a fascinating book (“The Creative Act: A Way of Being”) infused with deep thoughts, insight and, yes, lots and lots of creativity.” - Los Angeles Times
"The whole problem can be stated quite simply by asking ‘Is there a meaning to music?’ My answer would be, ‘Yes’. And ‘Can you state in so many words what the meaning is?’ My answer to that would be ‘No.’” - Aaron Copland
If you want to take a deeper dive…
Rick Rubin was born on March 10, 1963 in Long Island, New York (U.S.A.). He is a nine-time GRAMMY-winning producer, named one of the “100 most influential people” in the world by Time, and considered the most successful producer in any genre by Rolling Stone.
“Rubin grew up listening to heavy metal and early punk, and he frequently took the train into Manhattan from his Long Island home to see New York punk pioneers the Ramones. While a student at New York University, he became interested in rap and immersed himself in the local scene. In 1983 he produced his first single, “It’s Yours,” by T La Rock and Jazzy Jay. Its success as a dance track in local nightclubs inspired him to create his own label, Def Jam Records.
After hearing “It’s Yours,” Russell Simmons, who was already a rising star in the hip-hop scene, joined Rubin at Def Jam. The two, based in Rubin’s dormitory room, collected demo tapes from aspiring rappers and disc jockeys. In 1984 they had their first hit with LL Cool J’s “I Need a Beat,” a single that sold 100,000 copies. Rubin had created Def Jam to fill a niche that the mainstream recording industry had ignored, but the major labels took notice when its sales topped 300,000 albums in 1985. Columbia Records placed Rubin and Simmons under contract, and Def Jam’s roster expanded to include the Beastie Boys, Public Enemy, and Run-D.M.C. (a group that included Simmons’s brother Joseph).
Rubin left Def Jam in 1988 over a disagreement about the structure of the label’s relationship with Columbia. He moved to Los Angeles and founded a new label, Def American Recordings, with the heavy metal acts Slayer and Danzig as his first artists. In 1991 he guided the Red Hot Chili Peppers to multiplatinum success with Blood Sugar Sex Magik, and with that success he established himself as a performer’s producer. Whereas Phil Spector’s work was characterized by the “wall of sound” and Sam Phillips made a career of the “Sun sound,” there was no particular aural quirk that could be called “Rubinesque.” His presence in the studio simply seemed to make good artists better.
Rubin’s gift was perhaps most clearly demonstrated in 1993, when country legend Johnny Cash was at the nadir of his popularity, having been dropped by his label and facing an audience that was seemingly indifferent to his brand of music. The 1994 release American Recordings (Rubin had dropped the “Def” from the label’s name the previous year) was a surprise smash hit. This success marked the beginning of a partnership that would earn five Grammy Awards and restart Cash’s career. The 2002 release American IV: The Man Comes Around included Cash’s interpretation of the Nine Inch Nails song “Hurt.” The song, released only months before Cash’s death, was transformed by Rubin from an industrial rock anthem into a poignant elegy, further demonstrating his ability to transcend genre.
Through the 2000s Rubin continued to lend his talents to established performers such as Neil Diamond, Jay-Z, and Tom Petty. In keeping with his unflappable, bearded guru image, he chose to avoid the 2007 Grammy Awards ceremony, and, although he won the Grammy for best producer, he characterized the previous year as “not unusually special.” Nonetheless, Rubin exerted a quiet dominance on the industry’s sales charts. He had production credit on two of the five nominees for album of the year (the Dixie Chicks’ Taking the Long Way [the winner of the award] and the Red Hot Chili Peppers’ Stadium Arcadium) and had contributed to a third (Justin Timberlake’s FutureSex/LoveSounds).
In May 2007 Rubin was named cochairman of Columbia Records. The label was struggling with declining revenues as a result of the contraction of the compact disc market, and its parent company, the Sony Corporation, felt that Rubin could provide a fresh alternative to its existing business model. Rubin’s loose management style immediately clashed with executives, and his emphasis on creativity over commerce, exemplified by his relocation of the Columbia headquarters from Los Angeles to an I.M. Pei-designed office building in Santa Monica, California, evoked comparisons to Factory Records cofounder Tony Wilson. His studio talents were undiminished, however, and he collected a second Grammy as producer of the year in 2009 for his work on albums for Metallica, Neil Diamond, and Weezer, among others.
In 2012, after contributing to that year’s album of the year, Adele’s 21, Rubin left Columbia Records and revived his American Recordings imprint as an arm of Republic Records. The new venture worked with a typically diverse group of artists, including blues-rock veterans ZZ Top, folk rockers the Avett Brothers, indie artists Band of Horses, and rapper Towkio. During this time, Rubin continued to work with musicians on other labels, and he notably produced Eminem’s Revival (2017) and the Strokes’ The New Abnormal (2020).”
- Ray, Michael. "Rick Rubin". Encyclopedia Britannica, 6 Mar. 2023, https://www.britannica.com/biography/Rick-Rubin
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