The Engine of Sharkey's Machine

Sharkey, who has been a SONAR user for years, has performed and produced with such heavyweights as Eminem, Mickey Petralia, mario Caldato Jr., Everlast, and Rick Rubin. His new disc Sharkey's Machine, recorded in SONAR 3 Producer Edition, is one of the hottest albums of the year. A Hip Hop Heavy, Electronica and Rock-laden reflection of his diverse musicality, Sharkey's Machine features guest appearances by Cannibal Ox, The Pharcyde, Jean Grae, Grand Puba of Brand Nubian, and Cherrywine (formerly of Grammy Award-winning group Digable Planets). In our exclusive interview, Sharkey discusses getting signed and dropped by a major label; working with heavyweights like Rick Rubin, Micky Petralia, and Mario Caldato, Jr; the making of his new album; and why SONAR 3 Producer Edition is his recording software of choice. Listen to samples from the album: Fuzz (feat. Cannibal Ox) | If It Fits | Snobird (feat. The Pharcyde)

Cakewalk: Sharkey, can you tell us a little about your background?

Sharkey: I’m a 27 year old producer/musician out of DC. My old band, The Crownsayers was signed in 2000 to a major label deal with Elektra Records by the then president of Elektra, Sylvia “I love to drop bands” Rhone. Since then, I have formed a new band called, The Spark. We recently did separate tours with both Wyclef Jean and The Black Eyed Peas, all while I was working on my solo record, Sharkey’s Machine for Babygrande Records.

CW: You don’t sound bitter at all. The Crownsayers disc was never released… now Sharkey’s Machine is out, so we know the story has a happy ending, but that must have been like a roller coaster ride from hell… what was the story there?

Sharkey: The president of the label signed us for a certain style of music we did. But once we started recording the record, she wanted us to switch stuff up and be more commercial (typical major label story). We decided to stand our ground and stick to what we did best. That didn’t work for her so we went on our way. It was really unfortunate, but I believe that everything happens for a reason. There were a lot of valuable lessons that I learned from the situation and strength that I gained that I couldn’t have without going through all of it.

CW: Mario Caldato JR, Micky Petralia, Rick Rubin… those are some huge names, how did you end up hooking up with them?

Sharkey: One of the best things that came out of the Elektra deal was that it gave me the opportunity to meet and network with a lot of people I may not have had the chance to meet under different circumstances. We hooked up with Rick Rubin before the Elektra deal though. During the “shopping process” of getting the deal, his label (American Recordings) was one of the labels that were interested in signing us (The Crownsayers). American was also (coincidently) the label putting out the soundtrack for Adam Sandler’s motion picture, Big Daddy which we had just done a track for. He’s a great guy. It was an honor to be involved with all of these guys.

CW: It must have been an incredible experience working with them… what would you say the most valuable thing you have learned from them has been?

Sharkey: Well, Mickey and I would spend most of our time in the studio making crank calls so I have to say I learned a few great accents while working with him…No just kidding. Mickey is a great guy. Sonically, he’s mastered the art of classic song recording while still keeping the cool element. I gained a lot of maturity through working with all of these producers that I would have never gained with out a good 15 years of producing on my own.

CW: Sharkey’s Machine really has the vibe of a future classic album would you mind telling us a little bit about what went into making this record?

Sharkey: Thanks for the compliment. Chuck and Jesse from Babygrande have been long time followers and supporters of my career. Because of their confidence in my abilities, they were comfortable in giving me complete artistic control in making Sharkey’s Machine. For that reason, this record was a creative dream for me to make. I had always been used to working on songs for major labels and commercials, always having to work within some sort of restrictions. Because of that, I really tried to stay as true to myself, particularly my moods while writing at all times. I think that’s reflective in my songs. For instance, one day I had been watching a depressing documentary on the Columbine shootings, so literally, once the show finished, Billy Moon and I sat down and wrote Song 20. Obviously, I was feeling something entirely different when I created the song Skateboarder’s Blues. This record is really heart felt and genuine. I think that’s what people get about this record right away.

CW: The credits on this disc, read like a veritable who’s-who of the hottest MCs in Hip Hop: Grand Puba, Cannibal Ox, Cherrywine, Jean Grae, The Pharcyde… there must have been some interesting sessions involved in the recording of this disc. Do you have any anecdotes you’d care to share?

Sharkey: Everyone I worked with was really cool. I don’t think it would have worked if they had head trips or something. I mean, the music I am doing is kind of risky when it comes to hip-hop, so you have to imagine that these artists are all very open minded and level headed. It’s amazing though when you can get into a room with someone, and in some cases you have never even spoke to before, and then just vibe and flow together, creatively, like you have known them your whole life. That’s magic. I tried to capitalize on that as often as I can.

CW: How does Cakewalk software factor into your workflow and in particular how did it help you with Sharkey’s Machine? Sharkey: I’ve worked in a lot of studios, on every recording platform there is, and from analog to digital systems, Cakewalk software has always been the most user-friendly across the board. That’s important because when you’re in the middle of a session, keeping the creative flow is a must. The last thing you want to have to do, is tell an artist to hold on while you’re figuring some technical issue out. I’ve always used a lot of outboard gear for effects and instruments too, but now with SONAR it has been easier and easier to have everything right at your fingertips with the access to ReWire systems like Kinetic for making beats, and VST plug-ins like Amplitube for sick guitar effects. I have always thought the editing functions in SONAR were the best of all programs, as well. People literally bug out when they hear that I create my beats entirely within SONAR and nothing else. It has everything I need to max out my creative abilities. I never leave SONAR...and it always keeps me inspired.

CW: What made you decide to start using SONAR, and what are your favorite things about working with it?

Sharkey: I started using Cakewalk Pro Audio when version 6.0 came out. Since then, my production skills have continued to improve with the need for bigger, faster programs. So the logical progression was for me to adopt SONAR. Cakewalk’s software has always kept up with me and my needs.

CW: Do you have any tips, techniques or advice you would like to share with musicians who want to make music on the PC?

Sharkey: The methods for making music on your own have drastically changed over the past few years. Before, it wasn’t possible to just sit down on your own time whenever you wanted to and work out your ideas, and most importantly, your abilities. When I was first starting out, the only way musicians, like myself, were able to record and get our ideas out, was by going to a professional recording studio, paying hourly fees, and siting with some random engineer who we usually didn’t even vibe with. That sucked! Cakewalk software has helped us get to the point where we are. Take advantage of it.

CW: And how about advice on getting and doing production work?

Sharkey: Networking is so important these days. But I am going to be honest, it’s hard. With the availability of home recording systems, you have many more people out there trying to do this. The thing that separates them all is sheer talent and skill. Get your skills up, but have fun with it and that will show through in your music. So many people forget that music is fun.

CW: What are some of your creative influences and what are you listening to for music lately?

Sharkey: Wow. I love this question. I am a music lover. I listen to EVERYTHING. That is the one thing that everybody gets when hearing my record. But I do more then just listen, I study. I went out and bought every Beatles record there is, and lived with them for a long time. I also got a lot of ethnic albums and music with different cultural influences and studied the rhythms. But I didn’t just copy them, I used what things meant something to me and touched me, then made them my own. That’s what makes it genuine.

I keep everything I have ever gotten heavily into on a rotation. I keep up with all new stuff that comes out too. So between the two, it’s a constant even mixture. I just got the mastered version of my record so I have been listening to that a lot.

CW: In closing, do you have a personal philosophy about music?

Sharkey: Stay true to what you love, not just true to what is happening on the radio at that moment. That will be your selling point. Keep banging it out and eventually, it will happen for you.

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